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.
Grandaddy's Web site:http://www.grandaddylandscape.com/
V2's Web site:http://us.v2music.com/site/
With a name inspired by a vanity license plate at Lake Tahoe, Grandaddy's fifth and final EP contains songs that sing of the demise of western culture at the hands of the rising suburban sprawl. It also foreshadows thier final full-length Just LIke the Fambly Cat. Just like that album, this EP is mostly the work of lead-grandaddy Jason Lytle. Although still recorded in his home studio, Todd Zilla is a harsh ode to the disappearing quantness of thier Modesto hometown and a departure from the pastoral Sumday and the experimentation that defines their earlier work.