Presenting The Weekly Wank. 5 random tracks. 5 mini reviews/musings (mostly musings today). 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.
1. It's All About The Pentiums by Weird Al
Ah, Weird Al. I've been listening to the parody master since I was little. I believe Alapalooza had just come out. This Puff Daddy parody comes from the 1999 record Running With Scissors.
According to Yankovic, he wrote this song three days before the album had to be mastered, which is pretty damn impressive given its strength as a parody. As the title implies, it takes Puffy Daddy's song dedicated to the 100 dollar bill and turns the focus to computer hardware.
Weird Al's an artist you either like or you don't. I've never met anyone in between. If you enjoy self-aware pop culture parodies with a healthy dose of nerd speak, you really can't go wrong with any of his songs. So it all depends on if you're jonesing for a hip-hop parody or not. Despite it's age, it stands as one of his best. It's consistently funny and retains the catchiness of the original track except with better lyrical material.
"All About The Pentiums" also features one of my favorite insults: "You're about as useful as jpegs to Helen Keller."
2. Not Tonight (Live) By Tegan and Sara
This particular version was taken from the live DVD, It's Not Fun, Don't Do It!. I've come to think of "Not Tonight" as a fan single. It seems to be a song that's caught on with most of the fans, played at most shows and put on live releases despite the fact it's never been given a legitimate release as a single.
It's a simple song from the duo's folksier days on If It Was You. Just an acoustic guitar and (I believe) Sara Quinn. However, there's a certain art to simplicity that creates a moment, world or event larger than anything complex. Complexity can be curiously restrictive to the listener's vision.
In "Not Tonight" by creating snapshot of the emotions encompassing the moment, Tegan and Sara tell more about the gravity of the situation than a 5 verse in depth lyrical tale. As with nearly all of Tegan and Sara's music, it's extremely inclusive, allowing for virtually anyone to relate to. I find this extremely important as they could easily jump on the band wagon of women "singer songwriters" who do nothing more than spout trite Lilth Fair-esque verses of manufactured "rebellion" and "defiance."
Excellent band.
3. At The Library by Green Day
How do I possibly remain of objective here with my favorite band of all time? Eh, it's my blog. I don't have to. I love Green Day. I love new Green Day and I love lil' Green Day. And the Green Day playing this song is among the lilest (although technically that rank belongs to Sweet Children).
It's15 or 16 year old Billie Joe pining after some girl in a library. According to the stories, Billie was bored and lonely in the library and saw that even a girl he considered kind of ugly had a boyfriend.
It's lo-fi, low production pop-punk at its finest. I use the term pop-punk pretty broadly, but to me, Green Day has always epitomized the perfect blend to me. I've always preferred (within the genre) a real blend between the two. For some reason, when I was a senior in high school, "At The Library" stuck out from many of the other songs from 1,039 Smoothed Out/Slappy Hours. Not really sure why but I was obsessed with finding live shows with this track. Probably because so few of them ever did.
Also find it funny how people applied the term emo to turn of the century pop-punk as if the genre has never gone in that direction before. I always show them old Green Day lyrics, and they sort of loow at me with this blank cow-like stare as their musical understanding of the world crumbles. OK, that last part may have been hyperbole. Next track.
4. My Life Story by MxPx
One of my favorite tracks off The Ever Passing Moment. Also the last time where I was really into MxPx. I've liked tracks here and there since then, but I just haven't quite connected with them on a whole since this record.
Again, classic hooky pop-punk about a guy who just keeps falling short.
5. Song To Say Goodbye (live acoustic) by Placebo
This is taken from the FM4 Acoustic Radio Sessions (Germany, I think). I love live Placebo. Live acoustic Placebo's a huge bonus. Placebo's never ever finished with their songs. I can't think of an era where they haven't at least slightly altered one of their songs. Speed it up, slow it down, or change the melody altogether. You never really quite know what they'll do.
The only time I can think of not being completely in love with a remake (which I later grew attactched to) was the "2007 version" of 36 Degrees in which they slowed down a song that worked much better with a faster tempo. When they turned "Teenage Angst" into a piano ballad it completely worked, and, as such, it's now the version they play.
"Song To Say Goodbye is fairly straightforward. It's more or less the same song with Brian doing a few key notes differently in his vocals. But then again, I had the feeling they were more satisfied with Meds that any previous album. From what I've heard, the biggest change for songs from that record happens when the finish the title track. For the most part, the songs from this album remain intact with some minor vocal editing from Brian here and there.
Still, it speaks volumes for a band when a live version can be just a strong as a studio track and this is no different. I wouldn't quite say they're interchangable, but you really can't go wrong either way.
Sorry it's been a while and I didn't really review so much as blabbed. But it's been rediculosly hectic with work, the death of Crystal, Christmas, bills, and moving with my brother next month. Until next time, this has been The Weekly Wank.
Now begone.
Showing posts with label The Weekly Wank. Show all posts
Showing posts with label The Weekly Wank. Show all posts
Wednesday, December 10, 2008
Monday, November 10, 2008
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.
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.
Monday, November 3, 2008
The Re-Return of The Weekly Wank
As promised, I'm going to jump start The Weekly Wank again. To start off, I'm going re-post the crux of the first attempt (with some editing). The format will largely remain the same for the whole two of you that read the previous incarnation. So here goes nothing:
I was recently introduced to the idea of putting my iPod on shuffle and reviewing the first five songs that play. This is a fantastic idea, and serves as a more interesting form of suggestion/warning others than me waiting for inspiration from the occasional album release that catches my fancy. Though it makes sense to have The Weekly Wank on a concrete schedule, I'm not yet positive if Monday will be the final choice. We'll see.
Additionally, I encourage others to do the same. Use my comments section if you like. And forgive typos.
So without further adieu, I welcome you to The Weekly Wank:
1. "Anthems For A Seventeen Year-Old Girl" by Broken Social Scene
I resisted even listening to this song for the longest time due to the fact that the instant the track was released, I found the lyrics posted on nearly every girl I knew's AIM profile, away message, message board signature, blog, and MySpace page. I couldn't escape it, so I simply avoided the damn song out of spite. For those uninitiated, Broken Social Scene is somewhat of an indie rock supergroup containing members of a bevy of respected bands.
Truth be told, this is a fucking excellent song. There is a subtle art to repetition that walks the razor-thin line of maintaining the song and beating the listener over the head. Placebo and Nine Inch Nails have mastered this, and this song is another perfect example. It works best with music electronic in nature; and, while the foundations of the song's music lie in Canadian folk, it has the structure of an electronic track that wouldn't sound alien on a Postal Service album.
Emily Haines' (of Metric) voice was meant for this song. It contains this warm, haunting quality that feeds the repetitious nature of the minimal lyrics like a familiar ghost singing lullabies from an AM radio.
And I cannot resist the lyrics. They're of the pining nature; that undying feeling you get when you hope more than anything the person who tugs on your heartstrings is also thinking of you. It contains a subtle heartbreaking sweetness to it as well as the irresistibly sincere mantra: "Park that car, drop that phone, sleep on the floor, dream about me..."
As both a music whore and hopeless romantic, I recommend this song for anyone's next mix tape.
2. "Not Gonna Be Alone Tonight" by eve 6
Like most tracks from eve 6's third album, It's All In Your Head, "Not Gonna Be Alone Tonight" finds the band mixing up their power pop-punk sound with this "I Love The 90's"-type of journey into various stages of "alternative" (at least, that's how the album sounded to me, and we all know, above all, I am right).
Musically, this song serves as a strong combination of eve 6's signature sound molded with this dirty Tom Petty rock that wouldn't work if eve 6 didn't commit to it as much as they do. Max Collins treats the song seriously, saving the song from the stink of being gimmicky, but the lacking punch his lyrics usually contain causes the song to be pretty forgetful to anyone who isn't already an eve 6 fan.
While the song is catchy, and not a bad song at all, it's not among eve 6's best work and makes me wonder how this song made the cut but enjoyable songs like "405" never made it past the demo stage.
3. "Rescued" by Jack's Mannequin
I've always contested that Jack's Mannequin is a far superior musical venture for Andrew McMahon than Something Corporate. And I am not going to go on a rant about "emo," thoughI think the word is grossly overused and misunderstood. I say this because Jack's Mannequin is a band you might hear associated with that word. That's fine. But people allow that association to take away from the listening experienec of what may be an excellent, well written track. That finger is better for pointing at bands who do not deserve a tenth of the attention they have received (see: Hawthorne Heights, Taking Back Sunday)
"Rescued" is one of the songs serving as evidence Andrew McMahon never used his abilities as a pianist as a parlor trick. It's a quiet little ballad dealing with what appears to have been one of many breakoups with the same girl. Dealing with that welcoming of negative emotions that wash over when going through the turbulence of a break-up, McMahon keeps the song simple, not because of his skill, but that it serves the song best.
Moments like this, you feel as if all you can utter are things in simplicity, which oft times end up feeling like revelations. The chorus ends at a place when you think you can handle yourself so long as nothing breaks your immediate concentration; that moment where nothing's good or bad, just a wash of blissful neutrality so that you can collect yourself to deal with whatever comes next: "I'm finally numb, so please don't get me rescued."
This song, like the entire Jack's Mannequin album, Everything In Transit, is definitely worth a spin to those who want something emotive, honest, and somewhat chill to listen to.
4. "Broken Promise" by Placebo (featuring Michael Stipe of R.E.M.)
Michael Stipe and Brian Molko's contrasting voices fit this song like a velvet glove. It begins with a soft tinkling of piano keys as Stipe breathily sings. The song suddenly breaks down into a pounding of electronic beats and guitar work as Brian Molko accompanies him to belt out the chorus. They continue the trend of trading off verses and coming together for the colossal chorus as they play the two sides of of infidelity (Michael the adulterer and Brian the victim).
The song seems to have a sinister vengeful tone from Molko's viewpoint as the chorus goes "I'll wait my turn to tear inside you/Watch you burn/I'll wait my turn." While that may not come off quite as sinister as feelings of anger are obviously understood, the song ends with "I'll bide my time/I'll wait my turn." That sort of scheming seems to indicate that the whole spectacle has made a monster out of the wronged party.
"Broken Promise" is a song that relies on the strength of the vocalists. While the music certain sets the ambiance and carries the structure of the song, the ability of these two distinct voices coming together without clashing makes this song succeed.
An obsessive Placebo fan, I will always wholeheartedly recommend their material. Perhaps not the ideal song to be introduced to the band, but it's an excellent song that allows the listener to bask in the simplicity of the lyrics and complexity of the dramatic stage it sets.
5. "Suicide Uma Schrantz" by P.O.S.
This is a 30-second track of what could easily by tossed aside as a filler track. OK, let's face it, it IS a filler track. But P.O.S. is one of those rare hip-hop artists I just enjoy listening to. He's got an atypical voice for the genre channels the true nature of the style with the rebellious nature of punk rock.
It's a throwaway track, but a little fun. You won't really enjoy this track unless you've heard his work nor will you enjoy it if you're not listening to the P.O.S. album. It's got silly lyrics with references to Suicide Girls and Charles Bronson and actually sounds like it could have made an entertaining full length track, which is unfortunate.
What this track does do is whet the appetite to listen to P.O.S., which I think I will go do right now.
This has been The Weekly Wank.
Now begone.
I was recently introduced to the idea of putting my iPod on shuffle and reviewing the first five songs that play. This is a fantastic idea, and serves as a more interesting form of suggestion/warning others than me waiting for inspiration from the occasional album release that catches my fancy. Though it makes sense to have The Weekly Wank on a concrete schedule, I'm not yet positive if Monday will be the final choice. We'll see.
Additionally, I encourage others to do the same. Use my comments section if you like. And forgive typos.
So without further adieu, I welcome you to The Weekly Wank:
1. "Anthems For A Seventeen Year-Old Girl" by Broken Social Scene
I resisted even listening to this song for the longest time due to the fact that the instant the track was released, I found the lyrics posted on nearly every girl I knew's AIM profile, away message, message board signature, blog, and MySpace page. I couldn't escape it, so I simply avoided the damn song out of spite. For those uninitiated, Broken Social Scene is somewhat of an indie rock supergroup containing members of a bevy of respected bands.
Truth be told, this is a fucking excellent song. There is a subtle art to repetition that walks the razor-thin line of maintaining the song and beating the listener over the head. Placebo and Nine Inch Nails have mastered this, and this song is another perfect example. It works best with music electronic in nature; and, while the foundations of the song's music lie in Canadian folk, it has the structure of an electronic track that wouldn't sound alien on a Postal Service album.
Emily Haines' (of Metric) voice was meant for this song. It contains this warm, haunting quality that feeds the repetitious nature of the minimal lyrics like a familiar ghost singing lullabies from an AM radio.
And I cannot resist the lyrics. They're of the pining nature; that undying feeling you get when you hope more than anything the person who tugs on your heartstrings is also thinking of you. It contains a subtle heartbreaking sweetness to it as well as the irresistibly sincere mantra: "Park that car, drop that phone, sleep on the floor, dream about me..."
As both a music whore and hopeless romantic, I recommend this song for anyone's next mix tape.
2. "Not Gonna Be Alone Tonight" by eve 6
Like most tracks from eve 6's third album, It's All In Your Head, "Not Gonna Be Alone Tonight" finds the band mixing up their power pop-punk sound with this "I Love The 90's"-type of journey into various stages of "alternative" (at least, that's how the album sounded to me, and we all know, above all, I am right).
Musically, this song serves as a strong combination of eve 6's signature sound molded with this dirty Tom Petty rock that wouldn't work if eve 6 didn't commit to it as much as they do. Max Collins treats the song seriously, saving the song from the stink of being gimmicky, but the lacking punch his lyrics usually contain causes the song to be pretty forgetful to anyone who isn't already an eve 6 fan.
While the song is catchy, and not a bad song at all, it's not among eve 6's best work and makes me wonder how this song made the cut but enjoyable songs like "405" never made it past the demo stage.
3. "Rescued" by Jack's Mannequin
I've always contested that Jack's Mannequin is a far superior musical venture for Andrew McMahon than Something Corporate. And I am not going to go on a rant about "emo," thoughI think the word is grossly overused and misunderstood. I say this because Jack's Mannequin is a band you might hear associated with that word. That's fine. But people allow that association to take away from the listening experienec of what may be an excellent, well written track. That finger is better for pointing at bands who do not deserve a tenth of the attention they have received (see: Hawthorne Heights, Taking Back Sunday)
"Rescued" is one of the songs serving as evidence Andrew McMahon never used his abilities as a pianist as a parlor trick. It's a quiet little ballad dealing with what appears to have been one of many breakoups with the same girl. Dealing with that welcoming of negative emotions that wash over when going through the turbulence of a break-up, McMahon keeps the song simple, not because of his skill, but that it serves the song best.
Moments like this, you feel as if all you can utter are things in simplicity, which oft times end up feeling like revelations. The chorus ends at a place when you think you can handle yourself so long as nothing breaks your immediate concentration; that moment where nothing's good or bad, just a wash of blissful neutrality so that you can collect yourself to deal with whatever comes next: "I'm finally numb, so please don't get me rescued."
This song, like the entire Jack's Mannequin album, Everything In Transit, is definitely worth a spin to those who want something emotive, honest, and somewhat chill to listen to.
4. "Broken Promise" by Placebo (featuring Michael Stipe of R.E.M.)
Michael Stipe and Brian Molko's contrasting voices fit this song like a velvet glove. It begins with a soft tinkling of piano keys as Stipe breathily sings. The song suddenly breaks down into a pounding of electronic beats and guitar work as Brian Molko accompanies him to belt out the chorus. They continue the trend of trading off verses and coming together for the colossal chorus as they play the two sides of of infidelity (Michael the adulterer and Brian the victim).
The song seems to have a sinister vengeful tone from Molko's viewpoint as the chorus goes "I'll wait my turn to tear inside you/Watch you burn/I'll wait my turn." While that may not come off quite as sinister as feelings of anger are obviously understood, the song ends with "I'll bide my time/I'll wait my turn." That sort of scheming seems to indicate that the whole spectacle has made a monster out of the wronged party.
"Broken Promise" is a song that relies on the strength of the vocalists. While the music certain sets the ambiance and carries the structure of the song, the ability of these two distinct voices coming together without clashing makes this song succeed.
An obsessive Placebo fan, I will always wholeheartedly recommend their material. Perhaps not the ideal song to be introduced to the band, but it's an excellent song that allows the listener to bask in the simplicity of the lyrics and complexity of the dramatic stage it sets.
5. "Suicide Uma Schrantz" by P.O.S.
This is a 30-second track of what could easily by tossed aside as a filler track. OK, let's face it, it IS a filler track. But P.O.S. is one of those rare hip-hop artists I just enjoy listening to. He's got an atypical voice for the genre channels the true nature of the style with the rebellious nature of punk rock.
It's a throwaway track, but a little fun. You won't really enjoy this track unless you've heard his work nor will you enjoy it if you're not listening to the P.O.S. album. It's got silly lyrics with references to Suicide Girls and Charles Bronson and actually sounds like it could have made an entertaining full length track, which is unfortunate.
What this track does do is whet the appetite to listen to P.O.S., which I think I will go do right now.
This has been The Weekly Wank.
Now begone.
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