Excerpts from the Diary of Todd Zilla



    sixth track of this seven-song EP contains a gimmick so obvious and
    brilliant I can’t believe I’ve never heard it executed before. The song
    is called “Florida,” right, and it’s sung from the point of view of a
    drunken guy at “the bar in the mall” – only lead singer Jason Lytle
    actually sings it as if he were drunk, complete with mangled syllables
    and mushy consonants and everything. “Looks like I missed the goddamn
    bus,” slurs Lytle. “Do you think that I could get a ride?” Maybe dude
    actually was drunk for the recording, but it’s pretty good shtick, you
    gotta admit. I toyed with the idea of writing this review drunk myself,
    but I ultimately decided that would be a waste of a good buzz. I don’t
    even like Bukowski that much, anyway.


    is probably the best song on the EP (which clocks in at more than
    thirty-one minutes; back in the day they would have called this an
    “album”), although don’t overlook the opener, “Pull the Curtains.”
    Aside from those two songs, however, there aren’t many highpoints. The
    remaining five songs are down-tempo, synthed-out snoozers.


    concept behind this EP, if a concept EP it be, has something to do with
    materialism, suburban sprawl from coast to coast, the corporate
    takeover of just about every gosh darn thing you can imagine, and other
    such blights on humanity. It’s supposed to be a preview, theme-wise, of
    G-Daddy’s upcoming album, which the band members say will be their
    last. Whatever, whatever. There are some witty lyrics here, and anytime
    someone sings “We’ll plot out a plan/ to take down the man,” I’m gonna
    wave my hands madly in the air like I don’t even care. But musically,
    most of the songs here just ain’t all that.


    The good parts of Todd Zilla kinda
    reminded me of the best of the Elephant 6 oeuvre -“Pull the Curtains,”
    for example, is pure Olivia Tremor Control. The bad parts weren’t bad
    per se, just merely pretty.



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