Queue up another razor sharp entry in the Paranoid Style catalog, as indie rock’s Dorothy Parker re-assembles her crack new-wave into pop punk band and sallies off to skewer pretension, complacency and lazy thinking. Reviewing The Interrogator a year ago, Dusted’s Alex Johnson heard, “ZZ Top’s fuzzed-out sleaze; the wry, sneering energy of Supersuckers; Elvis Costello’s frothy take on Americana; even Liz Phair with quicker-to-hand, if shallower, retorts,” and that panoply of punk songwriter poets is as relevant here as ever.
The targets are mostly personal, not political, concerning unsatisfactory men, oddball social encounters and the songwriter herself, one Elizabeth Nelson. Here she is summing up a couple of decades in the R’N’R rat race, with ascerbic style: “Stared out a true believer/started out alone/once I caught the fever/I was a Great Dane with a bone/They told me I’d never make it/I told ‘em where to stick it/Tearing the ticket.”
Nelson rattles off her lyrics like a livestock auctioneer, piling up evocative images and clever rhymes up faster than most people can absorb them. Indeed, it’s often only in the neck snapping turn—the phrase that means one thing until it lurches in another direction—that you have time to appreciate the craft. But once you see it, it’s all over the place, threaded right through these songs’ DNA. For instance,“Dog’s Breakfast” is particularly adept at matching a stop-starting rhythm to words studded with internal rhymes (the words themselves carry the rhythm), but this is a hallmark of Nelson’s art. It’s complicated, contradictory and very specifically drawn. You know exactly what kind of men she’s talking about in “Shark Eyes” and how they differ from the equally vivid crew in “Elegant Bachelors.”
It is customary, when the lyrics are this sharp, not to expect too much from the music, but in this case, the sound is as good as the story. Nelson once again enlists the dBs’ Peter Holsapple into her band, alongside the Mountain Goats’ William Matheny, Michael Venutolo-Mantovani, Choo Choo La Rouge’s Jon Langmead and Timothy Bracy. They make a very late-1970s/early 1980s new-wave/college rock sound, with enough variation between songs to keep things entertaining. Like the Hold Steady, the Paranoid Style sprays a continual stream of hyper-literate poetry against the backdrop of a kicking bar band. Just cause it’s music for smart people doesn’t mean it can’t rip.
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Satan tells me I am unworthy; but I always was unworthy, and yet Thou hast long loved me; and therefore my unworthiness cannot be a bar to my having fellowship with Thee now.
So. I decided to look up screenshots of Hungarian historical figures in Korona Królów (don't ask) and... The Poles have no right to make Zmikund serve so much cunt. Sigiscunt of Luxembourg.
Denise, the boar, kinda funny when you realise where the name came from
i get why Cordi wants to hold onto the bar, especially on Emily's death anniversary. I don't blame him for wanting to save it. It's a place filled with Emily's happy memories.
Cordi to Denise, the boar: you had to make this about you, didn't you, Denise? 🤣
Stella's choice in men has always been questionable. Even before they reveal Trevor, I didn't like the guy at all
Speaking of Trevor, what's with Abeline's behaviour? She almost didn't let the kid have a sandwich??! Damn that's cold
Cordi accidentally nailing his hand with a handgun 😝😝
i know Micki acted out from a place of love but I felt she was projecting her own insecurities about her mother and was pinning it on Cordell's psych evaluation
Cordell to Micki: your default is avoidance 👏👏
Jared Padalecki flipping chairs is hot!
Also it's kinda unfair that a lot of people gave Cordell grief about making everything about Emily on the day of her death anniversary when these same people didn't let him grieve his wife's death earlier. Of course he was making it about her. Y'all didn't leave him much choice!
Cordell to kids: your mom always said these nonsensical phrases 🤣🤣🤣 sucha a husband thing to say
i like how this episode is slow and sweet without the crime drama but then in the last two minutes they throw these awesome plot twists! Kinda wished the other twist was twister than the reality if you know which one I'm talking about
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Me playing Bioshock 2 at 16: “This is awesome! I’m a Big Daddy! Eat my drill, Splicers!”
Me playing Bioshock 2 at 28: “I’m a blue collar working class single father embroiled in a vicious custody battle from hell under the sea against an insane, abusive Utopian Collectivist psychiatrist mother over the life and soul of our demigod daughter in a diving suit. The Splicers are her army of ruthless bloodsucking lawyers, while my only ally and representative is a charismatic, slick talking southern gentleman on my radio who fondly calls me ‘chief’, ‘son’, 'sport', ‘kid’, ‘friend’, and ‘partner’.”
