Welcome back to another epic showdown in music tastes between Henry and James in Split Record Review. This week, “Flood” by college-favorites They Might Be Giants is in the crosshairs. Will its wit and lyrical mystique pull Henry and James in? Or will it pull their scores farther apart? That’s enough vigilant filibustering, let’s dive into the sound waves of “Flood.”
Henry’s Review
Gene Ween once described They Might Be Giants as “smart ass college kid music.” Though harsh, it’s not far from the truth. The duo of Johns, named after a line from “Don Quixote,” makes album after album of intelligent and witty songs. The duo started off as college radio darlings with their self-titled debut, quickly reaching a wider audience after a feature on MTV. Their brand of nerdy alternative rock attracted many young adults who wanted music stranger than R.E.M but not as goofy as Weird Al.
This niche was cemented with their third album, and the subject of this week’s column, 1990’s “Flood.” Their first release on Elektra Records was a hit, reaching number three on the Billboard charts. With the lead single, “Istanbul (Not Constantinople)” being used for “Tiny Toons Adventures,” TMBG established itself as a band enjoyed by people of all ages.
After a short orchestral intro, the record kicks off with “Birdhouse in Your Soul,” its dense lyrics and bubbly instrumental setting up the rest of the album as an exercise in northeastern charm. For the album’s standards, this track is one of the more straightforward rock tunes.
Things veer closer to bluegrass with “Lucky Ball and Chain,” chock-full of mandolins and accordions over a drum machine and layered synthesizers. Though the lyrics describe a breakup, it’s hard not to groove along with the whimsically happy sound the track brings. While certainly not the biggest hit, it’s certainly a highlight of the album for me. However, this track is somewhat overshadowed by what follows.
Now, for the big fish. “Istanbul (Not Constantinople)” is the centerpiece of the record and by far the most popular TMBG song. The fiddle and accordion, while both European instruments, give the track its iconic “exotic” flare. The duo uses these sounds while steering clear of anything stereotypical, favoring their up-tempo over-before-you-know-it style.
“Your Racist Friend” can only be described as on the nose. Both the lyrics and instrumental sound angry, describing vitriol towards someone letting their bigoted friend continue their behavior without consequence. Guitars stab and the bass pounds, with interludes of accordion and trumpets playing a Latin rhythm.
From here, the record keeps bouncing back and forth between folk and straightforward rock or new wave. The biggest mainstay across all songs is the Johns’ wry humor. “We Want a Rock” wouldn’t sound out of place on a ‘90s R.E.M release, save for the nasal vocals. While some might find them grating, John Linnell’s comical nasality lends to their nerdy charm. By contrast, “Someone Keeps Moving My Chair” drops Bill Monroe in favor of Devo, a new wave pop track that—while perhaps five years too late—is one of the catchiest songs on the album.
“Hearing Aid” is a strange song, even by this album’s standards. Taking heavy reggae influences, it might be the least TMBG song on this TMBG album. Following this is a short interlude track, “Minimum Wage,” which can only be described as a lost track from a ‘60s Bond film. While only 50 seconds, it’s one of the most unique cuts on the record, capturing the spirit of cheesy ‘60s surf rock in their own style.
“Whistling in the Dark” confused me when I first heard it, as it starts as a waltz but in 4/4 time. The whole track is solidly rooted in 4/4 time, but it has the waltz vibe and rhythmic pattern, giving it a classical oom-pah feel. Linnell sings in a lower register than normal here, further adding to the classic sailor-ish vibe going on.
While “Someone Keeps Moving My Chair” sounds late for its time, “Sapphire Bullets of Love” sounds ahead of its time, feeling almost like a cut from the “Super Mario Sunshine” soundtrack. Synth marimbas spiral, drenched in reverb over melodramatic synthesizers and a drum machine. Save for the vocals, this song could’ve been slapped into a Nintendo 64 or GameCube game and be perfectly in place.
At the back of the album is the song “They Might Be Giants,” a wonderfully absurd exercise in self-deprecating humor. Instruments sound wonderfully deranged, and vocals wail on and on, singing the title and hurling insults at themselves. Self-referential and incredibly unhinged, “They Might Be Giants” is one of my personal favorites on the record.
TMBG’s intelligence as songwriters lends it to their ability to craft whimsical and absurd pieces of pop that are both accessible to all ages but intricate in their sound to keep fans coming back. There’s so much to analyze in all these songs that it just cannot be put into the confines of an article. While not my favorite goofy ‘90s musical duo, They Might Be Giants certainly live up to their name.
Rating: 4.5/5
James’ Review
I will second the praise on the first full track, “Birdhouse in Your Soul.” The duo comprised of John Linnell and John Flansburgh immediately establish themselves as wordsmiths on the chorus with “Not to put too fine a point on it, say I’m the only bee in your bonnet,” with the double use of “to” and “too” rivaling the late MF DOOM. The Johns are also multi-instrumentalists who move mountains here, making this a top-tier TMBG song.
“Dead” is more lyrically focused than anything else, as the actual song structure meanders, especially with the nasally yet expressive vocals. The anguish of becoming a bag of groceries that stays on the shelf too long is a heartbreaking tale, while “I will never say the word ‘procrastinate’ again” could be a good method to nip the pervasive habit in the bud. The stretch of lines preceded by “and” reach a climax when the Johns harmonize “And I’ll be up there on the wall at the store” before returning as groceries. Try reading that out of context.
“Particle Man” may be cliché, repeating the song’s title succeeded by “Doing the things a particle can,” yet the accordion and handclaps by the Skyline Staff bring a certain vibe to the table that will put a smile on your face. “Twisting” defines the pre-21st-century sound of “Flood,” featuring the happy-happy-joy-joy of surf rock and further call-and-response vocals by the Johns.
The sonic studio tricks and frantic vocals spat on “Letterbox” give urgency to the crazy commentary of “Run around in the rain with a hole in the brain ‘til tomorrow.” Go to the hospital, John. Wait, which John? “Hot Cha” could’ve fit on Ween’s “GodWeenSatan,” released at the tail end of 1990 with its short runtime and the song’s premise revolving around a character that only this duo could understand.
“Women & Men” and its nursery rhyme rhythm may have inspired husband and wife duo, The Handsome Family, along with the imagery of ships and water bolstered throughout the track. I’ll also shout out the song sharing a name with TMBG as sharing dynamic with The Halo Benders, a group with two members of the equally commended Built to Spill. This duo may not be my cup of tea but their music, specifically “Flood,” is an art piece in the same way as “The Commerical Album” by The Residents. These albums are meant to be analyzed and appreciated above all.