
They Might Be Giants, The World Is to Dig – It’s been about five years since the release of my favorite band’s last regular studio album, BOOK, which felt like a big production. After that, this one comes across as a bit understated. I tried to find something to write about every song, although I couldn’t think of a whole lot for some of them, and I took a fair amount of the trivia directly from the TMBG wiki.
Back in Los Angeles – It’s kind of weird that John Linnell sings this, since it’s loungey, and that’s more John Flansburgh’s thing. It has guest violinists on it, and it’s pretty absurd, with all of the places and activities mentioned being fictional but kind of sounding like they could be real.
Wu-Tang – This one is sort of about the Wu-Tang Clan, but is in a totally different style of music and doesn’t really say anything about the hip-hop group. It’s sort of like Frank Black’s “I Heard Ramona Sing” in that respect. Perhaps the heavenly warriors battling is a reference to how the Clan got their name from kung fu movies.
Sleep’s Older Sister – This is a favorite from early listens. The title makes me think of the mention of “sleep’s older brother” in “Three Might Be Duende.” Flansburgh mentioned Greek mythology as an inspiration, and in classical mythology Thanatos, personification of death, was the twin brother of Hypnos, god of sleep. I don’t know of any mentions of a sister, but I’d say some creative license is permissible. Hypnos lived in a cave on the outskirts of the underworld, where it was perpetually twilight, which sort of fits with the lyrics. And there’s a mention of crossing a river, like the one Charon ferried the dead across. The song has a dreamlike feel and a finality to it.
Je N’en Ai Pas – This one grew out of Linnell trying to learn French on Duolingo, and putting together some phrases he liked the sound of. The title means “I’ve got nothing.”
Outside Brain – This band sure does love songs about brains, don’t they? This a frantic song with lyrics about panic. It has a fast rhythm that’s quite compelling.
Let’s Fall in Lava – This is a lesser one, I think, if only because the pun is one I’ve seen used quite a bit before. The lyrics about a couple trying to commit suicide is an appropriate one for the band, but the song doesn’t really go anywhere. I do like the echoing sound on it, though.
Telescope – The shortest song on an album where only two tracks are over three minutes long, but enjoyable. It has some weird effects on the percussion, and stream-of-consciousness sort of lyrics. The line “cross the skies, cross your eyes, cross out the things you don’t feel” is some clever wordplay, as “cross” means different things in all three cases.
Garbage In – This a pretty mellow song with a good combination of piano and drums. It seems to be about choosing to hide away and avoid people. The concept of removing the head or destroying the brain shows up in Night of the Living Dead. And that makes two songs on this album that prominently mention brains. The solo kind of sounds like a kazoo, but it’s actually Flansburgh’s voice through a filter.
Get Down – This is another one that’s centered around a pun, in this case that it has a funky disco kind of sound that would imply it’s about dancing, but the words are really about a warning from invading aliens. Linnell considers it a white version of Afrofuturism.
New Wave Will Never Die – This is kind of like “Wu-Tang,” in that it references a style of music, but isn’t in that style. It’s more of a Caribbean sort of sound, especially with the percussion. It’s about nostalgia and aging (“painkilling’s now a full-time job”), and plays on the idea of thinking any trend will last forever. I like the lyric, “I shot myself with a starter gun.”
Overnight Sensation (Hit Record) – A cover of a song originally recorded by the Raspberries in 1974, which the Johns grew up listening to and loved the production.The original song is kind of slow with a fair amount of variation, but I don’t think the cover works that well. Doing it in more of an electric rock style makes the lyrics sound cheesier than they were before. When looking for the original, I realized that the Fastbacks had also done a Raspberries cover, “Go All the Way.”
Character Flaw – The beginning to this reminds me of “Flying V.” It does kind of have a kids’ song vibe to it overall, particularly with the lyric, “It’s the flawiest flaw that you have ever saw. It’s a fun Linnell song, very catchy, personifying a characteristic of a person in sort of the same way as something like “Hopeless Bleak Despair,” although that song isn’t much like this one in other ways.
Hit the Ground – There’s a funky sound to this. It would probably have worked as a Mono Puff song if they were still a going concern. It’s about a breakup.
What You Get – This was one Linnell originally wrote for Coraline, but I understand it’s been changed quite a bit from its original form. There are a lot of clever rhymes here, with the rhyme scheme reminding me somewhat of “I Love You for Psychological Reasons.” It also does with the word “make” what “Telescope” does with “cross.” It’s about existence and how you have to make your own meaning.
Slow – Not only is the song slow, but it’s about slowness. The wiki mentions that this is technically the second TMBG song with that title, although the other one is an instrumental that’s fifty-three seconds long. It comes across as being sort of a pulp horror story, maybe somewhat along the same lines as “2082.” The person it’s about drinks a potion that slows everything down, which results in their gaining enlightenment but being unable to do anything about it. It’s depressing but also has some jokes in its structure, like the person drinking more potion when they’re trying to get the antidote. I suppose it pairs well with “What You Get,” as that’s also about trying to find meaning, but presented much more cheerfully. It’s referred to as a microtonal composition. There’s an instrumental part that sounds quite similar to “Can’t Keep Johnny Down.”
In the Dead Mall – This is an upbeat, jazzy sort of song that also seems to be about nostalgia and aging, a recurring theme on this album. I’m not exactly sure what the lyrics mean outside of the references to malls, but it’s fun.
What the Cat Dragged In – This one is kind of a march based on the common expression. It’s not a favorite, but the arrangement is quite interesting.
They Might Be Feral – This song builds up from a simple beginning to something much fuller. It’s been confirmed to be about some of the people Flans has encountered in rural areas. It’s not complimentary, but it’s not really insulting either, more of a commentary on trying to make sense of the world and often getting it wrong.


























































