The Weekly Wank

Presenting The Weekly Wank. 5 random tracks. 5 mini reviews/musings. Keep in mind most of these bastards are hurried as the song's playing (unless it's extremely short, then I pause to at least finish my thought) and probably aren't well articulated. Typos guaranteed

Here's this week's offerings:

1. Apple Pies and Alibis by The Paper Chase

A track taken from The Paper Chase's nosier debut full length, "Apple Pies and Alibis" is less a focused track and more a bridge between to larger songs. The frenetic energy between two distinct piano melodies: one distinct and structured while the other erratic and directionless. John Congleton can be heard shouting lyrics in the background.

Though The Paper Chase remains one of my favorite bands, Young Bodies Heal Quickly, You Know, the debut full length from which this track is taken, is the album I listen to the least. For me, it's interesting to trace how their sound developed, but I rarely break it out just to play on its own.

2. The Frail by Nine Inch Nails

The first of the many instrumental tracks from Reznor's double disc opus, The Fragile. More a swift, quiet mediation of precise piano playing than a fully developed song that leads into the lit-fuse track that is "The Wretched" (one of my favorite tracks from the record).

3. When Your Heart Stops Beating by +44

The debut single from Mark Hoppus and Travis Barker's first post-Blink 182 project seems to react to how their new music might be viewed by those who carry the baggage and expectations from Blink's past, about which Hoppus sings "We don't give a fuck what the price is/So just leave us to our own devices." That said, +44 continues the same progress Blink 182 was making with its darker self-titled album.

Pop-punk still plays a main role in the Hoppus and Barker's music, but the artists' Cure influences peek out a bit more, especially in the bass licks that sound pulled right from the 80's. Fortunately, +44 never tries to make any sort of revival of 80's rock and only subtly show influences without ever wearing it on their sleeves.

The chorus seems like a reassurance to fans on Hoppus and Barker's part. Since this song was the band's first release, with speculation and anticipation from Blink fans extremely high, the sentiment "I'll be there when your heart stops beating/I'll be there when your last breath's taken away/In the dark when there's no one listening" is a gesture on their part to let the fanbase know, regardless of what moniker the two play under, they're still people the fans can confide in if needed.

It's a fun, catchy pop-rock song that, while never quite reaching Blink territory, does a fine job making its own mark for the band.

4. Get In Line by Barenaked Ladies

As with most Barenaked Ladies songs, "Get In Line" is a clever, tongue-in-cheek pop song that will likely barb itself in your brain for days. Barenaked Ladies is one of those rare groups that don't ever really write bad songs. They may not be a mainstay in my listening rotation or rank among the favorite band list, but the band remains an immensely enjoyable and their light-hearted approach to their music is extremely appreciated.

This song about an exasperated boyfriend who's not too fond of everyone's attentions for his girlfriend is no exception. Sonically, this particular track reminds me of Flood-era They Might Be Giants, which can't be a bad thing.

5. Bedroom Talk by The Starting Line

The lead single off The Starting Line's confessional album, Based On A True Story, details the narrator's first sexual experience and saw the band breaking the traditional pop-punk mold. "Bedroom Talk" is still very much a pop-rock song, but frontman Ken Vasoli's maturation as a vocalist and guitarist allowed the band the opportunity to create more layered pop songs than the simple pop-punk song led by a single guitar riff for three minutes, which became a standard in the genre in the early 2000's and led to the oversaturation that still exists today.

Initially, there was a lot of confusion and concern about the opening line of the chorus" "I'm gonna tear your ass up like we just got married," a line that seems very juvenile and potentially malicious. While probably ill-executed, I remember Vasoli commenting that he never intended to insinuate any violence or unconsented sex. I believe he said something about trying to use popular colloquialisms to gestate what was conceived such a monumental moment, but I can't really remember the gist of it nor can I remember where the interview was from else I'd try to find it. Either way, he did earnestly defend it so that he doesn't come off as a creeper.

Despite that, "Bedroom Talk" is sweet in its own way, and showed The Starting Line veering into a less defined direction, much to the chagrin of their major label representation at Geffen. Not a bad song at all, but not the first track that comes to mind when suggesting TSL to someone.


This has been The Weekly Wank. Now begone.