it’s an interesting thing, to be known for being that whistling muso. okay, so there’s more to him, thankfully.
there is undoubted beauty in a lot of these songs. i’m starting to think i might be able to identify certain qualities that make music thus.
i cannot resist the creepy story-book quality of a nervous tic motion of the head to the left. it’s what i would have predicted steve malkmus might have written and performed if you drew a linear chart from wowee zowee era pavement. but it’s not where he ended up.
to follow it with a song like fake palindromes, conceptually fascinating in its title, is natural. equally as unusual and engaging as the former, it tells a very bizarre story that’s slightly titillating.
once it reaches banking on a myth, one finds quite amazing guitar, that for which i cannot find a parallel. it’s not quite surf guitar, certainly not in the context of the rest of the song. it has an ether of the 1960s in more than one way, but such a blend as to make those elements indiscernible. film quality; minor key pop?
i’m also sure i know the melody of skin is, my from some popular usage that i can’t recall. that’s probably a good thing, but not from a marketing point of view, if that’s what they were intending. the song is there; the product is lost. it’s another homage to steve malkmus in a spanish sort of way.
it makes a lot of sense that andrew thanks m ward, and i get that it moulds a whole album around the theory of fairy tales, of sorts. it is very effectively executed, if that’s what he was going for. i think he does it 100% better than recently-dissed flaming lips, in whom you can hear a few similarities (between the two covered releases in particular, rather than generic sounds across catalogues).
for anyone wanting to live in an alternative universe, this might well be the most clearly sketched of any i’ve heard.