I was in the ninth grade when I first discovered They Might Be Giants' Apollo 18. In retrospect, it wasn't their most shining moment, but at the time, it was the perfect blend of dark satire and catchy, quirky pop. Ah, there's that word. "Quirky." Diehard fans of this New Jersey/ New York-based duo complain that there's not a review of a They Might Be Giants album in existence without mention of the term. But y'know what? They're quirky. Sorry.
I went into this one braced for horror. I mean, over the course of this decade, the band has become progressively less listenable, especially since abandoning their MIDI sequencers and keyboards for a live band setup. But even at this very moment, I sit listening, stunned. While these guys never let their irresistible pop hooks leave their sides (even on their last studio album, 1997's Factory Showroom, songs like "Till My Head Falls Off" and "How Can I Sing Like a Girl" got in your head and stuck like flypaper), the songs have lost some of the charm in favor of the attempted comeback single. The band's energy level seemed to be steadily dissipating. They quit experimenting with genres, and worse, their mix of morbid lyrics with head-bobbing pop melodies were nowhere in sight.
Long Tall Weekend is set to be released strictly via MP3 by EMusic.com on July 19. It seems likely that these guys felt they could goof around a bit more because, hypothetically, no one would be listening. (This, by the way, is completely not the case. Just as Tori Amos and Morrissey still have massive rabid fanbases, They Might Be Giants fans will do anything they can to dig up unreleased tracks, be it in MP3 format or otherwise.) But whereas this might make for an unfocused and careless record for other bands, They Might Be Giants are actually at their best when they're not really trying.
As it turns out, Long Tall Weekend is still not a stellar release, but is easily their best since Apollo 18. It compiles a few songs that originally debuted on their Dial-A-Song line, along with studio versions of songs they've been performing in concert for years. The album kicks off with the somewhat mediocre leadoff instrumental "Drinkin'," and is followed up the very average-- and depending on your mood, possibly annoying-- "(She Thinks She's) Edith Head." But these two numbers have nothing on "Maybe I Know," an incredibly poignant ballad whose helpless, succinct lyrics ("Maybe I know that she's been cheating/ Maybe I know that she's been untrue/ But what can I do") are strikingly effective.
The brief "Token Back to Brooklyn" appears to be heavily influenced by Chicago post-rock auteurs Tortoise and the Sea and Cake with its artsy, vaguely electronic-sounding drum track. "Older" is, contrary to possible belief, not a medley of the songs from George Michael's last album, but a classic They Might Be Giants clever (but depressing) "mortality awareness" songs. The lyrics say it all: "You're older than you've ever been/ And now you're even older/ And now you're even older/ And now you're even older." Add in the memorable cartoony melody, written to emphasize every passing second, and bam!-- you've got a track that belongs on their self-titled debut or Lincoln.
"Reprehensible" could only be described as "casual vaudeville." Were it not for the seriously wack lyrics, it'd fit nicely into an old Fred Astaire film. "They Got Lost" has been a live staple for what seems like forever. The standard live version appeared on last year's compilation album, Severe Tire Damage. This first-ever studio recording of the song is far more subdued than its rocking live counterpart, but the melody is so infectious, it could practically be a polka (an actual possibility with these two on the case) and it'd still be a prime cut. "Nina" is entirely a capella and sung backwards for that whole "Arm from 'Twin Peaks'" feel. And "Edison Museum" closes out the album, continuing their fascination with the famous institution, with accordions and harpsichords plinking the song's spooky tune.
Long Tall Weekend has a few less- than- grand numbers, of course. The aforementioned "(She Thinks She's) Edith Head," the dorky wordplay of "Operators are Standing By," and the banjo-infested "Counterfeit Faker" are accidents gone awry. (You heard me.) I guess that's the benefit of only purchasing certain songs. But if you don't purchase them, does it mean they're not part of whole vision? Indeed not, guys. Call me an ass, but these tracks were recorded as part of the Long Tall Weekend album, and they detract from the overall quality.
That said, Flansburgh and Linnell, in a rare moment of glory, have returned to their roots to create their first truly enjoyable album of the decade. But don't count on this excellence to continue. Like I said before, they're at their best when they're not trying.