I would say the top five Spacehog songs are, in order:
- The Meantime
- I Want to Live
- Beautiful Girl
- Mungo City
Bertrand Russel: Why don’t I know this?
G.E. Moore: Because philosophers think it’s mathematics and mathematicians philosophy!
French musician Émilie Simon. Writes and performs in English and French. Writes and performs her own songs. Massively popular in France, released in the U.S. Wrote the soundtrack for the French release of March of the Penguins. Sweet, biting, smooth, electronic. Why don’t I know this?
Aside: The video for “Flowers” itself is brilliant; as near as I can tell it was directed by a collective called No Brain (viciously crap website here). Whether it’s a hybrid of stop motion and computer animation or just computer animation with far too much work put into making it look like stop motion I can’t decide from the YouTube video. Obviously the website is no help.
Click around on YouTube a bit. These songs are viciously good for French pop music. Why don’t I know this in the U.S.? Why haven’t my tracking cookies surrounded me with this? Has Simon been shuffled into the same hole all electronic music seems to fall into right now? Do we really need that much more room for Stefani Germanotta’s particular brand of gaga desperation?
I expect a response from high-level authorities.
I’ve got moods for Freezepop, and I consider that progress as a human being.
Future Future Future Perfect is their latest album. “Do You Like My Wang?” and “Afterparty” are absolute abortions, “Ninja of Love” and “Brainpower” are merely tired, “Do You Like Boys” and “He Says She Says” are cute enough, while “Swimming Pool,” “Less Talk More Rokk,” “Pop Music Is Not a Crime” and “Thought Balloon” are each excellent.
Freezepop is gen-x (anyone who got to ride the dotcom bubble) smitten with hipster (mop-topped little douchebags) — kids older than me crushing on kids younger than me. It is a little creepy, and at its best that’s why it works. There’s an undeniable distance in line two of “The music is loud/ The kids are so young/ All over the world/ They want to have fun.” It’s the sense of loss of a geeky girl who got cool too late in life for her dancing queen moment. The game of scenesterism has the same rules as Logan’s Run.
The juxtaposition of self-awareness with cutesiness is inherently pathetic. (You’ve been reading the Space Toast Pages.) “Frontload” gives away a desperation musically that the simple take-me-out-tonight lyrics try to conceal. “Swimming Pool” paints a nostalgia so heavy it smothers. The sense of being in the right place spatially but not temporally is what rescues Freezepop from its more precious moments. Future Future Future Perfect is at its best when it acknowledges that cutesy self-awareness really betrays a painful desire to be wanted.