And The Giraffe is a
project by duo and best friends Nick Roberts and Josh Morris. They blew my mind
last year with the release of their first EP Something For Someone, a bedroom
recording which has ultimately resulted in thousands of downloads and much
needed exposure for the two.
Following on from the
astounding Something For Someone EP, the pair have recorded a cover of Darling,
originally a track from one of the band’s favourite artists, Magic Man. And The
Giraffe keep their haunting, echoed vocals and this time lay it upon pretty
mid-tempo, catchy instrumentation to create a new direction the band could take
their sound.
This is a beautifully
crafted song full of great lyrics and instrumentation which overall creates an
emotional yet uplifting listening experience. I cannot wait to hear more from
And The Giraffe, and you can download it for free here.
It seems that after what
has been a rough summer, things may be picking for Tree Machine Records. They
have gained access to a studio which will help allow artists to properly record
their material instead of their former basement recordings, there’s a second
album on the way from anonymous singer-songwriter Hypocrite In A Hippy Crypt,
and they have also busted out these demos from The Wailin’ Smithers.
Ocean Song is one of the
tracks from this collection of demos, and as well as having quite possibly the
greatest band name to exist, the song is pretty good too. It’s full of loud,
brash guitar riffs that either produce some explosive moments or some sweet,
melodic parts, and with vocals that have a special beach boys vibe about them.
It’s a great surf-rock hit
from The Wailin’ Smithers, and I cannot wait to hear how they enhance it with
this new access to a proper recording studio. Tree Machine Records will
certainly be experiencing some growth and added reputation if they manage to
release stellar albums from these guys, and Hypocrite In A Hippy Crypt too.
This is definitely the
most fun I’ve had listening to a song. It’s No Friends from up and comers The
Minx. The debut single from the Manchester
band features the best instrumentation, vocals and structure combination ever.
It’s ridiculously happy sounding synth intro mixed with punk vocals which fit
in extremely well is layered on top of the catchiest drum beats and guitar
riffs imaginable, overall creating one of the best debut singles I’ve ever
heard.
I cannot wait to hear more
from The Minx, as they have already gone off to a great start. To think this is
all about having no friends makes this totally and completely unrelatable to me
in any way, shape or form (…) also makes this one of the greatest bittersweet
songs ever made.
Released: 2012 (From album Some Were Made Of
Gingerbread)
Today’s free download of
the day comes from Devin Farney, a musician from San Francisco who has played in many SF-based
indie and psychedelic rock bands throughout the years. He is currently the keyboardist
in the popular group The Love Dimension, and has released his own solo material
too, such as last year’s Ventriloquist.
I’m An Alien Too is one of
the tracks from Devin Farney’s new solo album Some Were Made Of Gingerbread,
released not too long ago. The album has been described as “Indie
for electro-sonic junkies, odd-meter enthusiasts, aficionados of lush melody
and thick harmonies, and other subcategories of music dorks.” Which makes
it sound like a very niche record and difficult to get into, but if it’s as
poppy and easy-listening as this track is, it could very well be one of the
best albums of the year.
It’s harsh synth intro gives it a slightly lo-fi
edge, and once the odd sounds of what appears to be metal scraping against
metal introduce themselves, the listener should expect to start thinking just
which direction this track is going to go. But fortunately the instrumentation
suddenly brightens up as if somebody has switched on a light; the synths
produce this beautifully sweet pattern that instantly lights up the dark sounds
of the verse.
I’m An Alien Too has a lot of “out there” elements
within it, but it definitely has that defining element of tranquillity which I
think we all would like to hear. It’s like WALL-E, it’s E.T, it may be
something physically different, but inside it has all of the same wants and
needs we have. It’s great, and absolutely free to download which makes it even
sweeter.
The Dreaming Spires is a
new project started by Truck Festival founders and brothers Joe and Robin
Bennett, and this is their new album, Brothers In Brooklyn. Last month I
reviewed the lead single Not Every Song From The Sixties Is A Classic and
really enjoyed it. Its soft instrumentation comprised of a combination of synthesisers,
drums and guitars, quietly complimented alongside the Paul McCartney-delivered
vocals overall created a great tune for these summer months.
Fortunately the rest of
the tracks featured on Brothers In Brooklyn are really good too. They all have
a slightly breathy quality to them, which makes them sound as if the sounds are
floating around the listener rather than being shoved in your face, which is
nice. This floaty quality makes the songs sound completely natural, and not
overproduced or overly-tinkered with in the studio, which is key for songs as
intricate as these.
The Dreaming Spires have
created a great set of songs in Brothers In Brooklyn, it’s a fun listen and
extremely easy to get into despite the band not “dumbing down” their song
structures. Brothers In Brooklyn is a great record for the summer and I’ll
certainly be playing it for the foreseeable future.
Hey everybody, I’m feeling
pretty awkward posting this but…I made a song! That’s right, the guy that
provides you with music I think is good and usually criticises others has made
a song that will most likely be criticised too. Oh irony, I love you.
I’m not packing this
reviewing lark over in order to “focus on my album man” or anything like that,
I just had a lot of free time today and was playing around with my acoustic
guitar and eventually came out with this riff. Then the lyrics came along 5
minutes later and then it was all recorded and stuff.
I know it’s a bit quiet
and a little demo-y but I recorded it with a microphone and the software that
came free with it, and I don’t know how to use it to its full potential yet so
yeah. I thought I’d post this song of mine for you to enjoy, it’s free as well
so you can send it to your friends and hate it together and bond even more than
usual, isn’t that nice?
About the song, the lyrics
is my attempt at sounding “poetic” and is about feeling alone and feeling that
the people who you’re supposed to be closest with aren’t there to give you that
sense of security, so you’re trying to adapt to being “the only one”. The part
about the lullaby is my way of making it sound as if it’s coming from the
viewpoint of a child, a child needing his mummy and daddy. I also used my
thighs and hands to add in some drums, I think they fitted in well with the
tone of the guitar riff. Haha.
Hopefully I will be able
to learn more about the software I used, and come up with more songs and maybe
have an album to release for you guys to enjoy! Though I’m thinking a covers EP
would be best for now. I don’t really know where I was going with this post but
I just wanted to tell you guys. I hope you enjoy it anyway.
Poor Lily is a punk band
from the Bronx, and this is their new EP,
Three Songs. Last year the trio blew me away with debut LP Poor Lily, it was
full of phenomenal punk riffs, abrupt song structures and undeniably creative
ideas throughout. Infact it was so good that it featured my favourite song of2011, and ranked number two on Little Comments’ Top 50 Albums of the year too!
So it’s pretty fair to say
I’ve been dying to hear more material from Poor Lily, and that expectations are
pretty high when it comes to listening to Three Songs EP. Fortunately, the band
hasn’t failed in the slightest at creating more fantastic punk tunes, as this
is easily one of the best EPs of the year.
We begin with El Topo, a
track that opens the EP in as abrupt a way as humanly possible. The passionate
vocals and the manically shifting guitar riff instantly recreating the moment
of glee I had when I listened to the debut LP for the first time, it too came
with the realisation that punk isn’t dead. The track is once again shifting
into A-B-C stages, without repeating itself as it doesn’t need to repeat
itself, everything is loud enough for the listener to know how freakin’ great
it sounds.
Next up is Pay Me In
Heads, which features a jagged, progressive sounding intro that is pounded into
the listener’s head via the intense drum beats. We finally hit some vocals and
the song suffers from an internal combustion as the band display some expertly
performed stop/start pauses at the end of the song. It makes for some strange
listening, but goodness me it’s great.
Finally we end with Third
Rail, which begins with a never ending guitar lead riff which quickly warps
your mind and leaves you feeling disorientated (in the good way). Once again
the vocal delivery and the drum patterns fit in extremely well here and produce
yet another fantastic song, producing one of my favourite EPs of the year. I
would love to see what else Poor Lily releases this year, as they have been a
roll with the music they put out. Check out Poor Lily on their website, where you can also download their debut LP for free!
The Lovely Few is a
relatively new band, and this is their new EP The Orionids. It is the second
instalment in the band’s project known as The Meteor Series. Unfortunately I
don’t know what this series is, but I’m guessing it’s going to be a string of
releases that offer a pretty atmospheric sound for us to all enjoy.
The Orionids EP is full of
just that, great atmospheric sounds created which are crafted alongside the
genres of electro, noise rock and post-punk, all blending together to form a
set of four songs that help expand just how many paths The Lovely Few can take
their sound.
The EP begins with Orion,
a slow-paced opener that quickly introduces the listener to the ease The Lovely
Few has with creating great atmospheric soundscapes. We are then treated to the
quicker paced, heavier sounding Sci Fi Novels, a track that utilises the impact
a well produced guitar riff can make in terms of track progression. Following
on next is Try Again, The Lovely Few’s effort at creating an atmosphere using
electronic instruments, before finally erupting into a gloriously catchy rock
song with beautiful vocal and instrumentation melodies.
We close with Hunter, a
piano based ballad that perfectly rounds off what has been a stellar listen. The
Lovely Few have managed to reveal so many sides and elements to their sound in
just four tracks, and have certainly won me over as a fan. You can stream The
Orionids EP below, and download it for FREE here.
Smashing Pumpkins hasn’t
exactly had the best of reputations within the last 10 years, mostly due to
band fallouts, the original lineup leaving and sometimes flat out refusing to
play live shows. Many people have loudly stated that Smashing Pumpkins should
finally be laid to rest so that its career highs within the 90’s could stay at
least somewhat respectable. However frontman Billy Corgan has somehow kept the
band alive, and with a new cast behind him, they’ve produced Oceania,
an album that’s apparently a part of the ongoing FOURTY FOUR song concept album
Teargarden By Kaleidyscope.
Let’s face it, the 00’s
wasn’t the best year for Smashing Pumpkins music wise, however, Oceania is surprising in that it’s actually rather good. For
those who absolutely adored Machina and Ava Adore (who doesn’t?), you will
certainly experience some nostalgia when listening to this new record, as well
as some new found territory for The Smashing Pumpkins.
Despite the lack of
experience in performing in The Smashing Pumpkins, the new lineup certainly do
their best to produce their best version of the 90s Smashing Pumpkins sound. Oceania
is atmospheric, organic and, more importantly, smeared in towering walls of
guitars to create some alt-rock songs that sounds modern while still keeping to
the Smashing Pumpkins sound. It’s heavy while also being melodic, and it’s
fleshed out enough to believe there’s finally a band behind Corgan this time, rather
than the thinly spread sound on last album Zeitgeist.
Billy Corgan wanted to
release Oceania in one piece so there’s no
singles or previously released tracks for fans to get acquainted with before
hearing the whole thing, and I think that’s great. Without the pressures of
creating a song for the radio, Corgan’s allowed to show off his most creative
side in a decade and Oceania flows really well
because of this.
Overall Oceania
is a great listen and certainly a step in the right direction for Smashing
Pumpkins. It’s a shame that many of the fans who have cut ties with the band
since Zeitgeist may choose to not give this album a try because it’s their most
nostalgic sounding record yet, while also treading on new grounds. It’s a
mixture of Ava Adore and Zero, and if the last ten years never happened, Oceania would’ve helped maintain the credible reputation
The Smashing Pumpkins should have at this stage of their careers.
Robots With Souls is a
brand new solo project for highly praised Oxford
based musician/producer Steve Wilson. Steve is one half of noise rock band
Phantom Theory and has supported the likes of Pulled Apart By Horses, Johnny
Foreigner, Japandoids and many more, and is now receiving critical acclaim for
his bizarre solo live shows and the equally bizarre sound of Robots With Souls.
Watch Out is one of the
first songs to be dropped by this new project, and it certainly introduces
itself in the roughest way possible. It’s industrial, dusty looping bass sample
immediately informs the listener that they are about to hear something out
worldly, and is soon accompanied with rough drums and distorted vocals. As
jagged and as broken as it is, Watch Out is catchy in the oddest way possible,
and has a real Bauhaus, old-Prodigy feel to it. It’s extremely interesting and
I cannot wait to hear more of this sound soon. The Droids That Bleed//Watch Out
AA single is released around the end of June via Tache Gallery Records.
The Longsands is a five
piece band from Newcastle in good ol’ not-so
sunny England,
and this is their debut album Meet Me In Spanish City. You may remember a
little while back when I reviewed their single Shut Your Mouth and enjoying the
hell out of it. Its catchy instrumentation mixed with a ballsy attitude in the
vocal delivery and backed up with a big booming chorus made it become one of my
favourite songs, and excited to check out the rest of the tracks on the new
album.
As expected, Meet Me In
Spanish is full of big choruses and catchy riffs. Every song comes with at
least one memorable guitar riff and is complimented with the same energy and
attitude that was present on Shut Your Mouth. The lyrics are also very
personal, allowing the listener to be at ease with The Longsands, and this is
turn makes the band seem relatable in a way.
While these accessible
elements are present throughout, it’s surprising how many emotional, almost
ballad-like tracks are on Meet Me In Spanish City. Fortunately these slower
paced songs don’t kill the momentum the album gained from the faster tracks,
and they all sound really well produced and crafted too. The vocal hooks
throughout the album are also really strong, yet another positive trait about
this album.
I said before in my review
of Shut Your Mouth that The Longsands sounded like an experienced band, mostly
in how well crafted the track was. This is certainly confirmed after listening
to this album; everything sounds so well fitted together, and despite this
being The Longsands first album, it sounds as if it could be their second or
third. This makes me excited to hear more from these guys as Meet Me In Spanish
City is a great listen. Check out the single Shut Your Mouth below and purchase
a copy of Meet Me In Spanish City, out now via Unknown Solider Records.
Punk veterans True Liberty
have certainly seen more than their fair share of hatred, attacks and struggles
throughout their career. But the band has always managed to see the light at
the end of the tunnel, and it appears that the light at the end was in the form
of their new album Marked For Life. They’ve produced what people are calling
their best record yet, and I can definitely understand why.
It’s aggressive, loud, and
full of fantastic riffs and energy. The vocals are packed full of might and help
add more force behind the band’s motivation to drive as far as possible away
from the low points of their career. It’s got a real early The Offspring
quality to it, with shades of classic punk and metal infused into their well
crafted sound.
It’s seventeen songs long
but honestly Marked For Life flows past extremely well for such a bulked album.
Every song is catchy and enjoyable, and somehow the great riffs keep on coming
to help prevent the album from losing steam. True Liberty have certainly produced a damn fine
album here, and I’m glad they’ve managed to break through the hate and into the
light.
While I don’t post as many
Free Downloads Of The Day as I’d like to, finding an album that makes for
fantastic listening and one that doesn’t tap at your wallet at all gives me a
rewarding feeling of joy. It means I can not only share it with your guys
through simply writing about it, but I can also give it to you for free so you
can enjoy it wherever you are. It’s great.
Anyway, this is Coo Woo’s
new album Love Exposure. It’s a mixture of punk/indie elements with a touch of
pop accessibilities included as well. Most of the tracks are short, but they
make up for it with sugary sweet harmonies, and catchy melodies that become
instantly favourable upon first listen. Tracks such as instrumental opener
Amanda Knox and The Fave provides the listener with the answers to the questions
they might ask whilst listening “Can Coo Woo create interesting instrumental
tracks?” and “I wonder what these sweet instrumentations sound like with vocals
layered on top?” and I can tell you that both those answers are YES and
FREAKIN’ EXCELLENT.
Love Exposure is a great
album and it’s made even better from how much money you have to spend to
acquire it (NONE!) so you might aswell give it a go. You can stream it below
and if you like it, then buy it here.
There’s No Leaving Now is
the new album from Swedish singer-songwriter Kristian Matsson, also known as
The Tallest Man On Earth. Ever since the release of 2010’s The Wild Hunt,
Matsson’s acoustic ability and vocal rawness has captivated me enough for him
to become one of my favourite artists around today. The Wild Hunt is a great
album that was followed with a very nice EP titled Sometimes The Blues Is Just
A Passing Bird, and it seems that Matsson’s scored a hat trick of great
releases with this new album.
The instrumentations sound
fleshed out this time around, and given a few layers added on to help expand
the skill of Matsson’s abilities. While this slightly detracts away from the
vocals, it is a welcome change and a nice, steady progression into the sound of
The Tallest Man On Earth. The production as always sounds phenomenal and the
songs all flow extremely well against eachother.
1904 is still the
highlight of There’s No Leaving Now for me, it sounds most like a track from
The Wild Hunt-era, and it’s optimistic guitar chords and innocent lead diddy
compliments it really well. It’s also here that Matsson’s best vocals are too,
the passion behind his voice and the high pitch parts sounds simply amazing. There’s
No Leaving Now is full of vocal hooks, though it’s pretty impossible to not
become hooked on every word Matsson’s sings with his unique voice anyway.
There’s No Leaving Now is
a fantastic album. It displays how comfortable Matsson is with this sound, and
how well he has managed to craft songs out of it. It has a steady progression
from The Wild Hunt and the EP, but it’s yet another great release from The
Tallest Man On Earth, also known as The Most Consistent Man On Earth.
Run Dan Run is an indie
rock band from Charleston, South
Carolina, and this is their new album, Normal. The band released debut album Basic
Mechanics way back in 2007, and has released a couple of acoustic EPs since. Normal
looks to take the fans back to the sounds introduced on Basic Mechanics, as
dark subjects are spoken about over rich, well produced instrumentations.
Normal is a shining display of a band that’s certainly become
settled and comfortable with one another and their sound. What we’re given here
is songs that progress at their own pace, with ideas performed effortlessly to
help balance the eccentricity and normalcy that floats throughout it. Even with
the band’s DIY recording technique, all eleven songs sound fantastic. Each
layer of sound is captured perfectly and compliment eachother extremely well to
produce some pretty psychedelic sounding indie rock music.
Lead single Lovesick
Animal is a wonderful listen. With its Cure-like guitar riff and steady pace,
the track quickly expands into a thick wall of different elements and becomes
one of the catchiest songs on Normal.
The slightly breathy vocals fit in well with the out-there and echoy nature of
the instrumentations. The chorus is definitely the highlight though, the addition
of horns really adds an extra layer of depth and unpredictability to it; it’s
glorious. Normal
is a great album by Run Dan Run, and will certainly be played throughout the
rest of the year. Hear the lead single Lovesick Animal below, and stream and purchase the entire thing here.
Haley Bowery has balls. Not, like, man-balls, but balls as in attitude. On this, her debut album, the 10 tracks fizz and spit with Haley's Juliette Lewis-esque vocals and buzzing background track.
The combination of Haley's vocal talents and the musicianship of the Manimals remind me of a slightly more lo-fi Juliette and the Licks (as I said earlier), or, if any readers are familiar with the US reality show The Voice, second-placed finalist Juliet Simms' band Automatic Loveletter.
The album is only ten tracks long and yet packs an enormous amount of variety in such a short time. Tracks like "Born Strange" and "Blitzed" come at you in a storm of guitars and fiery lyrics, whereas "Jukebox Dive" shows off Haley's softer side. Either way, this shows off the impressive vocal range of the singer - whether in an upbeat punk song or a slow ballad, her voice provides the perfect complement to the music.
Speaking of the music, the Manimals' backing music is, while nothing mind-bending, absolutely ideal for the kind of music that they are playing. The playing is tight and the composition works very well with Haley's vocals to produce some excellent pieces of pop-punk music. I'd recommend any fans of bands like Juliette and the Licks and Paramore to give this a listen.
"Born Strange" is released on June 19. Stream the second single from the album, "All Lies", below:
Jump Ship Quick play punk music. From that sentence you'd think that you've heard everything this band has to offer already - not so. While not being the most mould-breaking band in the world, JSQ do mix a few modern influences into their music, at times evoking Rise Against or, strangely, Sum 41.
Having said that, people who are fans of punk music will not find anything to dislike here. The musicianship is solid, and the vocalist's frenzied, spitting lyrics are classic punk. The songs are well-written and seem well-suited to being performed in a live environment.
Where Thieves Cannot Tread is Jump Ship Quick's first album, containing 16 balls-to-the-wall, roaring punk songs. This debut is of a higher quality than most new punk bands' first albums, probably due to the fact that most of the members were in other bands before joining JSQ.
If you're looking for a decent punk album, look no further than this one. However, I will be looking forward to JSQ's second effort, as I feel there is a lot of potential in this band.
Where Thieves Cannot Tread was released on June 5 on Thumper Punk Records and Punk Roxx Records. It can be bought from here and here.
Geva Alon is a
singer-songwriter from Israel,
and this is his new album In The Morning Light. It has a gentle, dream-worldly
start but eventually erupts into this all-powerful being with the additions of
the electric guitar, solos and heavy, almost 80’s like drums beats. Taking
influences from the likes of Band Of Horses and Fleet Foxes, In The Morning
Light is a shining example on how to create beautiful music.
The opening track The
Great Enlightenment is the lead single and it features a Neil Young/Paul Weller
styled instrumentation. It’s slow tempo and hazy drawn out strums of the
electric guitar against the acoustic guitar and drums creates the perfect
soundtrack to any relaxation session. The track is uplifting, and Geva Alon’s
similar vocal delivery to Neil Young fits in really well with the soft music,
it’s a great song and a fantastic start to In The Morning Light.
The rest of the album
delves into darker and heavier territories and produces some standout moments,
but it still retains the soft, relaxed nature of the first half. Geva Alon has
a wonderful voice and he has accompanied it with the best instrumentations
possible. In The Morning Light is a great album and will certainly be played all
year round.
After spending a good FIVE
YEARS away from the music scene, Swedish rockers The Hives returns with new
album Lex Hives. It is released on the independent record label they created
called Disque Hives, and well, it’s as if these guys never went away at all. I’m
not a fan of hiatus’, but Lex Hives makes it seem worth the wait. Now I’m just
hoping Dinosaur Jr.’s and Queens of the Stone Age’s new albums will be worth
the wait too.
Lex Hives sounds like what
everyone should expect when they listen to The Hives. It’s fun, energetic, loud
and incredibly catchy. Right from the pulsating drum intro to opener Come On!
You know you’re about to delve deep into having a fantastic time. The opener is
fantastic, and explodes in ear-shredding guitar riffs and the brilliant vocals
from Howlin’ Pelle.
Go Right Ahead is a great
single with a catchy vocal hook, ELO esque talk box beginning and progresses at
a nice, fast pace. It’s easily up there in terms of accessibility with other
great Hives’ singles such as Walk Idiot Walk, Hate To Say I Told You So, and
Tick Tick Boom. Its explosive chorus featuring guitars and horns gives it a
thicker wall of noise that just sounds phenomenal.
There are many highlights
scattered throughout Lex Hives, and it’s just a great indicator that The Hives
aren’t running out of steam when it comes to making great records. Lex Hives is
a great listen and certainly takes you on the funnest journey imagineable.
Welcome back Hives.
Something For The Weakened
is the third album by Meursault. The Edinburgh
based band has taken a chance and changed up their sound for this record.
Instead of the synths and samplers, Meursault has replaced them with orchestral
instruments to give off a much more intricate and natural sound rather than the
electronic sound they used to produce two albums.
This is a big change for
Meursault and their fans, as this previous sound helped the band achieve
critically acclaimed albums and helped build up their reputation, but Something
For The Weakened is a beautiful listen. Each song is allowed to expand in its
own pace, often resulting in four or five minute tracks. The instruments are
allowed to introduce and blend themselves in with the others without any force,
making everything sound incredibly natural. The way the tracks start off pretty
much silent and end with an explosion of sound is always surprising. Vocals are
a driving force and really inject emotion into the songs too; every lyric is a
reason to stay hooked on to this record, as everything about it is wonderful.
It takes a lot of balls to
replace synths with orchestral instruments in this current state of music where
everything seems to have synths in it, but the result is ten songs that are
simply breathtaking, and so delicately crafted that it seems more rewarding listening
to something that’s so down to earth rather than mechanically built through a
computer. The likes of Fleet Foxes, Bon Iver, Johnny Parry Chamber Orchestra
have proved in recent years that there is more to music than just samples and
synths, and with the release of Something For The Weakened, it’s pretty easy to
add Meursault to that list as well. Something For The Weakened will be released on July 16th via Song, By Toad Records.
Neutral Milk Hotel’s In
The Aeroplane Over The Sea is one of the most celebrated independent releases
ever. It’s just a soundscape of beautiful melodies created using an acoustic
guitar, horns and also includes an appearance of some phenomenal rock tunes
too. All of these magnificent songs are coated on top with Jeff Mangum’s
seemingly endless lung capacity and incredibly passionate vocal delivery. It’s
emotional, it’s fun, it’s poignant, it’s perfect.
That is, it’s ALMOST
perfect. Have you ever finished listening to it and gone “you know, I really
wish there was at least some hip-hop and rap mixed together with these songs!”
Well today is your lucky day! Artist Psycosis is known for “accidentally
putting one song over the other” and he has done so with Neutral Milk Hotel and
various rap songs! Yep. It’s called In My G4 Over Da Sea, and has been recorded
by a Neutral Bling Hotel.
It’s uh….surreal at least.
There’s a bit of Kanye West in there, that song about a yellow Lamborghini is
in there too, certainly creating a topic of conversation for fans of these
songs and fans of Neutral Milk Hotel I guess. It’s all a bit too strange. But
my favourite thing about this mashup is the cover. The boobs, the aeroplane
engine for a head, the wad of cash, and the parental advisory label all makes
this a little strange for me.
You can hear In My G4 Over
Da Sea in it’s entirety below, and even download it for free if you really
enjoyed it that much.
