Why the fuck are there so many medieval knights fighting giant Snails? No one actually knows, but I’m pretty sure it wasn’t because in the reign of Charlemagne we were invaded my twelve-foot snail demons enacting a great revenge on behalf their midget counterparts. No, it’s far more allegorical than that. It’s death, that’s what the snails mean. It’s slow, big, unstoppable, inevitable.
It’s comparable to our species recent zombie fetish. We fear the rotting bodies of our best friends rising and eating us just as much as Poor Jimmy the Serf feared a giant snail consuming his entire face in one glomp. He feared what we fear in Zombies, and that’s death, not necessarily the reality of zombies themselves. Because it’s not the monster itself that’s scary, sure the decay of a body, especially human is uncomfortable to see. It reminds us that we are very fragile creatures that will decay and cease to exists. That our consciousness is only fleeting. It is the unstoppable force of a death that’s scary.
We don’t really inherit these fears, these myths, we modify them. I don’t doubt that in thousand years when society has changed in a way we can’t comprehend that they’ll look back on our zombie fixation with the same strange curiosity as us, looking at the snails of yore.
I don’t know where I’m going with this, I guess I just wanted to rant for a bit because there’s not much but bad ideas floating around in my head. I was inspired by my girlfriend to talk a bit about music. I guess we both feel music in a lot of ways, we’ve traveled continents just to see, smell and hear one band play.
So let me spin you a myth, one full of bumbling confusion and idiosyncrasies .
Standard Fare: Darth Vader
It’s a comfortably indie campus radio song that you might hear drifting from a dorm window or screeching from some junk car owned by a hipster slacker. There’s a full band including drums, guitars and vocals, it’s dreamy and a little poppy. When I first heard this song it was like I had heard it before, like I knew it. It’s an appropriate sequel to that one chill pop song you kept singing under you breath when doing the dishes. It makes me actually focus more on the instruments than her voice. Or rather, her voice sort of becomes an instrument instead of a voice that tells me what the song is about. Truthfully, I didn’t really understand or care what the lyrics were until I listened to it a few times.
I actually really like Emma Kupa’s delivery, and she’s even better in acoustic sessions. If you like her voice you should definitely look at more of Standard Fare, I guess you could say, they’re a good Standard, Standard Fare hechechechechechechechechehchec….
Jesus help me.
Giant Triangle: Floundering
Giant Triangle is really hard to explain, and they’re often quite impenetrable with their distinctive aesthetic. They also don’t operate under that band name anymore, even though it’s changed too many times to count, each time the sound being different. I guess I can relate to that, in my experience you look back at your old work and internalize it and you change it. It’s enjoyable to not repeat yourself despite whether or not your talent or other people were invested in the other things you did. There’s power in that abandonment, but only power if it meant something in the first place.
The song itself has echoes of Vaporwave, the twang of that sci fi esque radar noise that just plucks and vibrates down holds you in. Then that bassy headache inducing thumping comes and everything turns red but it opens up after. It’s a sensation that feels like falling, sort of unearthly and unreal but also horribly grounding and menacing. This isn’t a song I play often to anyone, the environment to listen to it in is a strange one and I’m not sure if I’ve ever found it. Maybe that’s why this is a curiosity I return to again and again, hoping that maybe one day I’ll find that place.
Don’t be a Square give more of Giant Triangle a listen….
I don’t even like myself anymore.
Seasick Mama: Quit Your Job
This video here, this song has kind of being a pain in my arse for long damn time. Because it’s a great song, but doesn’t exist. No literally the band doesn’t endorse this version of the song in any capacity even though it was recorded by them. Another version exists but it’s sort of soft in a way that Haim is, but much like Haim it kicks ass when they melt faces and riff on giant guitars. You can look up the ”Official” version if you wish, and you may like it more, but if you want to scream this song in a car, running down the hills of Scotland and just feel the fucking wind through your hair then this is the version you want to listen to. There’s no energy in that other song, I guess you could say they gave up this sound, but I certainly fucking haven’t.
So yeah those are my ramblings about music and snails. I do a lot of strange things with musics. I invent bands and repackage old music and give it to the people I like, playing a little game to see if they notice or not. They never do, and that new band I’ve invented becomes better than the original. Because it’s a memory we share, one unique to us in every way. I guess that’s why I enjoy myths, it’s where fantasy and truth can come together to mean something more, something bigger.
Anyway, try to avoid giant snails if you can.