Our most disgusting screencap/song title combo? Judges?
[Video][Website]
[4.22]
Anthony Easton: Could be a little more cadence, and a little bit less hipster remaking of outsider xianity, but there is something really nightmarish about this, which is hard to achieve post-Beefheart/Replacements.
[8]
Chuck Eddy: If this god-awful tweeness turned up on Yo Gabba Gabba! when my two-year-old daughter was watching, I might halfway grin at it, not wince. But it’s sure nothing I’d wanna hear when she wasn’t in the room, and it’s a stretch anyway since that show’s songs tend to have funnier words and are better to dance to. Plus, as far as I can tell, the audience this outfit is aiming its kiddie ditties at is ten times my daughter’s age, which creeps me the hell out. Apparently the main guy used to be indie noise bands such as Coachwhips and Pink & Brown. In 2004, I described the former’s Peanut Butter & Jelly Live at the Ginger Minge EP, which I apparently managed not to hate for a couple weeks, as “no wave garage punk” (so: like Pussy Galore, maybe?). As I recall, the one Pink & Brown record I heard (well, half a record: a split 2002 12-inch with some people called Death Drug) pretty much stunk.
[2]
Hazel Robinson: It don’t feel too good to be dead in the 21st Century begins this folky anthem to decomposition. Despite this being an obvious opportunity for letting the song write its own review, after the second verse I suddenly started finding this pretty awesome; it’s got a formula and it sticks to it but at least it’s consistent. And hopefully someone will do a dubstep remix.
[7]
Pete Baran: Pastiche psychedelic rock for shits and giggles with none of the giggles and all of the shit. I have never considered Nuggets a force for evil before.
[2]
Katherine St Asaph: This isn’t supposed to be innuendo, right? These guttural jackasses are literal dirt, and they need literal liquid and — collective plural be damned — literal seeds, the kind that grow up into doodled apple trees probably. But these’d be apple trees that when their long E’s are wheedled like SEEEEEEEED, and when they’re surrounded by shrieks and mangled guitar and teakettle noise and goblin voices, grow up to scare children. So that takes away another potential use for this song. Formulating a third would require listening longer.
[2]
Iain Mew: I guess the fact that this sounds like it took less time to write than to play is meant to be the point, but there is so little happening here that even the singers’ terrible voices are not as much of an issue as how boring it gets.
[2]
Michaela Drapes: Every generation gets The Holy Modal Rounders, The Cramps, the B-52’s, the Vaselines, and the Beat Happening it deserves. It’s understood that at any moment, a certain amount of sonic anarchy exists in the known universe. Thee Oh Sees are doing an admirable job of actually creating likable pop out of an unseen and unheard directive from the powers that be to make 21st century zone-out tunes, man.
[6]
Zach Lyon: Subjectivity be damned, I just can’t fathom how anyone in the universe can derive pleasure from listening to this song. Why not just listen to Nuggets? Or, I dunno, Ween? Why this? Whatever void this is filling, if any, why did it need to be filled?
[1]
Michelle Myers: Such a blatant rip of late 60s garage rock, it might as well be a period piece. Actually, I love period pieces. This song, like a good costume drama, is historically accurate and compelling.
[8]