matt’s music blog

I’m getting in the habit of dedicating these posts to people. So, in that spirit, this one goes out to my friend Oz, who listens to this every time that I’ve been in the car with him. I’ve known about Of Montreal for a while now, and enjoyed their albums immensely. They are a interesting mix of up beat pop, with wacky, almost manic lyrics.

This one is is one of those basic, there’s a person, and they like this other person, and here’s all the things that they want to do with that person. But what I really love about it, is some of the lyrics are really weird, and kinda wacky. I’ll give an example of some of my favorites.

I want to hurt your pride
I want to slap your face
I want to paint your nails

I want to write you books
I want to turn you on
I want to make you come
200 times a day

That one never fails to crack me up. I mean, just the idea of cumming 200 times a day? Totally outrageous. Even if that was physically possible (Which I highly doubt it is) It would be so incredibley draining, that you might actually fuck someone to death.

There’s not really much else, that I wanted to say about this one. Mostly how much I like the lyrics. And how they are kinda nonstandard for this kind of song.

-James Out

I’ve been a big fan of TV on the Radio, for a really long time. Well, maybe about 2 years now. Ever since their album Return to Cookie Mountain was released, I’ve really enjoyed their music.

As a general rule, I tend to find songs that are about sex to be a bit obnoxious. Usually they are just terribly graphic and almost awkward to listen to. I mean, Prince is great, but come on, there music be other things to write songs about.

That being said, Lover’s Day (which is most certainly about sex) is an amazing song. It might even be my favorite off the album (Dear, Science) And the reason is this: the format of the song is relevant to the subject matter.

It starts out slow, simple, like foreplay. Just a little bit of tambourine, drums, and singing. The the percussion picks up, and we get some strings. Then backing vocals, and flutes. Then it gets bigger, reverbed crash cymbols, and some horns are added. Then it backs off, not wanting to blow it’s load too soon (Sorry if that was a bit of a graphic metaphor. But again, relevant) Then it picks up again. Building more and more and more, getting to the climax finally! And then it falls, backs down, finishing with a nice saxaphone solo, some symphonic style snare drum and flute that continues on and fades out.

Not only that, but the lyrics also get more and more intense as the song goes on. Starting out, once again, simply. Talking about, obvious, A guy that really wants to get with his girl. Or, maybe excluding gender distinctions, someone that wants to have sex with someone else.

Oh but the longing is terrible,
A wanton heart under attack.
I wanna love you,
All the way off,
I wanna break your back.

Then the drums and music starts to pick up, and builds a bit more. So we move on lyrically.

We could build and engine,
Out of all your rising stars.
Tear apart the apart,
We seem to think we are.
Call of work let’s lay!
Call it lovers Day!
Call it lovers Day!

Then it backs off a little.  Talking more about wanting, and longing. Reassuring the other person, that there is pure inventions. Well, pure, sexually that is.

I’m not gonna tear it apart.
I’m gonna keep you week in the knees,
Try to unlock your heart.
You’re gonna turn me animal,
You’re gonna turn me dumb.
Your kiss in the night,
Bringing the light,
You’re like the rising sun

Then it builds a little more, getting more intense. Building and building, till we gert to this verse, which is really intense. The climax if you will. Notice again, as the music gets more intense, so too the lyrics.

Ball so hard,
We’ll smash the walls,
Break the bed,
And crash the floors, don’t!
Stop! Laugh and scream!
And have the neighbors call the cops!
’till all the eyes that they’ve seen our fire play!!
Can’t forget,
Mark it down,
Call it lovers Day!!

Now if that’s not some serious sex he’s talking about, then I don’t know what is. The song climaxes, and then receeds back to,

Yes here of course there are miracles.
Under your sighs and moans.
I’m gonna take you,
I’m gonna take you home.

And we move into the nice instrumental section, complete with the aforementioned saxophone solo, flutes, choral part, and almost march-styled snare drum part.

All in all, an amazing song, and possibly the best ending track, EVER.

-James out