Of Montreal – “It’s Different for Girls”

Last week psychedelic pop band of Montreal released the first single off their upcoming album Innocence Reaches set to be released August 12 via Polyvinyl Records.

The single “It’s Different for Girls” is a hypnotic dance medley that feature’s a groovy rhythm and brightly glistening synths.

But most importantly, it’s a thoughtful song about gender norms, sexism, and the objectifications that women have grown accustomed to. 

Enjoy:

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Radiohead Release a New Song, “Burn the Witch”

The “most important band in the world” released a new single/song/who knows what today. Living in our day and age, it’s virtually mandated for all content producers to release immediate takes reacting to everything that happens at any time. Continuing down their hole of “music-as-a-filter-for-politics,” Pitchfork ran a piece trying to decode the politics of the new song and video, going so far as having a senior staff writer writing the piece. Noisey ran a smaller piece. Half taking the piss out of the collective need for music journalists to out-take each other, while simultaneously indulging in the same practice, Noisey published a collection of 15 takes from its music staff on the new song. These are the times we live in, and no amount of high-horse posturing is going to change that fact. Radiohead, for better or for worse, is an event.

We live in a day and age where rock bands have become an archaic relic of times passed. Whenever Radiohead decides to put the guitars and retire, they will go down as the last rock band to command the commercial and critical success that they have achieved. Rock bands are done. Look at the bench. After Radiohead, who is next? Coldplay? They’ve been critically panned for a few albums now, and are their record and ticket sales even close to those of Radiohead’s? Look at the front page of music websites like Pitchfork or The Rolling Stone. Wholly owned by pop stars like Beyoncé or Kanye West. Rock is dead. If you want to see the evolution of the genre, one has to dig a little deeper and see smaller acts with much more niche audiences.

So when “the greatest band in the entire fucking world” releases a new song, it becomes a gaze into a fading past. A past that, at one point, dominated the mainstream conversation, a past that was dominated by white men with guitars, a past that has seen many of its storied architects recently pass away. Self-styled “serious music journalists” will write countless think pieces and analyze with meticulous attention every move the band makes, and to be completely fair to those guardians of good taste and culture, analysis that the band coyly encourages.

I was, and still am, a member of the rabid Radiohead fanbase. There was a good period in my life where the only thing I seemingly listened to was Radiohead. They consumed about two years of my life. I lapped everything up. The rare bootlegs of live concerts, recordings of unreleased songs, the occasional cover. I wanted it all and I mostly got it all. Spent $50 or so on the Newspaper edition of an album that I ultimately did not really end up enjoying. I fanboyed really, really hard but the fanbase encourages this. There’s countless forums dedicated to the band, websites dedicated to recording every known information about a song (as of today, 5/4/2016, Citizen Insane appears to be down but apparently not for long), and even at one point massive conspiracy theories revolving around an unreleased part two to The King of Limbs. It was a fun geek out for a while. I could indulge my obsessive tendencies on a band that had the mythos around it that allowed for such geeking out over. Then I grew older, lost interest after The King of Limbs and a couple of Thom Yorke related flops and started listening to other music. Nowadays, a lot of my music sensibilities are not with rock music. Instead, they are with singer-songwriters who write personal music about boxing matches, smooth RnB singers with lush and intrinsic production or sweet and simple pop tunes composed by various women. So I woke up with a bit of anxiety over the upcoming release. I didn’t want to be further disappointed and nail the final nail on the Radiohead coffin.

My girlfriend has bronchitis. We had planned to wake up early to take her to the doctor and make it to a hair appointment I had previously made. I got up around 8:00 in the morning and checked one of those said music forums for any updates on the band. In true Radiohead fashion, nothing has been announced and everyone is in the dark. To my surprise, at the very top of the page was a very excited post with a YouTube link and the acronym “OMG” spelled right next to it. I clicked it and checked the run time for the video. 3 minutes and 59 seconds. A music video. I went to a more private setting, put on the video and got ready for what I was about to hear. The song starts right away with staccato strings that are repeated throughout the song. A low synth is heard in the background as Yorke’s crooning voice kicks in. It’s the sense of dread and anxiety that is classic Radiohead. It’s the same dread that Yorke is so good at building up with his voice and cold lyrics. Radiohead is often about the atmospherics being built, and this song is the first in a while to be reminiscent of that prestige that the band has created. The video, itself, centers around these themes of being constantly watched and monitored. It is a claymation video inspired on the movie The Wicker Man. A town official on a witch hunt who ultimately gets burned at the effigy himself. Knowing Yorke the song is political and some commentary about our modern times, but those messages are often beside the point. Most Radiohead songs don’t have lyrics to write home about. There’s nothing particularly impressive about Yorke’s lyrics, rather his voice and words are conduits for feelings and emotions that are part and parcel for the moods and themes of a Radiohead album. The staccato strings climax into a final crescendo in the end. It’s a great finale for any symphonic composer, the new career path of the band’s musical polyglot, Jonny Greenwood.

Needless to say, I have hopped aboard the hype train. I’m still cautious about the album. “Lotus Flower” interested me when it was released, so I don’t want to blindly jump in, but there is something that feels different about the way things are going. I look at “Lotus Flower” and can say that was indicative of the direction of The King of Limbs and it wasn’t very good. This, on the other hand, bodes well for the new album. It feels like a return to form, at least for me, for a band that was so good at building lush atmospheric music that felt natural and organic. If “Burn the Witch” is any indication, the cold bleeps and bloops from The King of Limbs are exhausted. Maybe it’s the fact that the song has been around since the early 2000’s, maybe it’s the fact that song is a relic from a band’s past whose frontman didn’t seem all that interested to ever get back into. Maybe it’s just my old, geeky self coming out and wanting to relive just for a few moments. I don’t know what it is but I am most definitely hyped for whatever ride is about to come.

Watch Radiohead’s new song, “Burn the Witch,” down below