Wednesday, December 31, 2025

Song of the Day: "Crash Years"

A column about music, and about how the music informs our lives. Today's author is Joe. See the previous songs HERE.


"Crash Years"
The New Pornographers
from Together
2010

My outlook and my understanding of the year 2025 is a little disjointed. I think this is because I am so entrenched in the current moment—with work, with family, with social life—that it's become really hard to remember what things were like in January. I could make the case that there's a lot that's changed, and I could just as easily make the case that not much has changed at all. I suppose this is how life typically operates, especially as the years continue to pile on top of one another. This is not unique. And yet 2025 felt unique. Not really sure what to make of the juxtaposition there.

It doesn't help that a lot of the change was purposefully kept to the right of the stage ("stage" = "blog") this year, and I'm not here to blow my own cover or anything. Okay, here's an entry that I'm comfortable talking about: I hit 1,000 days sober this year. A few weeks ago, actually. Which is not actually all that important in the grand scheme of things—those in the online sober community call it you "Comma Day," but in actuality, it's just another arbitrary marker of time, just a small little opportunity to pat yourself on that back and check in and tell yourself that everything is going to be okay.

1,000 days marks time for me in this way: it's time to start getting weird with it. I have long missed the nights when I felt like anything could happen, and I might walk crookedly away and marvel at how wild we found ourselves under the haze of soft substances. It's tricky to remove the substances and still try to find the weird in a safe and healthy way, but in approaching my Comma Day, I felt that it was time to make strides toward the weird and see what happens.

I can report, here on the final day of 2025, and with 1023 days of sobriety under my belt, that there were a handful of nights this past year where I reached that place again. Not the same way, of course, because nothing can ever be the same again, not really. But I found new avenues to weirdness, and I walked down those roads a little bit, and mostly liked what I found. Or was at least intrigued by what I saw. And I definitely felt the unpredictability of life once more, felt the space where anything could happen and very often did. It felt good. If there's one takeaway from the year we just had, it's this.

What's cool about making sincere attempts to find yourself is that, when you do, lots of other aspects of your life click into place. I can't speak for anyone but myself, but I feel like 2025 has been one of my favorite years of marriage with Pam, probably since we got married. You're gonna hate me for this, but I have to quote Reba Hart here: "People change. They grow. But if the people grow and the marriage doesn't, that's when you sprout a Barbra Jean." There's nuance to consider about this statement off the blog, but on the blog, I will say that the people here (me and Pam) grew a lot, and the marriage grew with it. A lot. I feel closer to my wife now that I ever have. Marital relationship +1 this year.

Familial relationship -1 this year, but it's a soft minus, and only because of very normal concerns. Namely, that my two(-now-three)-year-old wore me down. A lot. The thing I know for certain is that all children her age are like this, and we just have to get through it. My older two kids were most assuredly like this, but I just don't remember. There will be a day, years from now, when I reread this blog post and chuckle because I no longer remember how difficult it was to be a parent in this particular context. I'm excited to reach that point. The crazier part is that things have never been better with the older two. My oldest is smart as fuck, my middle child has the sharpest sense of justice and empathy of anyone I know, and both are slowly but surely learning to be kind to each other and others. I like hanging out with them. I'm putting up with my youngest. She'll get there. Mark the point on the path here with a stick in the dirt, so that I can marvel at how far we've come, later on. Looking forward to the days when we can hang out as a family unit instead of playing hot potato every second of the day (and night).

My family life is still at least 1.5x harder than it needs to be because of my job, more specifically the work requirement to be in the office for no fucking reason. Every time I'm stuck waiting for the bus in the rain, every time a train is 20 minutes late, every time I step out into the cold dawn at the start of a 90-minute trip one way, I think about how much I hate our mayor. It hasn't gotten easier, this intense negative emotion toward one person, with a promotion. If anything, it's gotten worse. My new job requirements really don't need to be done in the office, but I'm still here. What else to say about the promotion, though? I dunno. I've probably written enough about it in the margins already. It's fine, it pays more, it's what I wanted just because my last gig was so stagnant, and now that I'm not stagnant but instead always on the move, I don't really have much time for regret. In conclusion: fuck work.

Something I feared would happen with the new job was that I wouldn't have time to write on this stupid blog anymore. Let the fact that I am currently typing this during work hours prove that the fears were somewhat unfounded. I do feel like my time on this website is constricted because of the demands of the job, but those demands were—as I could have easily predicted, based on everything I know about my work environment from the past eleven years—conflated. It's all about knowing what kind of shit needs to be dealt with immediately, and what can be put off for a bit (or indefinitely). That sort of thing comes somewhat naturally to me. I'm typing this because I don't have anything I need to do right now, and despite the fact that there are a thousand little things that need to be done. It's both. The blog survives.

But I do feel things slow down around here a little bit. No fault of anyone's but my own. In fact, I think that it's probably a good thing. I've reached a point where maybe I feel like everything that needs to be said has already been said. Puke on Your Birthday will keep the lights on because there are groups and activities that use this as home base (Record Club, Film Club, MMM, etc.), but all the other shit that I write is lately being written through pure muscle memory, and is more often than not a repeat of things I've already written about before.

And I dunno, maybe I'm feeling a bit disillusioned as well. This is a recent emotion, or at least is stronger recently than it ever has been before, so maybe this doesn't fit into the "year in review" thing I have cooking here, but still... I'm starting to wonder if Puke on Your Birthday doesn't fulfill my emotional needs as much as I always assumed that it did in the past. This is how I express my truth, right? I write what I feel. The point of the writing of the truth is that I need other people to see that truth and to know me. Which is a contrast to something like Instagram, where people also post in a similar way (publicly, online), just through different means (pictures and small captions instead of essays; facades vs. breaking walls down to see truth). 

The problem is that most people don't give a shit. I say "most" and not "all" because I don't want to forget about all the small moments throughout 2025 in which someone told me that they read something that I wrote and that they had a reaction to it. Do you understand how good that makes me feel? How validating? Contrast it with something like when I asked someone if they read the reviews for New Brunswick Scream Band Taylor Swift and I was told "yeah, everyone's but yours." Which isn't a visceral hurt necessarily because no one is obligated to read any of the bullshit I write. I'll admit to pain deep below the surface, though. Pain in knowing that I poured a piece of my heart into something that I wrote and that it wasn't read because it was too long. I get that it's long, but there's a reason it was long. I had something to say. And there's a bit of a cumulative effect, I think, over the course of a decade, when incidents of not being read so far greatly outweigh being read, that it just starts to get to me a little.

But I'm not on Instagram, ya know? I'm not on social media. That's a choice I made. I am starting to fear recently that I got off of social media too early, that these past five years have been healthy for me mentally but have been even more detrimental to me socially. This is not a complaint at all, but more so a symptom of what I'm talking about, just a very small, unimportant example: I don't think many people know when my birthday is anymore. They don't because there's no announcement made by or for me on social media. The other piece is that I don't want to post that kind of shit. I still think it's fucking embarrassing and lacks humility to post about your life on social media. But what I'm saying now is I guess I get it. It's phony, but the phoniness can still make you feel good. You post some fucking bullshit photo of your family and how lovey dovey you are (leaving out the fact that your three-year-old is a terror because that's uncouth to say in an Instagram caption), and people like and comment pleasantries, and even if it's phony, it still makes you feel good.

The truly pitiful part about writing all this is that there are people who care. I'm not saying otherwise. There are members of the Puke on Your Birthday community who at the very least pretend that they read anything that I write, if not actually read it. Like social media, even if it's phony, it still feels good. And the funniest part about it is that I've come to depend on this place in a very real way. We all need something. I have Puke on Your Birthday. And so it's gotten to the point in my life—and this speaks more to my issues with lagging social stamina in my life as I get older—that I consider the members of this website to be the people who know me best (outside of Pam and my kids, I don't need to clarify that, do I?). I try really hard to present the most honest version of myself on this website, and so it falls to the people who are here to know me in an honest way.

The best way to say all this, the only way, really, is to say that I am thankful for my friends who are here, and who make some stabs throughout the year in knowing me, knowing who I am and what I think and how I feel. It makes me a pathetic little man to need this, but I do, I need it. I need to write. It's the pressure valve. It's the only thing keeping me from going all John Hinckley Jr. on our Mayor Ronald Reagan, the only thing keeping me sane. It keeps the wolves at bay. But isn't it interesting, that I would attempt to frame it that way here? That I would say that the writing is what keeps me sane, and yet conveniently leave out the other piece, equally necessary: that the idea of people reading it also keeps me sane. And that facade has crumbled, piece by tiny piece, throughout the years, little comments about writing too much, and the unwillingness to engage because I write too much, and the disappointing knowledge of someone casually forgoing a chance to know me. Shit hurts when it happens. And it makes me hang onto the people who do engage even tighter. Which is probably pretty annoying for them! And probably acts as a repellent in some sense!

Hopefully it makes sense to bury these very embarrassing feelings toward the bottom of a very long blog post. That way I know there won't be too many people reading it.

I don't know why I'm writing about any of this in a blog post that was supposed to be a Year in Review for 2025 anyway.

I guess my feelings on the matter are a culmination of the year on the blog, and an indicator that maybe it's time to slow things down even further, stop depending on something that's never really going to satisfy me, no matter how hard I try. And then find other ways to connect with my friends, whom I care for deeply. You know who you are. I'm too shy to name y'all in print. You're the ones still reading this, here and now. I appreciate you. I want you in my life, and I'm thankful you are.

I think I can do better at staying connected to the people I care about. Maybe not leaning on the blog to do the lion's share of that will be good for me, a challenge that I can meet and overcome and feel good about. Because time is limited here in this stage of adulthood. Making time for connections is harder than ever. No one has time for anything, let alone reading a goddamn blog. And yet I still yearn to feel connected to the people I care about.

So yeah.... weird year! Hahaha. But in general—and especially with all this blog nonsense pushed to the side—a really good year. An interesting year. A year of change in many ways. A memorable year for sure, even if I can't actually remember most of it.

Tuesday, December 30, 2025

Record Club Pitch, 2026


I feel like I've done this before. This is my attempt to do it again, but in more concise terms. It's possible, maybe even probable, that writing less gets better results.

You are a good fit for my current push of Record Club if you fit these two criteria:

1) You are motivated to listen to more music that you don't already know, and
2) You feel like you don't have time to write for Record Club throughout the week.

#1 is the goal, #2 is the roadblock that's stopping you from reaching your goal. So let's address the problem by shifting your perspective on what Record Club entails.

You "don't have time" because you feel like the act of writing an album review should require some authority, and that authority can only be built or earned through many listens throughout the week, which you don't have time for.

Here is how I am now asking you to look at Record Club's weekly timeline.

1) Listen to the album of the week ONCE, either Sunday or Monday
2) Write your review, and send it in. Yes, the review is based on one listen. The review is a snapshot of how you feel in the moment. It doesn't have to be long. Text it for all I care.
3a) If you liked it, keep listening at your leisure.
3b) If you didn't like it, don't listen to it again until Friday morning.
4) On Friday, read the reviews while you are listening one more time.
5) Write in the comments whether it was better after reading the other reviews, or if the reviews didn't move the needle for you.

By participating in this way, you will know for sure whether the album was "for you" or not. If it was, hold onto it forever. If it wasn't, then forget about the album, but don't forget about how you felt.

Rinse and repeat.

For an entire year. Every week.

In this way, you will get better at knowing what is "for you" and what "isn't for you." This can only be built over time, with consistency. You will gather some albums you like, and you will have a keener understanding of what you don't like. It's a process.

I will help. As an example of how I can help (beyond writing reviews that you can then read and allow to bend your own understanding of the album) is that I could provide you with a similar-song recommendation for every album that you HATE. That way, if your sole purpose is to collect music you like, no week will be wasted.

But otherwise, we're mostly looking for people who want to listen to every album at least twice, spend a few minutes each week reflecting on it, and documenting your experience. This hopefully gets you to achieve Goal #1 while addressing Roadblock #2.

Let me know if you are interested in taking this journey with us in 2026.

Never Seen It #282: Faster, Pussycat! Kill! Kill!

Just passing through, huh? Boy, that blog's sure hot! You gals really must have been moving on these little machines. Yessir, the thrill of watching 400 movies you've never seen before. New places, new people, new sights of interest. Now that's what I believe in, seeing blogging first!


Faster, Pussycat! Kill! Kill!
1965
Russ Meyer

I couldn't in good conscience force anyone to watch a movie and write about it during the holiday season. I know everyone is busy. But I also couldn't let Film Club go quietly into the end of 2025. So we're here to do what we usually do when scheduling snafus like this happen: I am writing about a movie, you can join me if you want, but I'll understand if I'm the only one. Scroll below to find out who wrote about this movie before the old year ends and the new one begins.

~~~~~~~~~~~~~~~

Joe

What does this movie say about me?! Oh lordy, that's a dicey one. I don't think there's any psychosexual stuff going on. Although I wouldn't type about it publicly on the blog if there was... or would I? I don't know. I'm undecided, at this current juncture, exactly how much of my sexual life I should write about on Puke on Your Birthday. It feels like the last and final frontier in this blogging space. I'm pretty forthright about basically every other facet of my life, and something is holding me back there. Could be that I just don't want to make people feel uncomfortable? But don't worry, I don't have anything to hide when it comes to this film and my own viewing of it. My attraction to the three main female characters here was extremely strong, but it wasn't connected to anything socially off-putting. I'm not really into "violence" in the bedroom, and I don't need a strong dommy mommy. After the credits rolled, I rushed off to the Cast section of the film's Wikipedia page for all the boring, heterosexual, vanilla reasons.

I'm also interested in—and am, as I write these words, though who knows what'll happen by the end of the paragraph, undecided on—whether the film intends to hold the mirror up to my face and say something about my "typical for people like me" reaction to the film (horniness). For example, it could be outdated in the way that it "warns" me against "these types" of women, that I should be "weary" to mess with "the wrong kind" of woman, as exemplified by the incredibly alluring but literally deadly Varla. The opposite example could be that it's trying to say that men like me are the problem, that if there's violence to be had at the hands of a woman, that's only because there are men out there who are pushing them to that limit, creepy old men with shotguns and a penchant for taking what he wants from the fairer sex, so, like, who wouldn't want to run over those creepy old men with fast cars when you live your whole life victimized like that?

Taking an anthropological approach to this is easy enough, as there is documentation littered all over the internet about how the film was viewed contemporaneously, and how it was viewed retrospectively, and from there, you can connect the dots. B. Ruby Rich is a famous critic in the New Queer Cinema community (not a literal community, but I don't know what other word to use there, or maybe it is literal, I don't fucking know), and she documented how she hated it in the '60s but then loved it by the time she saw it in the '90s. "History rewrites films" is a phrase I saw somewhere in there. In other words, the director himself was propelled by a sense of lust, and yet, as time moved along, and the definition of "feminism" was fine-tuned, it ironically became so that Pussycat fits into the canon, how it could be viewed as queer-coded, even if the creator of the film never intended it to be so.

So then the impetus falls on the individual viewer to see a film however they want to see it. I'm not saying you are stuck with a perspective, but I also don't think you can necessarily choose it in the moment. You adjust your perspective by learning and by educating yourself. I could, and at least somewhat did, view Faster, Pussycat! Kill! Kill! as softcore pornography, due to my biological makeup, and the freedom to feel this sort of way in the privacy of my own home. But when I say that the film "sticks with me," I'm not talking about the fact that the actress Haji (who played Rosie) was literally the hottest woman I have ever seen in a movie, no, I'm actually talking about the other piece. How it manages to stumble into saying something profound about women in our modern world, and how effortlessly it locks into the 21st century motif of "women are badasses" without even meaning to at the time.

The two pieces work together. Pussycat is so fucking fun, so many instantly iconic quips pouring out of Tura Satana's sneering mouth, so many wild deaths by car. It's the type of movie you see at midnight with your drunk friends and you hoot and holler at how fucking COOL these fucking women are, out there in the desert, killing dudes with their bare hands. That's in lockstep with the other side, how the violence is borne from somewhere, how it speaks sharply to the patriarchy and how fucked up it is that things were so bad then (and are now) that it would come to this. How they aren't heroes but they aren't villains either, more so victims, I think. Even though they are never explicitly painted that way! Crazy how that works.

I appreciate that we have here a certified cult film that manages to do both. I felt this way about Mommie Dearest too, and was shocked to find in the other writings that less than half of Film Club felt the way I did about it. Sometimes, a film is saying something, but it can only be heard by the ears from a different time and a different place. It feels to me that Faster, Pussycat! Kill! Kill! has so much to say, and has so much fun saying it, that I instantly look to this film as one of the all-time great cult films.

But if you want to accuse me of just being horny, then I guess that's your prerogative. I don't know how to deny it, because that is part of the story. Just not the whole story. You get it.

GRADE: 4 pukes out of 5

~~~~~~~~~~~~~~~

GROUP AVERAGE GRADE: 4 pukes out of 5

Quick, to the comments, before you're killed by a car!

(NEXT TIME: We begin 2026 with a quick viewing of An American Tail.)

Monday, December 29, 2025

The 2025 Nates: Books

by Nate


I put my shoulder into reading this year, and I am coming out the other side of the calendar with 65 completed reads at time of writing. This was the most I had read in a year since having children, though it was not nearly enough to beat my sister-in-law. We made a bet at the start of the year, and now that I've lost, I have to paint a portrait of her sometime in 2026. No, I don't know how to paint.

Monday Morning Mixtape 052: R.I.P. Rob Reiner

Welcome to Monday Morning Mixtape, a PoYB Contributor-curated playlist of songs, made just for you at the start of each week.


"R.I.P. Rob Reiner"
In honor of our fallen Meathead, we're looking for parodies, satires, jokes, or otherwise silly songs
chosen by Sam







"Big Bottoms" by Spinal Tap
from This Is Spinal Tap (soundtrack), 1984

I don't know if this is my favorite Spinal Tap song, but it's the one that gets stuck in my head the most. Rob Reiner has a songwriting credit on every single song in the original soundtrack. That's pretty impressive for a person who doesn't perform any of the songs. As I'll highlight in a different post, I don't think this is my favorite Christopher Guest movie, and that might be because it's really a Rob Reiner movie. But I have to hand it to him for really pushing the bounds on parody in film, if not in music.  —Sam


"Gimme Some Money" by Spinal Tap
from This Is Spinal Tap (soundtrack), 1984

You could pick "Big Bottoms" and you wouldn't be wrong, but for my money, Spinal Tap's first hit as a British Invasion band can't be topped. Reiner brought us spontaneously exploding drummers, "shit sandwich" reviews, and, maybe most importantly, brought Guest and McKean together and taught them they could essentially improvise through a movie, leading to future collaborations in Best in Show and A Mighty Wind. —Frank


"Hell Hole" by Spinal Tap
from This Is Spinal Tap (soundtrack), 1984

Watching Spinal Tap in high school was revelatory. Being late to pop culture, I hadn't seen any of the Christopher Guest movies, or really any great parodies, and it just immediately expanded the landscape. A key ingredient for a good parody is that the actual material within is catchy/fun on it's own rather than just in jest (see also: Popstar, Walk Hard, Nashville).  —Sunny


"Aleph Bet Gimmel" by Shlock Rock
from Bring Back That Shabbos Feeling, 1993

Shlock Rock was the band most played in my parents car on cassette tapes growing up. A band that covered famous songs with jokey Jewish lyrics. Peak nerdy '90s, but the source of lots of nostalgia for me. My eighth birthday party was at a Shlock Rock concert at my synagogue. This song imitates what Hebrew language class was like for us in school growing up ("aleph bet gimmel" being the first three letters of the Hebrew language). Here we have a Michael Jackson cover. This is a song I associate a bit with going to baseball games in the '90s, as it was played between innings (or was it the tweety bird song? Maybe it was that one). This one brings me back.  —Zach


"Nobody" by Trout Fishing in America
from Big Trouble, 1991

I didn't grow up with Trout Fishing in America. My parents were lame B101 parents, not cool XPN Kids Corner parents. My dad would put on Sundays with Sinatra sometimes, or Car Talk. Anyway, I didn't discover this song until I met my wife. It's great. So fun to sing. And a great talking point when toddlers are trying to wrap their heads around identities and songs with play on words break their brains.  —Frank


"The Good Book Song" by the New Main Street Singers
from A Mighty Wind: The Album, 2003

A Mighty Wind just nails folk music so perfectly. The parody is so good that it is almost in distinguishable from this particular era's folk music. It probably fails because a song like this is a little too clever, but it doesn't prevent me from enjoying it all the more.  —Sam


"Born to Add" by Bruce Stringbean and the S. Street Band
from Born to Add, 1983

I will admit that this is probably not the mixtape for me. Something holds me back, man. These parody songs. I can't do it. Even if the parody is done well. Even if the parody is accurate. It's not that I don't do silly songs. I can appreciate a catchy song, no matter its intended audience. I also don't want to say that I think I'm "too cool" for these types of songs, because that's not accurate. I'm not cool, man. But I think that I just have a specific sense of humor, and Music that is intentionally designed to be a joke is just not aligned with my sense of humor. That's the best way I can describe it, without being an asshole. I remain committed to encouraging people to find their lane when it comes to music, and if that means listen to parody music, then so be it. Also, my feelings are way more nuanced than anything I've written in this blurb so far, but I don't have time for a ten-paragraph blurb today, so instead, you get a Sesame Street parody that I really like.  —Joe


"Dracula's Lament" by Peter Bretter (played by Jason Segel)
from Forgetting Sarah Marshall: Original Soundtrack, 2008
(not available on Spotify!!)

What Garden State felt like when I was fourteen, Forgetting Sarah Marshall felt like when I was eighteen. I'm not sure what I mean by that, other than both films felt incredibly formative and important to my personality, I lowkey felt ashamed to admit I loved them, and had kind of faded from my mind within ten years. By the time (500) Days of Summer came out the next year, the spell of "Sad Sack obsessed with Manic Pixie Dream Girl" films had lost its hold on me, but Forgetting Sarah Marshall still makes me laugh, and the Dracula puppet play led Segel to getting the Muppets movie greenlit. I will let you know when the Muppets are no longer a part of my personality.  —Frank


"Lemon Pound Cake" by Afroman
from Lemon Pound Cake, 2022

I don't think that you need to like a song to appreciate what it's trying to do. And I don't think just because a song is a lazy parody means it can't also contain a good message. Do we need Afroman parodying "Under the Boardwalk"? Probably not. Is it a stretch to say that some asshole sheriff was actually distracted by the pound cake on Afroman's kitchen counter? Probably! But ACAB, and if doing a parody of "Under the Boardwalk" is what it's going to take to get under some smug fuck cop's skin, then I welcome it. And it worked! Little baby pussy-ass cop tried to sue Afroman! What an asshole!  —Joe 


George's answering machine message (parody of "Theme from The Greatest American Hero (Believe It or Not)"), recorded by George Costanza (played by Jason Alexander)
from Seinfeld, S08E15, "The Susie," 1997
(only available in instrumental form on Spotify!!!)

Rob Reiner greenlit Seinfeld. One of the best things about the old music sharing sites like Napster was downloading small snippets like the George's Answering Machine bit or "It's all coming up Millhouse," and throwing it on mix CDs you make someone as interstitials between songs like you are a morning zoo DJ. People love that, it personalizes it. Girls love... you know... my lack of girlfriend situation in high school... oh no... oh god... was this not cool?  —Frank


"Stand by Me" by Ben E. King
from Don't Play That Song!, 1962

I don't think the movie and this song have anything to do with each other. It's a common enough phrase after all. But the movie's good and the song's good, so here we go. When I first heard Stand by Me was a Stephen King book, I thought it would be horror, then I heard it was directed by Reiner and thought it would be comedy. Turns out it's neither, really.  —Sunny


"Silly Love Songs" by Wings
from Wings at the Speed of Sound, 1976

It's a parody if you squint. McCartney wrote this song because of a constant criticism that he was only good at writing "silly love songs." There's only two ways to address that sort of criticism. You write something that is the opposite of a silly love song, or you write something that is a hyperbolic example of a silly love song. And he had already written "Helter Skelter," so in all honesty, in 1976, he only had one option left. There was a time when I was too young to hear "Silly Love Songs" as anything other than a silly love song. We're all born stupid, and thankfully, not all of us die that way too.  —Joe


"Angry White Boy Polka" by "Weird Al" Yankovic
from Poodle Hat, 2003

My brother memorized this song by Weird Al, every word. And it's hilarious, honestly. No one is like Weird Al. And I think Weird Al is a blog favorite, no? What if all the blog favorites got together for a fundraising concert? HAIM, Weird Al, and the National sharing the same stage. I'd travel thousands of miles to see it. Weird Al's series of polka songs is one of his signature achievements.  —Zach


"Jellyman Kelly" by James Taylor ft. Howard Johnson and kids
from Sesame Street, S14E1800, 1983

I did grow up with this song from a Sesame Street Silly Songs VHS. The segment is top tier. The tuba, the kids, the diddy. I love little kids suddenly getting very loud when it gets to a point in the song they can remember. I think my wife hates not much more than me screaming along with the kids "OOOOO JELLY COME HOME JELLY KELLY COME HOME JELLY KELLY COME" I've got bad news for her, my kids have inherited my troll gene.  —Frank


"Steve's Lava Chicken" by Minecraft Steve (played by Jack Black)
from A Minecraft Movie (Original Motion Picture Soundtrack), 2025

This is a shoutout to my kids, who love this stupid little song. There's an extended version out there, but it's some lazy shit. "Steve's Lava Chicken" is not a great song, but it's a song that could be great if it was tastefully extended with an extra verse or something. Instead, if you come across the extended version, you'll basically hear the same song twice, with some movie quote samples in the middle. I mean, let's not get carried away here—no one is expecting anything to do with A Minecraft Movie to be artful. I'm just saying it's a missed opportunity, especially if there are bloggers on a blog in the year 2026 who are willing to give an opening to a sincere appreciation of music from this soundtrack. I can't do that now, though, because this is some tossed-off bullshit. Fun, though, if you ask the kids.  —Joe


"Dream of the '90s" from Portlandia
S01E01, "Farm," 2011
(not on Spotify!!)

The opening sketch for the first episode of my favorite show. It reads like a mission statement for an era that's gone—the Obama-era 2010s—where things were just a little more simple, where you could make fun of vegans and hipsters and call it a day. Now we've gotten way too intense. Lots of people say they don't like Portlandia, but when you mention specific sketches to them, they always, always say "oh yeah, that is funny." So I think everyone likes this show, even though there's something in it that makes people say they don't like it.  —Zach


"I Lost on Jeopardy" by "Weird Al" Yankovic
from "Weird Al" Yankovic in 3-D, 1984

This happens a lot, when songs are sampled, but I don't know it's a sample, and then I'm blown away to find out it's not an original song. Best example will always be Will Smith's "Men in Black" and the shock of hearing "Forget Me Nots." Anyway, even though I know Weird Al almost EXCLUSIVELY does parody covers, you could still blow me over with a feather the first time I heard "Jeopardy" by the Greg Kiln Band. And you know what? Al's is better.  —Frank


"Abracadabralifornia" by Jon Daly
a single, 2014
(not on Spotify!!)

Is it worth the mental bandwidth to make Anthony Kiedis feel stupid? I have a more or less neutral opinion of the Red Hot Chili Peppers, and their impact on western civilization hasn't harmed anyone. I don't think the main players in the band are bad people, though many in the group have struggled with substance abuse. Still, they are so silly and so successful that is appropriate to take the piss out of them a little bit.  —Sam


"Let's Go to the Mall" by Robin Sparkles (performed by Cobie Smulders)
from How I Met Your Music (Original Songs from the Hit Series How I Met Your Mother), 2012

I really thought Jason Segel was the bee's knees in the early 2010s. Muppets, I Love You, Man, HIMYM, aforestated Sarah Marshall. I never finished HIMYM, because it was the show that I watched with my college girlfriend, and then it made me sad after she broke up with me, and by the time I was no longer sad to watch, I had lost interest. Seven seasons and no mother found for me! "You just got slapped" and "Nothing suits me like a suit" get honorable mentions, but Sparkles brings home the mixtape gold.  —Frank

I can't say "you should read my blog post about this" in real life, because that's how you earn wedgies. But there's been a non-zero number of times in the past ten years when people have tried to talk shit on How I Met Your Mother, and for the last three years, there's been a blog post just sitting there, waiting to be read by all naysayers. What does a guy need to do to get his niche pop culture theories out there into the universe? Actually, I was thinking about this the other day...

...when Pam sent me a link to an Instagram reel (I had to turn on my data plan briefly to watch it, and there is not a single person on earth I would do this for other than Pam, so don't fucking send me Instagram links please) that featured "five things you didn't know about Muppet Christmas Carol." (I knew two of them already.) My first thought, of course, was "I fucking love this fucking movie." My second thought was, "why am I watching some pudgy dork talk to me about one of my favorite movies?" This could've been a blog post, these five facts I allegedly didn't know. But instead, it was a video, with film clips, and also some dork sitting in front of those clips, talking directly to the camera. Why was this man here? I read it as vanity, and I don't like it. But I also wonder if that is just how it's done these days. If I read my HIMYM blog post out loud in front of a camera, and behind me were clips of Ted Mosby and Robin Scherbatsky, would more people know how I felt? Is this the price that people pay so that others know one's truth?????  —Joe


"Muffin Top" by Jenna Maroney (performed by Jane Krakowski)
from 30 Rock Original Television Soundtrack, 2010

My muffin top is all that, whole grain low fat, I know you want a piece of that, but I just wanna dance! Every 30 Rock song is a bop.  —Frank


"I Think I'm a Clone Now" by "Weird Al" Yankovic
from Even Worse, 1988

My childhood hero maybe owes the biggest debt to Reiner and Spinal Tap, bringing song comedy into the mainstream and out of the Dr. Demento / "Purple People Eater" underground radio world. There were so many Al songs to pick, but this was track 1 on the Weird Al CD my dad burned for me when I was ten, instead of forking the money over for the new Running with Scissors album that I had asked for. My dad hasn't always nailed or understood my vibes, but man, am I grateful he guessed right on this. I don't know why then, and I don't really know now, but "just a test tube and a womb with a view" made me cackle while singing along.  —Frank


"(I'm) Like a Rolling Stone" by Titus Andronicus
from A Productive Cough, 2018

This probably doesn't deserve to be on this mixtape, but its inclusion is my dogwhistle for my discomfort engaging with the music on this mixtape in toto. It's a cover, but not a direct one. The POV is shifted from second-person (in the original Dylan version) to first-person, in an attempt at humility, I guess? Titus Andronicus is all about that shit, the constant self-evaluation and constant self-flagellation, and that's why I love this band. The song even dips into sincere parody eventually, when Stickles stops talking about himself as the titular rolling stone, and instead starts naming members of the band the Rolling Stones ("And don't forget Lisa Fischer!"). Is this silly? I don't know. I think it's silly. I laughed. But I understand that maybe what I'm laughing at is not necessary what other people are laughing at.  —Joe


"My Ding-a-Ling" by Chuck Berry
from The London Chuck Berry Sessions, 1972

The amount of mainstream depravity that used to exist is funny to me. Are we as a society beyond the nonsense of Porky's or American Pie? Is that better or worse? Is there any space for a song like this today? If not, is there a nostalgia or some sort of internet group that wants to reinstate that's nonsense? Nothing in the song is as good as any Cryptkeeper Christmas song.  —Sam


"Never Did No Wanderin'" by the Folksmen
from A Mighty Wind: The Album, 2003

Bringing the members of the Tap together again as the Folksmen in Christopher Guest's A Mighty Wind is infuriatingly good. I don't even think these songs are funny, I genuinely think the entire album is good. The trick to satire bands or parody bands is you actually have to care and be good and treat it with respect in order for it to work. Like, you can't pretend to play the instruments, you know? It might seem obvious, but it dawned on me when I saw Weird Al in concert. Like, it's a full band that is bringing it every night the same way a "real" band would.  —Frank


NEXT WEEK: "Auld Lang Syne" — Songs whose titles begin with any of the following words: "old" (auld), "long" (lang), or "since" (syne) (chosen by Joe)

Sunday, December 28, 2025

Album of the Week: Year of the Goat

The calendar gets all jacked up because of the math. There are seven days in a week, times 52 is 364 days, which means there's an extra day every year, so the weeks shift year-over-year by one day, except Leap Years, which shift it by two days. It's not that complicated, but it does create a slight anomaly in the record keeping for Record Club every six or seven years. This is our final RC album of 2025, even though the reviews will be published in 2026. A while ago, it was determined that the week would be part of the year in which the majority of its days fell into. This week has four 2025 days and three 2026 days, so it's a 2025 week. But because 2024 into 2025 was the reverse, that means that today's album is the 53rd album of the year.

Oh my fucking GOD, no one gives a fucking SHIT about this, Joe, shut the FUCK UP please.

Sure, okay, you got me. Sorry. Welcome to our 361st week of Record Club. We are about to enter our eighth calendar year of this club. I'm still happy to be here. But before we look toward the future, let us revel in the recent past one last time. Let us say goodbye to 2025 with one more album. Hope you enjoy. See ya in the new year.

Record Club:

WEEK 361 — December 28, 2025-January 3, 2026


Year of the Goat
by Fucked Up

LISTEN:
Spotify | YouTube | Bandcamp | Apple

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PICKED BY JOE

JOE'S PITCH: I don't have a strong pitch, but the weak pitch is that Fucked Up is a band that is important to me and my own musical growth over the past couple decades, and I feel like I should, every once in a while at least, add one of those types of artists to the growing stable of Record Club alumni.

I was about to say "Fucked Up is a good entryway into hardcore music," but I don't think it's as simple as that. Fucked Up are a hardcore band, but for years now, they've pushed against the restraints of the genre, and pushed hard, to the point where many people (people more in-the-know than I when it comes to genre and hardcore specifically) argue that they aren't hardcore at all. Which might be better for this club in a vacuum, especially if you have no interest in exploring hardcore music.

Year of the Goat is the tenth part of a twelve-part series by Fucked Up, which, sure, also does not lend the album any favors in terms of its placement in Record Club. You might argue that it's like asking you to listen to the tenth episode of a twelve-episode mini-series. But I'll also say that Fucked Up's Zodiac series (ongoing for 20 years now, and ending this year with two more double-LPs) has always been extremely loosely connected. I think there might be some work on this album to add some old characters back into the fold, but that's all hearsay, I haven't listened to the album yet.

I mainly want you to hear one of my favorite bands in their most progged-out form. I also want you to hear an album during the week of the New Year that speaks to the idea of years and cycles and rebirth and all that. That's all. The rest is just window dressing. Take it or leave it.

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ALBUM DETAILS

A NOTE ABOUT THE TITLE: On Bandcamp, the title is listed as Grass Can Move Stones Part 1: Year of the Goat. The "Grass Can Move Stones" thing is the title of the three-album series that is finishing the twelve-album Zodiac series for Fucked Up. It's like naming Act III of a play. The individual album (or scene) is what we are focusing on today. The album's name is Year of the Goat.

GENRE: Post-hardcore, rock opera, art rock, progressive rock, art punk

RELEASED: December 5, 2025

LENGTH: 55:26

TRACKLIST:
  1. Long Ago Gardens
  2. Rivers and Lakes
LYRICS: I don't see any online yet. If they come out this week, link to them for us!

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ARTIST DETAILS

PRONOUNS: he/him/his for Abraham

ABOUT: Fucked Up formed in Toronto, Ontario, in 2001. By the time they recorded their first demo tape later in the year, the band consisted of Damian Abraham (a.k.a. Pink Eyes, a.k.a. Mr. Damian, lead vocals), Mike Haliechuk (a.k.a. 10,000 Marbles, lead guitarist), Josh Zucker (a.k.a. Gulag, additional guitars), Sandy Miranda (a.k.a. Mustard Gas, bassist), and Jonah Falco (a.k.a. Mr. Jo, a.k.a. J-Falco, a.k.a. G-Beat, drums). Guitarist Ben Cook was also a member of the band from 2007 through 2021. They won the Polaris Prize in 2009. Their fans were so destructive during a taping of MTV Live in 2007 that the program banned moshing from that point forward (didn't stop their fans in 2008 from doing the same thing, an experience that Abraham called "fucking out-of-control terrifying). They've released so many singles throughout the years, and have so many collaborations, both of which I feel are in line with the hardcore ethos, even if they aren't necessarily "a hardcore band" anymore. They have a couple of rock operas under their belts, and in 2024 they released multiple albums, all recorded in one single day each.

DISCOGRAPHY: It's complicated. Wikipedia has nine albums listed under "studio albums," including the agreed-upon first five: Hidden World (2006), The Chemistry of Common Life (2008), David Comes to Life (2011), Glass Boys (2014), Dose Your Dreams (2018, a sequel to David Comes to Life). Then there's the four albums released between 2023 and 2024: One Day (2023), Who's Got the Time & a Half? (2024), Another Day (2024), Someday (2024). But that's not including David's Town, which is a "compilation" but basically a fake one, recorded by Fucked Up and collaborators, posing as fictional bands from the fictional town that David Comes to Life takes place in. It also doesn't include Zanzibar, which is a film score for the movie of the same name. And finally, it doesn't include any of the Zodiac albums, which are labeled as 12"s, which is really just another way to say "album." Especially since some, like the 80-minute Year of the Horse (2021), are longer than most normal albums.

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ADDITIONAL INFO

READING SOME SHIT: Haliechuk explains Grass Can Move Stones in New Noise Magazine

WATCHING SOME SHIT: a (purposefully and hilariously dramatic, I think) trailer for Grass Can Move Stones

RECORD CLUB CONNECTIONS: Lots of collaborations, but very few can be connected to Record Club artists. I am particularly disappointed that this means I am going to waste an opportunity to talk Degrassi—Shenae Grimes a.k.a. Darcy Edwards does backing vocals on a 2007 charity single "David Christmas"—unless you wanna talk about the incredibly weak Degrassi connection with the Beach Boys that I mentioned back then. We simply need more Canadian artists in here, I think. E.g. Jennifer Castle has a featured spot on this album, and she's worked with Constantines as well. They all work with each other constantly!

This is the first artist with the word "fuck" in their name, and only the second "fuck" overall for RC, after Yambag's Mindfuck Ultra. This is the second goat after the Mountain Goats, though T-Pain also had a song called "Goat Talk."

Fucked Up join Kaytranada as the only Record Club alumni who have won the Polaris Prize. K'naan's The Dusty Foot Philosopher, PUP's Morbid Stuff, U.S. Girls' Heavy Light, the Beaches' Blame My Ex, as well as a non-RC album from Carly Rae Jepsen, have all been nominated.

MENTIONS ON THE BLOG: It's hard to search on the blog for this one, since "fucked" is not an uncommon word to be used around these parts. But I know at least that four Fucked Up songs have been featured on MMM (025, 031, 032, 038), plus a song on 008 by Hateful Coil, which is really just Fucked Up in disguise. Dose Your Dreams was my favorite album of 2018. Their "Queen of Hearts" was my thirteenth-favorite song of the 2010s, while Dose Your Dreams was my 45th-favorite album of the decade. David Comes to Life was retroactively named by seventh-favorite album of 2011. They have worked with Owen Pallett, landing them on this Top Five, featuring three other RC artists and a #1 that you can ignore forever!!!

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COUNTDOWN:
69 Weeks Until Week 420


We are tracking and counting down every week from here on out till Record Club Week 420. We started this countdown 69 weeks out. I am happy to announce that during Record Club Week 420, we will be covering Donny Most by the esteemed Happy Days virgin Donny Most. I am also happy to announce that Week 420 of Record Club will feature 69 reviews from 69 different people. 

THIS WEEK: We are 59 weeks away from Week 420.

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Happy listening, RC family!
Have a great week!

Saturday, December 27, 2025

The 2025 Nates: Movies

by Nate


Ah, film: the name for the thing that plays on my television when it goes on for more than an hour or so. 

A circumstance of being almost goddamn 40 years old (jumping Christ) is that one gets too tired to sit and look at the television for more than 60 minutes. It hurts the neck to hold up the head and look at it over there on the wall. (I successfully mounted my TV to the wall this year, did so by poking something like 20 little holes in the plaster of my living room to find the studs. Couldn't find the fuckers! Had to use x-treme mounting screws. It's up there now, either secure or a slow-moving ice flow of needing to buy a new TV sometime down the line, and a new wall, too.)

I don't really get after movies, what I am trying to tell you, is what you should take from all this air and pressure. When I do watch them, I watch whatever the hell is on. I rarely exercise editorial discretion. At some point, the films were on and I watched what I could. Here is their order, do with it what you will.

TWO NATES DOWN:

None! Most of the movies were at least fine.


ONE NATE DOWN:

Wicked
Musical / Branding – directed by John Chu – 2024

Some pretty cool stuff in here, visually speaking, though also some pretty tedious stuff in here, visually speaking. The great big stinky sequences ("One More Day" and "Defying Gravity," specifically) almost make up for the rest of the movie, except not quite. I hear the second one isn't much? We gotta get Peter Dinklage better stuff to do than be a goat.


Dungeons and Dragons: Honor Among Thieves 
Fantasy / Adventure / Bait for nerds – directed by John Francis Daley, Jonathan Goldstein – 2023

Needs more Chris Pine. A phenomenal stunt cameo in the middle of the movie, almost worth the price of admission (which is whatever you're paying for Netflix, I guess). Is it damning with faint praise to say this is likely the best outcome for a movie about Dungeons and Dragons? Praise all the same, I guess.


ZERO NATES:

Elemental
Family / Animation / Race relations – directed by Peter Sohn – 2023

I will admit it here, where no one will find it, and will deny it if mentioned in the meat world at any point by anyone, but: I thought the flame woman in this movie had a little something going on. Joe Pera plays a tree. You can really do so much worse with children's entertainment. My wife, who is understanding and compassionate in most situations, will do a thing with children's movies where she tries to unpack the logic and structure of the animated worlds we see on screen. This move almost sent her into a conniption. So if that's your particular mental illness, this isn't the movie for nine-year-olds for you.


Cunk on Life
Comedy – directed by Al Campbell – 2024

This didn't need to happen, but you will not catch me speaking ill of Philomena Cunk. 


You Hurt My Feelings
Comedy – The bare minimum of conflict required to call something a Drama – directed by Nicole Holofcener – 2023

A movie in which a wife gives her novel to her husband, and her husband says he likes it, but in fact he does not like it. That's legitimately the whole fucking thing. A completely bare bones premise as an excuse to hang out with Tobias Menzies and Julia Louis-Dreyfus. I liked it!


The Hunchback of Notre Dame
Family / Animation / Sin of lust – directed by Gary Trousdale and Kirk Wise – 1996

Goddamn, now this is how you do a villain! A move about how religion will fuck you up and make your horniness a sin, now available for children.


Happy Gilmore 2
Sequel / Comedy / Nepotism – directed by Kyle Newacheck – 2025

The beauty of the Nates scale is that it meets the art where it is. Of course this thing sucked. It sucked with charm and good nature. If you're a golf pervert, there are some legitimately appealing jokes in this thing. Do not let Rory McIlroy act ever again. Scott Scheffler and Brooks Koepka are allowed. Adam Sandler is creating a job works program for his daughters, and as a father, I think that is nice. 


KPop Demon Hunters
Family / Animation – directed by Maggie Kang and Chris – 2025

It took a long time, but something finally knocked Frozen out of the water. Best songs: "Soda Pop," Idol," "This Is What It Sounds Like." Worst song: "Strategy."
 

Avatar: Fire and Ash
Action / Adventure / Dances with Wolves – directed by Jim Cameron – 2025

Breaking it up into percentages, 40% of this was some of the corniest shit imaginable, 40% was eye-popping action movie stuff literally unavailable in all other films, and 20% a little white boy with dreadlocks. I'm willing to be generous if it permits me to watch a big floating dirigible creature get lit on fire. 


ONE NATE UP:

The Lego Movie
Family / Animation / Branding – directed by Chris Miller and Phil Lord – 2014

Chris Pratt really had the juice for a while there. The more I learn about him, the more repulsive and devious he becomes, but he had the jokes. This is much better than it needs to be. 


Wallace and Gromit: Vengeance Most Fowl
Family / Animation / British – directed by Nick Park and Merlin (!!!!!!) Crossingham – 2024

Tried to spice up family movie night with a relaunch of a throwback. The kids hated it, I had a time. More movies should be about inventors who suck and their put-upon dogs. 


Conclave
Drama / Outfits / Dudes Talking in Rooms – directed by Edward Berger – 2024

Peak "movie to watch with your parents" movie. Tucci whips in this, as does my guy Ralph, AS DOES MY GUY LITHGOW. Shout out to the racist cardinal from Italy, being "a cardinal from Italy" must be the acting opportunity of a lifetime. The ending was strange. 
 

Out of Sight
Drama / Comedy / Crime / Getting a Boner – directed Steven Soderberg – 1998

A very faithful adaptation of Elmore Leonard material in that it is shaggier than you remember, and also not quite as strong throughout as you think it's going to be, but its highs are a high as it gets. This is as sexy a movie as everyone says it is, despite asking me to believe that Jennifer Lopez is a federal marshal.
 

Flow
Animation / Family / Silent Move – directed by Gints Zilbalodis – 2024

This is as good as everyone says it is, but it gets a lot of juice out of the pathos that comes with anthropomorphizing animals. The crane is a real G in this movie. The idea that a cat would or could ever be a leader is laughable and strains credulity, even for a movie about animals living in a humanless world where floods come and go like tides. 


One of Them Days
Comedy / Buddy / Friday with Women – directed by Lawrence Lamont – 2025

The surprise of the year. Put Keke Palmer in more stuff. SZA... hello. They don't let you make movies about people hanging out anymore because of woke (or because of economic forces and downstream effects of vertical video proliferation and COVID-19), but they should make five of these every fiscal. A legitimate delight. If college dorms still existed, this is the shit they'd watch before going out.


TWO NATES UP:

Sinners
Drama / Action / Black version of From Dusk till Dawn – Directed by Ryan Coogler – 2025

A very fun movie about how you can't trust whitey, but you especially can't trust the Irish.

2025 in Review: Every Movie, Ranked


Welcome back to one of my favorite PoYB's End of the Year traditions. Below, you'll find listed every movie that I watched this year (including a short list of films that I watched not for the first time this year). They are ranked. The ranking is straight from the gut, especially since it's been like thirteen months since I've seen some of these, and a few weeks for others, so it's tough to do a good job comparing. I'll admit that some of the direct head-to-head decisions were done out of a sense of mischief. Does it really matter which movie is #76 and which movie is #77? To me, it does not. I suppose to others, though, it does, and it is with those other people in mind that I tended to make the more controversial decision. Because that's more fun.

RC@5: Speed, Sound, Lonely KV EP by Kurt Vile

written by Nate


Not as much to work with in the archive this time out, which makes sense, since I expect by the time the retrospective is published, we'll have a three-person Taylor Swift review week. Sunny did a classic Sunny, which was to find things to like without being enthusiastic. Which is, to my ears, more or less the right read on this here EP. 

The prospect of an EP is a funny one to consider. In times past, it was a tweener, a bridge between projects, a way to blow the coals of a career or an album cycle and keep the artist on the road or the CDs on the end caps at the FYE. These days, modern releases eschew album cycles altogether, just dropping tunes as loosies or singles as they have them, one assumes to better suite the streaming / vertical video economy. What use is there for an album in a culture that does not value length, after all?

Speaking of valuing length, Joe dragged himself over glass arriving at this 2.5 review, basically forcing himself to try and find more to say about an EP that he didn't have much to say about. 

His impulse was right. Nothing wrong with this here EP. It sounds exactly like what you might imagine a country Kurt Vile record would sound like. Some of that reverb is reigned in, some of that vocal flatness receives a little twang. He's tweaking at the margins, not changing the engine. You can't be anyone but yourself.

Friday, December 26, 2025

Discussion — Week 360: LP by Taylor Swift


When I insert the word "taylor" into a Google Image search, the weirdest thing happens. Some random fucking lady pops up, again and again. I don't know who she is and I don't care. Possibly it could be some AI-generated slop. I scrolled through, and the first pic that didn't feature whoever the fuck that is in the search results was a handsome picture of James Taylor. So that's what you're looking at when you gaze toward the top of this blog post. James Taylor. There were no pictures of Taylor Swift in any search that I did (Taylor Swift being a relatively private band, I am getting the sense), so I used pictures of other famous Taylors at the top of the album reviews. We are all Taylor Swift New Brunswick Screamo Band today, all of us.

Hope you had a good holiday. If you're here: welcome back. If you're not: see ya next week. To all those who are bored: I'll see you in the comments.

LP, Sunny


I love a good gimmick in media, and PoYB is no foreigner to the gimmick. Half the time, I'm not in on the joke, but I can still enjoy it, you know? Isn't that what having fun is all about?

I do wonder what gimmicks and rants and raves 2026 will bring, on this here website, the cipher of which to view music and the local environment.

I could listen to this album about five times on just the car ride to my parents' place today. I didn't listen to it five times in a row, don't get me wrong, it just struck me is all.

LP is screamo enough that I can't really parse anything that's happening. I was remarked to that they heard another Taylor Swift song underneath, which I was amazed to hear (the remark, not the mixing, which I could not hear). I do kind of like the bridge around 3:00.

On the other hand, I probably have as much to say about this Taylor Swift album as if it was any other. Merry Xmas, PoYB.

LP, Sean E.


On this Christmas Eve, my family and I gathered around to listen to this week's album together. As they wrote their reviews, everyone kept sweet baby Jesus in mind, along with a deep appreciation for how hard his parents worked just to make it to the manger.

Sean's mom: "Is that the faucet singing?"

Sean's mother-in-law: Not impressed.

Sean's father-in-law: "I see why Taylor Swift is suing them."

Sean's wife: "It's too loud."

Sean's brother-in-law: ⭐⭐ "Came for Taylor Swift and swiftly left."

Sean's sister-in-law: "I'm going to take a shower."

Sean's nephew: "Good."

Sean's daughter: Slept through it.

Sean: LP is a six-minute album, which already places it in rarefied air: too long to be a jingle, too short to be a TED Talk, and exactly the right length to feel like a dare. Conceived in a moment of divine confusion by Ogbert the Nerd, frontman of Madison James—a vision quest that reportedly involved fluorescent lighting and a deeply ironic sense of destiny. The band Taylor Swift has produced a work that is both audacious and, depending on the court's ruling, possibly temporary.

Let's start with scope. Comparing LP to Johann Sebastian Bach's entire body of work may seem unfair to Bach, who had the luxury of time, patronage, and not being sued by a global pop icon. And yet, in six minutes, LP manages what Bach took a lifetime to accomplish: density, seriousness, and the vague sense that something important is happening just beyond your comprehension. Where Bach had cantatas, fugues, and masses, Taylor Swift (the band) has distortion, urgency, and a commitment to motifs that appear, disappear, and reappear like harpsichords in a funhouse mirror. If Bach was writing for God, LP feels like it's being written at God, loudly.

Politically, the album is uncannily attuned to the climate of the Franco-Prussian War. The guitars carry the tension of a continent reordering itself; the drums march with the inevitability of conscription; the vocals sound like they're being shouted across a newly drawn border that no one fully agrees on. There's nationalism here, but it's confused nationalism, triumphant and anxious at the same time, capturing the uneasy birth of modern Europe with a fidelity that most history textbooks would envy. One almost expects Otto von Bismarck to emerge halfway through the second minute, nod approvingly, and then immediately start another unification project.

On a more personal note, LP reminds me of the formation of PBS. Not sonically, as there are no soothing strings or British accents but spiritually. There's that same sense of earnest ambition: a belief that culture can be serious, challenging, and vaguely educational, even if no one asked for it and funding is uncertain. Like early PBS, this album seems to say, "We may not last, but while we're here, we're going to try to matter." There's also the quiet subtext of legal and financial precarity, which only strengthens the comparison.

In the end, LP is a triumph of compression. Six minutes, centuries of musical lineage, 19th-century geopolitics, mid-20th-century public broadcasting, and a 21st-century trademark lawsuit, all held together by a band bold enough to name itself after fate and see what happens. Bach would have understood. PBS too. The courts, however, will rule one way or the other.

LP, Gloria


I think this is so funny—especially since the other Taylor Swift is very litigious, and it seems like a joke like this would annoy her. I don't think she would be able to just "Shake It Off." Glad that they sampled her on this too. Other than that, not much to say about a six-minute screamo album. I liked it. The drummer goes off on this, and it's a great palate cleanser from the more holly-jolly music that's playing this week.

LP, Pam


Brevity is a beautiful thing. To quote the Muppets: "It was dumb! It was obvious! It was pointless! It was... short? I loved it!" I guess I appreciate attaching themselves to Taylor Swift in order to... be found easily on a search engine? But then to be taken down almost immediately? Yea, kinda pointless. The music sounded a bit like when the TV used to get all fuzzy when there were channels and not streaming platforms. I was interrupted approximately 30 times while trying to write this very short review, so now I'm annoyed and going to take it out on this band. The drums were cool. I hated the vocals and pretty much everything else. Dumb and pointless. Served me absolutely no purpose but to add to my already very long to-do list on Christmas Eve.

LP, Nate


As a bit: immaculate for how stupid it is. As music: Could be a little more brutal, since we're trying to scare the norms and energize the base, but it works in a pinch. As a metatext: I would legitimately be interested in hearing pop star Taylor Swift return to a rock-inspired palate. I was listening to the Screaming Females' cover of "Shake it Off" the other day, and that song has phenomenal bones. In closing: the product is fine, but the impish spirit of childish goofing around is divine. 

LP, Zach


NEW BRUNSWICK NEW JERSEY

HOME OF FAT SANDWICHES

HOME OF VIETNAMESE RESTAURANTS

HOME OF THE EDWARD J. BLOUSTEIN SCHOOL OF PLANNING AND PUBLIC POLICY

HOME OF A RIVERSIDE PARK THAT NO ONE VISITS

HOME OF SEAMAN AVENUE (PRONOUNCED EXACTLY THE WAY YOU THINK)

HOME OF LOUD HORRIFIC SOUNDS BY PEOPLE WHO POSE AS A FAMOUS POP STAR

HOME OF ALE N' WICH PUB

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I THINK I'LL STOP NOW, THIS REVIEW IS TOO LONG

LP, Joe


If you're one of the maybe four people on earth who listened to New Brunswick screamo band Taylor Swift's 2024 curio LP this week, then you know the best song out of the seven songs on this six-minute album. It's easy. It's "5." That beginning never fails to make me burst out laughing. "It's a love story baby just say—" and then the loudest speaker-busting scream you've ever heard. Is he screaming the word "yes"? The fact that we'd even ask the question speaks volumes about why we're here and why there is joy in this particular act of resistance.

If you can't bring yourself to see this album for what it is—its purpose, the smirk involved, the wink, and how not being serious can be very serious, depending on how artfully you wield that unseriousness like a weapon—then I will tell you now that I think that me and you have very little in common.

Which is not an outrageous thing to say. We are all unique snowflakes and very few people find more than like ten people on this earth who are anything like them. The way you make it through from the beginning of this life through the end of it and through all the arduous climbing in between is that you find ways to get along with people who you are not anything like, you find ways to connect even though the connection might seem on its face forced. If you pooh-poohed LP this week, or chose to ignore it, then I still like you. I'm just saying that we don't see art eye-to-eye is all, and because art (okay: music and movies, mostly) takes on such an outsized presence in my life, then not seeing eye-to-eye on it makes me think that we don't really have anything "important" (not actually, but seemingly) in common.

I was thinking more about "Wedding in Leipzig"—by the incomparable Jens Lekman, my #1 song of the year, and a song almost twice the length of this entire album—and how deep the line "You observe and study but you don't really participate in life" cuts me when I hear it or think about it. The truth is that I am happy when I am privy to the exciting lives of others, and in my own life, I struggle to find excitement. This means that I can sit at home on a Saturday night and listen to a voice message a friend sent me, or watch a movie that was made to touch its audience's heart, or have a conversation with my wife about her day, and find meaning in what I'm being told, what people are sharing with me through words or art. This also means that I've once again stayed in on a Saturday night, and am not really doing anything to further my own life's narrative. I find meaning but I fear that that meaning, coming from elsewhere all too often, feeds into a gnawing sense of incompleteness through passivity. I am lacking meaning from within.

And so the temptation is there for me to laud this quickie screamo album as revelatory just based on the target and the ferocity in which is hammers that target, and then taking the broad scope of the thing and celebrating the fact that these little fucking bastards took a swipe at the king and landed a minute but unmistakable scratch on its face. That's the temptation, and if I was feeling more confident in myself, that's most likely the path I would've taken for this review. But the fact of the matter is is that I'm feeling sorta low, that classic Christmas malaise, and now I'm thinking I better hold off on writing that review, and concentrate not on the narrative, for to do so would be to shift the perspective again, away from me, take the easy way, enjoy the company of others, bask in their triumphs, while not taking any of my own. Go through life on autopilot while everyone around me achieves, including this scrappy little band, how it might not seem much at all, but they fucking did something here, achieved something, however small, however many people will forget about it when the headlines fall backward through the endless algorithmic chasm. That all makes me very happy, but at what cost to my own soul? Am I emptying myself out by documenting the stories of others? I don't know. On my worst days, I feel like maybe: yes.

Do you feel this way too? Honestly, tell me. If you do, then maybe we are more alike than I originally assumed. I don't want to fall in the trap of "feeling alone," because, despite being unique snowflakes, sometimes singular traits can be shared. So maybe you feel the way I do, about finding joy in the narratives of others while lacking a strong narrative of your own. Does it make you happy, to hear LP by Taylor Swift? And why is that? Because you know they are punching up, and that's a worthwhile cause? That's what I'm talking about. Those questions take precedence over "is it good?" because who the fuck am I to say that it's good? I have no idea. I don't know enough about this genre to know if they are taking the piss by making strong choices within the genre or they are taking the piss by making a mediocre version of it under the umbrella of a funny name. I think it's good for what it is but I'm telling you that I honestly don't know.

But I do know other people, how they operate. And I know instantly the motivations of the artist. Not that it's that complicated, I'm just saying. I know them deeply enough to hear their motivations in between the lines and in between the screams, in real time. That's what makes me enjoy it. But that doesn't do anything for my own life. I'm still the same person I was at the beginning of the week. Being tangential to someone else's incredible life trajectory makes me happy as hell and gives the illusion of fulfillment, but it does nothing for my own story.

I think if I were to extrapolate it further, than maybe we can say that Taylor Swift (the screamo band) thinks that having a "story" is fucking bullshit, and to quit my yapping about it and just scream gutturally into the void. After all, what is the pop song that they interrupt on "5"? Look at that pop song's title. Think about what they old hoary bag of meat from West Reading, PA, is trying to say in that song. She is speaking to fate, how our stories have been written and we are responsible to committing to that story as it is written, especially if we want to find fulfillment. But Taylor Swift (the screamo band) takes that notion and tears it to motherfucking shreds. "It's a love story, baby just say YYYEEEEAAANF*&*&^*&^$ *$JREGNJGREGREQ!!!!!!!!"

It's not about finding your story. It's not about going out on a Saturday night instead of staying glued to the couch. It's not about living life to the fullest. Just the opposite. It's about acknowledging the darkness in the void. It's about the commitment to the ultimate truth that life is completely fucking random and that none of us have a story, no matter how often social media's fictions lie and deceive us into thinking otherwise. It's about being happy for others when you hear from them, read their words, engage with their art. It's about being okay with fulfillment through those means and no other means. It's about sticking a fist up in the air when some troublemakers lob a smoke bomb toward some maga pop princess, even if it's all ultimately empty gesturing. It's about being happy when you hear it, and being okay with being happy, and focusing on that happiness instead of questioning its source. 

It's about accepting my fate and making the best of it. Seeking happiness however life has deigned to allow me to find it. Because there's no difference. So what if my own life is thoroughly average, and it's those around me who are providing my light and life source? Aren't these too "in my life"? Shouldn't the fate of Taylor Swift (the screamo band) mean something to me? Can't they be a part of me, should I choose to carry them with me?

I don't expect anyone else to write this way today. I hope there is a greater than zero number of reviewers, and I hope they write about how this screaming that they are not used to at all is indecipherable, but the name is cute, so cheers, etc. I don't expect to feel "alike" with anyone. That's not really the point. I don't actually matter. I don't really participate in life, and so fucking what? Try to say that to me again and watch as I cut you off by screaming so loudly that your stereo speakers blow a fucking fuse.

GRADE: 3 pukes out of 5