An absolute banger with perfect lyrics about women taking revenge on men and the world, with a nice reference to Glazer’s Under The Skin too. Songwriting at his best.
The misogynist's daughter made him rethink what he said
I know just how this thing ends
She has trouble reconciling Pops with the things that she read
I know just how this thing ends
Hundred billion babies born every millennium
I know just how this thing ends
Man, I hope nobody messes with the wrong rejected men
I know just how this thing ends
Sure your politics are perfect with the gun against your head
I know just how this thing ends
It's a good thing God gave us someone on whom we can depend to clean up
Nov 4, 2024
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his new single is so fucking good.
“And you could say that no one here really believes
In the future, in perfection, that things aren't what they seem
Like a sucker with a scratcher, like a fuck-up with a dream
Stabbing at the ashtray like it might give up the truth
Like it might finally confess who else you're nearly faithful to”
Sep 19, 2024
Longtime listener, first-time caller.
S/O to Seattle's Michael Hadreas, who I first heard on KEXP years and years ago. His whole catalog is worth exploring (I particularly love 2020's "Set My Heart on Fire Immediately") and this one is from "Glory," due out later this spring.
This dude has long touched on issues of importance to the LGBTQ community -- this track certainly includes some of these -- but we all do him/his music a disservice to categorize it as anything other than "fucking great" which best describes this song's ascending and descending guitar chords, heartbroken vocals and his transformation from diva/dandy to fully-blown (ironic/send-up of a) Hell's Angel, which is very much in tune with the weirdly toxic masculinity that seems to be so omnipresent right now.
"It's a chorus reaching for us/
Swarming locusts wherever you go"
Hells yes I can't wait for the full LP to drop.
Jan 28, 2025
⭐
The first single from Winter Boyfriend from the upcoming album set a, frankly, very different note. 'anx/bodies' is an outlier for us, musically and lyrically, but when putting the final touches to the album it was one of the songs that people seemed instinctively to engage with if they weren't broadly invested in our main thing, essentially indie/indie-punk made by a would-be emo band. At the very least it provoked a reaction.
It's a song inspired by a very specific series of events but is not specifically autobiographical. Outside of the world of this song i am much less forward about sex. I enjoy being 'too much' with friends but i really don't want it going anywhere my family might hear it. Repression is fun! I often wonder if that's similar to what actors feel when doing nudity or whatever. It's a case of, "I don't want to know you've seen me experience that?" Anyway, honesty can help in art, but also maybe so too does a little internal repression.
It was written about a memory of going to a university disco, arriving at the club where everyone was looking hot and cool, and i suddenly becoming very aware of my inability to be calm. It is essentially about over-stimulation and amorousness and the confusion of that smashing like a wrecking ball through any semblance of chill i might have had.
The verse bass riff is really old, easily over 10 years old. I wrote it for a different project, a Death From Above 1979 rip-off thing, and my pal Martin played bass, while i sang and drummed. The song was unremarkable but the riff was cool. There was no way i wasn't keeping it. Also, it explains why it's the only song that uses a fuzz bass tone. Yet.
I have no idea when i came up with the guitar riff but it's one of my favourite parts i've written. It's rythmic and a little bit dissonant, but i think the G# implies an E Major chord, making it A minor natural (sorry music theory experts, probably butchering this).
I was also unsure if i could allow myself to write the chorus which used power chords. It always feels too basic. But it worked in the context of the song. I finished it years ago aside from a few lyrical tweaks and the introduction sound (chord played, tremolo arm depressed as it fades out, recorded and reversed). Also when mixing the song my references were very different and included a lot of 00s and 10s music, including bands that have been grandfathered into the whole 'indie-sleaze' thing, and it made me realise the second verse needed, nay demanded!, a cowbell and some percussion (the other percussion is drumming on glass bottles fyi).
I feel like 'anx/bodies', and the song that follows it, 'on our way home', are two sides of the same coin. One uptight, repressed yet explosive, and the other unrelenting, desperate and flailing. You could almost imagine the latter being later in the same night, getting existential when worse-for-wear. More on that one later.
Jun 19, 2024
Top Recs from @mouse
I am by no means traditionally religious, but I fully understand how being in the presence of beautiful stained glass can feel like being with god. ALWAYS stop off at a church on the way if you think it might have good stained glass. The bluebells in the bottom right corner of this made me loose my breath for a moment.
2d ago
Apr 14, 2025
I used to be envious of people who had “MySpace friends” or “tumblr friends”. Now I have PI.FYI friends. Thank you capyboppy for your lovely letter and this illustration of a capybara and a mouse with fruit on our heads, it made me weirdly emotional ❤️
Jun 11, 2024