Item number one in the November roundup is a complaint about how bands and labels sell their records on bandcamp. Now, don’t get me wrong, I love bandcamp. Who wouldn’t? You buy the record and you immediately get to download it. Hell, you can even listen to the entire thing before you buy it. The problem arises in the business model when you decide you actually want to buy the vinyl version of a record. More often than not it’s a pre-order with a release date that’s off in the not too distant future, but you figure it’s ok, because you get the immediate download, so waiting for the actual record to arrive in a few weeks is no sweat. Fast forward six weeks and you’re brushing your teeth in the morning and the record comes up on shuffle and you suddenly realize you never actually got the record you ordered. You give the band the benefit of the doubt and decide to wait another week. Still nothing. You contact them through their bandcamp page asking them if the record was ever sent. Usually you get a response saying the record was delayed or there was some problem with coordinating the vinyl with the sleeves or some other logistical problem. Fine, you say. You’re an understanding kind of person. At least you know that your order wasn’t forgotten or lost in the mail.
My complaint is that why didn’t the band email the good people that bought their record and are anxiously waiting to see it in their mailbox to let them know that there was delay? Especially since there’s an explicit date your bandcamp page that said the record would be sent at a specific date. How hard is it to send a mass email to the 50, 100 or 500 people that bought the record letting them know there’s been a delay? Is the band or label embarrassed? Does the band or label not know how to use BCC when sending emails? the band/lable set up a bandcamp page, uploaded the album and made a record so they must be somewhat literate with communication and the internet. Send an email to the fine folks who are giving you money to hear your music. It’s not hard. People will like your band if you write great songs, but they’ll love you even more for your great customer service!
Now, on with the November round up.
Patsy’s Rats are a Portland band. Their Is It Alright single is pure pop to the jugular. Reminds me of Let’s Active with the boy-girl choruses and jangly nature. If you don’t like singles, this is also on the compilation of singles the band just released on Bachelor records.
November saw the end of UK label Faux Discx. A sad thing. The label was run by Dan Reeves. His two bands, Soft Walls and Cold Pumas I assume are still going. Faux Discx put out some great records. Reeves had great taste, and records like Omi Palone, Vison Fortune, Cold Pumas and Rips regularly appeared on this blog and many others with discerning taste. The label is having a huge sale, so if you’ve been eying something now’s the time to pull the trigger.
Sad news from Seattle as the city slowly disintegrates into a shell of its former being, Posse decided add to the ash pile and call it quits. The trio gifted to the world their final album Horse Blanket and leave the city to contemplate what life will be like when all that’s left for bands in the city are high school jazz combos. You can get a free download of the Horse Blanket from their Bandcamp, and be sure to head over to their web site to grab the accompanying comic book.
Lars Finberg got out of Seattle a long time ago. Escaped down to LA and then back to his hometown of Bakersfield. His first solo album could easily have been released under the moniker of his band the Intelligence. Since it really always was him. Now, I guess he’s hanging out with Ty Segall and entertaining fantasies of being Dean Martin. Instead of serenading PBR guzzling kids down at local hole int he wall, he’s moved up to the seedy red pleather booths of the forlorn diner at the edge of town near the freeway exit. If you are in or around Seattle, he plays the Highline on Capitol Hill this Friday, December 8th.
In keeping with the downer mood of this month’s round up. The Too Pure singles club has decided to call it a day. Not surprising, since the 7-inch single seems to be dying a slow agonizing death. I subscribed to it a couple years, but when they began to allow you to order individual singles I let my subscription lapse. This year’s batch has some gems worth hearing including Family Scraps, Bruising and Seize the Chair.
You should know about this album by Pamplona’s Melenas. Snooping the Bandcamp blog posted about them a few days ago and their excellent debut album has been on repeat for days since. Jangly goodness that answers the question, what if Look Blue Go Purple had been Spanish.
I find myself getting more excited about bands from Portland than those from Seattle these days. Probably because there are more of them to be excited about. Mo Tropper apparently is both a person and a band. His/Their new album combines psychedelia and power pop in a similar way that jellyfish did. I am also reminded of the Return of the Frog Queen by Jeremy Enigk, Cardinal, Kay Kay and his Weathered Underground and the Beach Boys. This album is in technicolor.
Just last month I was reminiscing about speeding motorcycles and the Pastels because of the Neutrals’ song Motorcycle Cop. Now I’m reminiscing about motorcycle cops and the Neutrals because of Flat Worms’s song Motorbike. If you haven’t figured it out yet, things don’t change very much around here. Flat Worms’ debut which rocks out like old Wire and A-Frames records is out on Castle Face, and features members of Thee Oh Sees, Dream Boys and the Babies.
It wouldn’t be a post if we didn’t include something about an Australian band. Vacant Smiles’ new single brings on heavy Hoodoo Gurus like vibrations. Anyone remember classics like Bittersweet, I Was a Kamikaze Pilot and Good Times? Messin’ Around fits nicely in that breadbasket of surfy goodness.
The Intelligence at the Frye Art Museum, Seattle | 15 November 2015
Why are rock shows always at night and in some beer soaked hall filled with annoying inebriated people? Why can’t they be on sunny Sunday afternoons in a friendly warm room with works of art hanging on the walls and children running around instead? The fine folks at the Frye Art Museum must have wondered this as well and they decided to do something about it by inviting the Intelligence to play their Museum. The Frye is one of the few museums in Seattle to allow free admittance and they extended their gratis support of the arts by putting on this free afternoon show as part of their ongoing Genius / 21 Century / Seattle exhibition. Apparently quite a few other folks are down with this idea too, because the show’s pre-registration was full and there was quite a lengthy stand-by line of people hoping to get in. I was one of them on line and luckily I think we all made it in.
If you haven’t heard, the Intelligence have a new album called Vintage Future. It’s their eighth LP and is easily their best sounding and best recorded one. The band have been increasing their sonic fidelity with each release, though they seem to maintain the same bent humor and attitude that front-man Lars Finberg exhibited since the very first Intelligence 7-inch Boyfriends and Girlfriends back in 2000. Fifteen years is a long time to try and hold your interest, but the intelligence have continued to metamorphosize into a better and better band. As they state on the new record, they refuse to pay the dues, but they also refuse to stay the same which makes a new Intelligence album something I always look forward to.
You may also know that the band no longer call Seattle home since front man Lars Finberg moved down to Los Angeles so this show was something of a homecoming for the band. In their best museum attire (Finberg was sporting some leopard print shades and smart blue blazer that gave him the air of a Hollywood mogul), the Intelligence ripped through about 15 songs that featured many highlights from the new album as well as few classics like Dating Cops, Estate Sales and Back of the Galaxy. The set started with the moody Cleaning Lady that allowed the band to warm up the room with it’s obsessive compulsive refrain of “It’s clean, but it’s not that clean to me.” Parents immediately grabbed their kids to insert earplugs into their little ears.
The new album has a sort of morbid jauntiness to it that is interspersed with aggressive forays of punk rock. Finberg continues his deliver from his deep well of sharp self-deprecating one liners and observations of the absurd (“I’m tired of people who like me”, “I want true love that I can step out on and that I can still count on while she waits with a warm plate”, “Shitty guitars, touring in cars”). Closing the set with Romans another song from the new album, the song’s sinewy guitar rif and patience was the Intelligence at full power. It’s one of those songs that could double in length and continue to please, but they kept to its abridged form. I wonder what the people who were at he Frye to take in the art on the walls thought while the cacophony of the Intelligence bounced into them from around an unseen corner? At least the the band and its audience enjoyed this afternoon dalliance in the museum.
You may have noticed that I’ve been struggling to keep up around here: fewer and fewer posts, overflowing in box, long beard and unclipped nails. In an effort to get back on track and clean myself up I’m going to try and start doing a top ten list for each month of things that I’ve neglected to post about in the past month. Well, I’m already behind seeing as it’s October and I’m doing a top ten for September. Before it gets any later, here are ten things from the last month that merit some recognition.
1. The Aislers Set at Neumos
The Aislers Set breifly reunited for the Chickfactor 20th anniversary shows back in 2012. I saw that show and it was good, but seeing them a couple weeks ago in Seattle was even better. This was a brief West coast tour celebrating the reissue of all three of their LP’s from the 90’s (Slumberland & Suicide Squeeze). Linton and company were in top form this night performing their glistening pop that never got old.
2. The Intelligence at Lo-Fi
Sadly the Intelligence are no longer based in Seattle, so the opportunities to see them live have greatly decreased since Lars Finberg’s migration to L.A. Other things have changed as well, This is not your kid brother’s Intelligence. Although this was a release party for reissue of their first LP Boredom and Terror (In the Red), they played a bunch of new songs that featured a powerful rhythm section and meaty jam sections to them. A far cry from the bedroom tape hiss of that first record. No, they haven’t turned into Phish, but they’ve evolved into something even more formidable than before. Can’t wait to hear the new album!
3. Fresh Hop Beer
It’s harvest time and up here in the pacific NW, and that means hops. Fresh hop beer is made with hops just picked off the vine and when it’s done right, it’s a fruity mouthful of flavorful beer. You have to be quick though, because it’s made in limited quantities and it goes fast. Recommended ones that I’ve tasted this year include Fremont’s Cowiche Canyon, Fort George Fresh IPA and Schooner Exact’s Amarillo Fresh Hop. Still hoping to get a taste of Bale Breaker’s Piled High!
4. Erik Blood – Cannons Vol. 1 Erik Blood, the guy that made a shoegaze record about porn has switched gears slightly into electronics and motorik beats. His new four song EP (free to download at his bandcamp) features Mahogany’s Andrew Prinz and Shabazz Palaces’ Ishmael Butler.
5. Fat White Family – I Am Mark E Smith
I was nonplussed over Fat White Family’s debut album last year, but this new single has got my attention. They may be claiming to be the Fall front man, but they sound like they’ve been hanging out with David J and Daniel Ash.
6. Primitives – Spin-o-Rama 7″
The Primitives have a perfect pop single in Spin-o-Rama. It’s Bright and sunny. It’s got hand claps. It’s under three minutes and leaves you wanting more. You hear it once and you can immediately sing it. I defy you to to find a more immediately infectious song that’s come out this year.
7. Go-Betweens Box Set – G Stands for Go-Betweens (Domino)
Just the other day I was pining for someone to reissue the Go-Betweens catalog on vinyl, since I never see them in the used bins. I should have been more specific in my wishing and added that they be individually released and affordable. Domino announced last week that they are planning a box set containing the first four Go-Be’s LP’s and four CD’s of rare stuff. It’s due to be released in January of 2015 and it’s only $160. Looks like I’ll still be scouring the used bins. Oh well.
8. Tacocat – Bridge To Hawaii (Hardly Art)
In between listening to and singing songs from Frozen my daughter will sing or play Tacocat’s Bridge to Hawaii. The first time this happened I did a double take and couldn’t figure out where she heard it. I like to think she heard it from me, but with kids these day’s you don’t want to ruin it for them by letting them know you like it too.
9. Butter the Children – True Crime
When Brooklyn’s Sweet Bulbs split up after releasing one stellar self-titled LP, two bands immediately emerged from their ashes. The Butter the Children sect (Heaven’s Gate is the other sect) continue the warbly, spazzed-out guitar attack of Sweet Bulbs and feature Sweet Bulbs singer Inna but she’s more forward in the mix which I think makes for a unique and better combination. The band put up their album on bandcamp as a free download. I don’t know if this means they gave up trying to get it released by a label, broke up, or are simply a benevolent noise pop band.
10. Flowers – Do What You Want To, It’s What You Should Do (Kanine)
I wasn’t sure after the first few listens to Flowers‘ debut album. They seemed to have toned down the noise for something more subtle. Recording with former Suede guitarist Bernard Butler the London trio won me over with their minimalist approach that evokes the sparseness of Young Marble Giants, the smart intensity of the Spinnanes and the melancholy melodies of Everything But the Girl.
If you read this blog with any regularity, then you know that new Intelligence album is now out. But did you know that it may be their best record yet? The superiour fidelity carries over from previous album Males, but instead of a full-on rock album, they dial it back a little and branch out, incorporating acoustic guitars, bossa nova, horns, and spacey synths on top of the pre-existing warped sense of pop. If you are already a fan of the Intelligence, this album may surprise you, but more importantly if you weren’t previously a fan, this album has the potential to convince you of your passed indiscretions.It’s that good and varied.
What better way to find out about the story behind the album than talk to Professor Intelligence himself, Lars Finberg. We did something similar when Males came out in 2010. For the new record, Everybody’s Got It Easy But Me we altered the format just a little this time. Instead of just a song title as a prompt (which is all Finberg really needs, the guy is a natural comic.) I offered a question, thought or impression about each song. So here it is, the track by track interview with Lars discussing the Intelligence’s latest album Everybody’s Got It Easy But Me.
1. I Like LA – So you left Seattle for sunny environs. We miss you man. Do you really like LA? I get the feeling that the first part of this song is meant to trick us into thinking that you’ve gone back to the lo-fi?
I was missing you today too, feeling kind of depressed even thought it’s sunny here and I’m wearing Daisy Duke shorts (not kidding) then I talked to someone on the phone there and they said it was “freezing and miserable” and I cheered up instantly. I really do love it here, I’ve been traveling so much the last year I haven’t had even spent a week straight in my place but the change of scenery is mood elevating for sure. Last night I went to the Magic Castle (an old Mansion that hosts magic shows) in front of us in line was the guy who drew Flipper’s first LP cover and actress Shannon Sossamon and just the drive over there was gorgeous glinting light and palm trees and billboards with bikini butts. I like having no idea where anything is and endless lights of other people failing at their miserable dreams too in every direction. Seattle is cool but i was there for half my life and if I had to do the drive from west Seattle to Ballard on the 99 or eat breakfast at Easy Street one more time I was going to kill myself.
You kind of nailed it with the ‘trick’ of the first song, with “Males” being kinda hi-fi I wanted the skittery drum machine to do a palette cleanse so you didn’t know where we were going to go. Like starting a movie in black and white or a flashback of our older selves. With the counting I have no idea where that comes from, I just made it up and started to picture someone walking into my friends gay nightclub “Pony” and walking in in the middle of it wondering what this absurd wannabe “Warm Leatherette” rip off was. Also the guitar riff is supposed to be an ode to Wire’s “3 girl rhumba” because with the Wire comparisons I thought it’d be funny to be 3rd in line (after Elastica) to rip off that song, I doubt anyone notices though.
2. Hippy Provider – Sadly the kids today probably don’t remember those Freedom rock commercials.
What a shame, I wonder if a Youtube view of that commercial would be met with anything more than a limp shrug. The song’s about being in Manson’s cult and trying to talk yourself into not taking LSD and “wastin’ pigs”. For folks that never saw the commercials it was for these classic rock (I love calling it ‘Job Site Rock’) compilations and these too headbanded longhair burnouts are sitting by a boom box going
“Hey man is the Freedom Rock”?
“WELL TURN IT UP MAN!”
3. Evil Is Easy– I hate to invoke surf-rock these days, but this reminds me of the Surf Punks and the way they could just make absurd craziness into songs. Do you ever go to the Valley?
I have a Surf Punks LP I bought for my dear uncle “Lancers” who just passed, he would always tell me they were his favorite band. They were the first punk band I ever heard in the 4th or 5th grade. When I found the LP recently I was pretty excited but when I put it on it was pretty awful, I couldn’t get through a song or the chorus on the bass guitar. I did want it to have that ‘hey kids I got some knowledge from my tales around the block’ but is so dumb you can’t tell if they’re kidding kind of a vibe maybe.
It’s fun live, I like to describe it as if “Ballroom Blitz” was a good song.
4. Techno Tuesday – Love the horn at the end of this. I know the last time we conversed, you mentioned being into Funboy 3. To me, this song has a Funboy 3 feel to it. Is that accidental or intentional?
Had never thought about it at all but I can see that when you mention it. The horn was hard to get down, Heidi from the Sandwitches is playing it and the original idea was to have her play the vocal melody line in a kinda ‘Mellow Yellow” way. It just wasn’t panning out so cool and Woodhouse had her strip it down. Then when we were mixing I think Woodhouse was frustrated it was a little “pitchy” and was trying to pitch shift it up and mix it low or figure out how to make it more right. I wasn’t paying attention to any of this, the playing or the pitch shifting – I had lost interest and checked out – but when I came in and heard how weird and sad and harbor siren ‘don’t crash into the rocks at night’ it sounded I made him leave it alone, I loved it.
The song was inspired by and takes the title from the wonderful comic strip by Andy Rememter called Techno Tuesday. Susanna sent me this one night, “all alone with a camera phone” and I was hooked. “Guide to Nowhere” and “Magic Box” are my other favorites but they are all amazing.
5. The Entertainer – This sounds nothing like Scott Joplin’s version. Maybe if Joplin was addicted to social networking we would have gotten to this point a lot quicker. How do you feel about being constantly connected and society’s lack of long-term attention spans?
I thought it would be either so pompous or clueless it would be funny to use that title. I go back and forth between worrying about it being our doom and “please god give me my ipad so I don’t have to look at the hordes of human freakshows at the airport”. It’s terrible, I spend more time scrolling through my Ipod or Netflix trying to pick THE BEST THING than I do enjoying something. Kids today should be kissing Steve Jobs feet though at the easy of looking at naked people on the internet, we had to go find an old tire in an empty lot praying to the peverted gods for a rain soaked Playboy.
6. Reading And Writing About Partying – Re-recorded from a 7″ that came out a few years ago and sounding much, much huger. This continues a recent Intelligence trend of rescuing older songs from 7″ obscurity. This new version makes the original sound like a demo. Are you an advocate for revisionalist history?
A part of me hates that and had a rule against it forever but I just think some of those songs are better than the cassette recordings and the limited 7″ pressing of 300 allowed them to be heard. I think it is totally lame to have covers on our record too but then we do them and I hear them and I like them and I just remember: THE INTELLIGENCE DOESN’T PLAY BY THE RULES.
7. Dim Limelights – You used acoustic guitar on Warm Transfers & Singles Barge back on the Fake Surfers album, but they were absent from Males. Now they have returned in full force. Was this a conscious decision?
Yes, there just wasn’t room for them on “Males” I was trying to make a punk rock band statement or something on that one. But that’s not really who I am all the time. I figured we did that on the last record, we haven’t just tried real clear recorded pop yet. I wrote this song on this little cruddy nylon acoustic and wanted to capture that, Also with Woodhouse, he can record anything great so why not. We laughed when the percussion comes in, he said “are we making a Marty Robbins record”?
8. (They Found Me On The Back Of) The Galaxy – Maniquins in the Vaitican are the least of the Catholic Churches worries these days. Is this song about being an alien hairdresser for the pope? You recorded this with Kelley Stoltz, talk about rock ‘n roll dream team. I can’t believe how insanely great this song is. How did you end up recording with Mr. Stoltz?
Thank you Toby, I am very glad to hear that. Erin A Frame came over for a dinner party and the ladies were watching a haircut reality show and he overheard and repeated “TRANSFORM YOUR MANIQUIN” we laughed and it just stuck with me. (Wow for 4 years.) It’s about EMPTINESS EVERYWHERE and finding a place where you feel you have something to give. This is the first song I wrote in LA, it strangely all came in one fell swoop walking down the street, the chords and melody and I typed all the words in my phone walking down the street and ran home to record it. That never happens. I wanted to be old fashioned and have a 7″ single of the LP come out a little earlier. I also love love love Kelley’s work and have dreamed of doing something with him, when I found the art I just pictured our names together and when I met him on a Wounded Lion/Sonny and the Sunsets tour we hit it off and I called him up and asked him out of the blue one day in SF. He was laid back, hilarious, and cool and after I had used up all of his day to record my goofy lil song (for free) I felt kinda bad and tried to run out as soon as possible, as I knew he had to get ready for a dinner party, he asked if I could stay and listen to a couple songs on his amazing Wurlitzer Jukebox. The Revels “Midnight Stroll” and “Talking to My Heart” were two of them.
9. I’m Closed – In the chorus it sounds like you got a whole room full of people to sing. The band that existed during the recording of Males has changed considerably. Who’s in and who’s out? Are there really two versions of the Intelligence, one in Seattle, and one in SoCal?
That was one of my favorite parts to record. I didn’t plan out or demo a lot of stuff to keep it fresh and fun and loose in the studio and I didn’t have any idea what to do with the end of the song so I just sang the last line over and over and over. That was the day we had all the singers there Shannon from Shannon and the Clams, Brigid from Oh Sees, Heidi from the Sandwiches, this girl Jen. Then Pete from Coconut Coolouts, Dave from the Shins and Susanna were there recording as well so I lined them up and had each person come in a line at a time going boy-girl-boy-girl-etc. Dave came up with the harmony and it was really touching to hear this amazing team of everyone singing and building up the chorus of this kinda sad loner song.
On the record there was an LA band on almost half, Seattle band on almost half and me alone or a mix up on the rest. The band now is kinda all mixed up, the bassist Jed (from Zig Zags) and drummer Leslie (from Red Aunts) and synth player Josh (from the Lamps) live here in LA. Susanna, Dave and Pete are in Seattle. The idea was to have 2 different bands so I could play in LA easily and fly up to Seattle to play but as we made the record I’m more excited to have a bigger line up. The recording was so collaborative and fun that I’m more interested in putting the best band we can together and leaving it at that.
10. Little Town Flirt – Lots of Shannons in this song – Del Shannon and Shannon and the Clams. How did you decide to include this cover on the album? (I also want to thank you for turning me onto the Del Shannon’s album Further Adventures Of Charles Westover.)
Oh man, that LP is so great! I just randomly heard that “Gemini” song (I am one) and flipped. The Little town flirt story is, I was on tour and kinda down and heard the ELO version playing in NY at the Cake Shop. The sound guy was telling us where to put our stuff and I couldn’t concentrate because the song was knocking me out so much. “Sorry man I didn’t pay attention to a word you just said, what is this?” He got excited, told me it was a B side off of “Discovery” and restarted it and cranked it up. I played it over and over on that tour and got obsessed with it. It wasn’t the lyrics at all, just the chords and the vocal melody and the overproduced slick recording just really cheered me up for some reason. It’s just such a cool pop song. I knew I wanted to cover it and knew I wanted to ask Shannon to sing on the record. I texted her asking if she’d sing on the LP and she was into it, I wrote check out “little town flirt” and she wrote back “I play that song over and over when I’m sad or cleaning my room”! A real cool moment. Though she was said she was disappointed in Jeff Lynn’s version. Ha. I was going to have her just do the back ups but the day she came at the last minute I just decided to have her sing the whole thing, then I though maybe it would be cool for me to just sing the bridge but at the last second I kept on going for the duet and (in a falsetto voice) FUCKING NAAAIILLLLEEED IT! Just kidding, I was nervous as hell to sing next to such an amazing voice. Brigid Oh Sees and Heidi Sandwiches are doing the back up and they said they sound like teacups in a Disney movie.
11. Return To Foam – The beginning of this song reminds me of Henry Mancini in the Breakfast at Tiffanys shoplifting scene. This is your hate letter to Seattle right?
Pretty much. But that song is also probably 4 years old. It’s ripping on the dark passive aggressive vibes, where everyone is so bummed they are about to SNAP, if you don’t realize they are in line at the coffee shop or how everyone fucking honks all the time. I NEVER EVER hear a car horn here in LA. Serious. I’ve seen a baby stroller get run over and dragged 15 feet but no horn. And there were these really aggressive gutter punk fake beggars in front of the Pita Pit in Portland that made it in there. For the record “Pardon me c*unt” part is literally something a hysterical frothing grandma in a raindeer sweater said to Susanna in a Target parking lot at Christmas and is a quote, I would never sing ‘c*nt’ in a song.
12. Sunny Backyard – This is the darkest, scariest song you’ve ever done. It’s like the scary part of the movie when you want to hide your eyes because you don’t want to see what happens next. Tell me what happens…I can’t watch.
This is a cover of The Vulvettes, an SF band that had already broken up when I heard their demo tape around 2001 (Dragnet records released it as a CD eventually and I think Min has quite a few hundred copies in his garage) That song just stuck with me, I did a version of it on a split 12″ with thee oh sees but it was really blown out and ugly. It’s a frightening song but I thought that keyboard bass line has such a catchy element to it and we hip hop the drums up a little bit that I thought it was worth doing again. Very hard to sing, for the weird vibrato I was choking myself with my hand and wiggling my throat to try to do it.
13. Fidelity – Everybody’s Got It Easy But Me is a break up album in more than a couple ways I gather? So you’re now living alone in LA, fermenting in wine and listening to Elton John records?
Pretty much. But it’s weird, I was trying to take some bummer city stuff and make it fun. Recording this record was the happiest experiences I’ve ever had and was the most joyful time we’ve had as a band. But don’t get me wrong, I want Roy Orbison to burst into tears in his grave when he hears this song. It’s funny the cliche is they say you should write a sad song to make yourself feel better but I find it just made it worse. IT GETS WORSE. But it is supposed to be so sad that you laugh. Just like life.
The Intelligence return to Seattle on July 19th (when the weather here is most SoCal-like) for a now rare show at the Crocodile . Mark your calendars and be sure to schedule your vacations accordingly.
Depression Is the New Gay. What was the old gay? The Lasters new single (four songs) Minumum Viable Product is just out. It’s single number three from the Los Angeles band for those of you keeping score at home. The afore mentioned Depression Is the New Gay is song number one. Song number two is called Ivory Tower of Beer…’nuff said. The B-side starts with The Lasters Lose the Power of Speech which appropriately contains an incoherent chorus which makes no sense and total sense. Last song Let’s Get Along doesn’t let up the adrenaline rush, though it seems a little less crazy and more coherent than the other three. Three out of four ain’t bad.
Every once in a while a punk record like this comes along and kicks me out of a rut (Spray Paint did the same thing a few months ago). This single is a total blast, and for this I give thanks.
It’s no secret around here that the Intelligence are one of my favorite bands, period. I’ve been looking forward to their upcoming album Everybody’s Got It Easy But Me all year. The Intelligence use to be based in Seattle and they would play every few months and I could easily get my fix. Well, things changed late last year when main brain Lars Finberg upped and moved down to Los Angeles. I’ve been in withdrawal ever since, so it’s with great relief to hear the first song (They found me in the back of) The Galaxy from their upcoming seventh album . This very song immediately implanted itself in my brain when I first heard it last year at the Crocodile when they played with Kid Kongo. Lars nonchalantly introduced it as an old song. Smart-ass, like he’d been sitting on one of the best songs he’d ever written his entire career. Hell, maybe he did pull it from old cassette and resuscitated it. The guy probably has shoe boxes full of ’em.
The song is also available on a split 7-inch with Kelley Stoltz. Now if there was ever a record made specifically for me this has gotta be it. The single is limited to 600 copies with 200 of them being yellow colored vinyl. Have at it.
Last week the Intelligence released their sixth album Males on In The Red. Four of the eleven songs show up with shiny new suits on, having been re-recorded and improved from their previous incarnations. So an album with only seven new songs may make Intelligence die-hards wonder has Lars Finberg hit creative quicksand. Hardly. He has a new side project, Puberty that he’s written a stash of songs for, and the new new songs on Males are all top drawer. It’s almost like he has re-written the rules for the Intelligence with the new album. Rule number one: lo-fi is out. This may come as a shock to some. It did me at first, but after having Males on repeat for the last week or so, I’m more shocked by how good it is and how it has surpassed Fake Surfers as my favorite, which I didn’t think was possible.
The old days of Lars recording his songs on blank cassettes and releasing them are gone for now. You will probably hear grumbling about this from some corners, but not this one. Don’t worry, new hi-fi Intelligence still rocks it’s just much cleaner now. Before you could understand about half the words while the instruments bled into each other. Now you can hear Lars almost croon, his dry sense of humor condenses and drips from the speakers. Futuristic computer blips and gurgles fly by, flashy sleek guitar riffs ring throughout, the beats are bigger and the bass nearly rattles your sternum in places.
What exactly was Lars Finberg thinking when the Intelligence went into the studio down in Sacramento to record Males? I wondered the same thing and through the wonders of the internet got in touch with Finberg to see if he would shed some light onto the world of the Intelligence. What follows is Lars running us through each of the songs on Males and then answering some additional questions. It’s essentially the same format he uses for interviewing bands on Terminal Boredom.
One more thing, if you are in or around Seattle this weekend, the Intelligence will be at the Sunset Tavern in Ballard on Friday (3 September) for their record release gig. Australia’s UV Race and Seattle’s Spurm open.
1. Bong Life
The intro is supposed to be the sound of a teenager and his first experience with ‘jazz clover’. the doors of perception have been opened but instead of the sounds of psychedelic sitars and tablas and backwards Hendrix solos the ominous piano chord signifies the bars on the prison of drugs clanking shut.
I’m not on a high horse, I’m under the hooves warning the youth that if your not careful you will be applying for work at 7-11’s well into your thirties.
I do want to add that this idea came after long studio hours and we had tears of laughter streaking our faces. But that doesn’t make it untrue. The mind melting down sound is made with one of Woodhouse’s magic pedals literally made from a speak and spell. I believe we did about 10 takes of this noise through a huge guitar cabinet on 10 not realizing that Beren was trying to sleep before a 5am flight on the other side of the door. Also inspired by the wake of all these “Party” bands. “Lordy Lordy look who’s 40” A. Stonehouse
2. Tuned To Puke
I think this is my favorite song we’ve done. It is about music and criticisim and enthusiasim and disgust. Also partially inspired by a big festival we played as the final show of a tough tour last year where we watched a particularly popular band bomb hard in front of a large crowd and were shocked this band makes a living at this. I AM on my high horse on this one. That’s throwing out the negs but on the flip side the other part of the song is about all that nonsense evaporating when you put on a nice record. I’m talking to the Sic Alps, Wounded Lion, Shannon and the Clams, Pete Drake, Thee Midniters, White Fence, etc.
3. Sailor Itch
A response to our song Sailor Dive (which is a dive where you don’t put your hands over your head and just dive in literally head first) Sailor Itch is like a Fleet Week kind of thing, dressed in white all gooey in the sewer. Second try for this song, there is a failed version from the distillery for Fake Surfers. Also, I tried to cut this one but was vetoed and I”m glad because i think the rhythm section really shines.
4. The Universe
This is a song from our first record but we’ve been playing it for years and I thought it showcased what the band has evolved into.
5. Like Like Like Like Like Like Like
Hank Williams said ‘if a song can’t be written in 20 minutes it ain’t worth writing’, well this one was written in 5. It’s my rebuttal to Susanna pointing out when we first met that I say ‘like’ too much. I took stock of it and realized I sound like a Valley girl but was born and raised in California, it’s not my fault. Anyway, she is from the Louisiana and when she uses the ‘voice search’ feature on her phone whether she says ‘Toys are Us’ or ‘Movie Theaters’ it thinks she says ‘Texas’ (TeecksZass)
6. Estate Sales
My dad will often call me and give me song titles he’d like us to use, they are all good but not necessarily for our band. “Wire Monkey Mama’ is one that comes to mind. He asked me to write one called “Estate Sales’ about all your things ending up in a cheap pile on the street, that seemed like our style. The gurgle keyboard is a $11.99 casio recorded with a $12,000 Telefunken micropohone (it’s locked in a safe at the studio). Woodhouse said those mic’s were made in WWII for the Nazi voices to sound really terrifying in speeches and after the war they were such good mikes Billie Holliday and the like were all singing into them.
7. Mom Or A Parking Lot
I didn’t realize these songs were in a row but it’s for my mom. A thank you for the love and a base. In my last year of high school when we were discovering the 60’s and listening to the Doors and trying to be a 17 year old hippy in Bakersfield, CA in 1992 without the politics but more based on whether you could pull off a headband, there were these scary guys a year younger who went off the deep end with LSD. It’s a true story, one kid came to school on Monday with a giant bandage covering his face and it turned out that the group of them had been trying to overturn a car while tripping. They realized they couldn’t get it all the way over and decided to give up except one didn’t understand and when the car dropped it ripped his nose off. Another time they convinced one of them that he had shit his pants, embarrassed he tried to wander home via a dry riverbed and ended up lost and calling his mom from a Mervyn’s parking lot pay phone for help. Just like Jim Morrison ! Woodhouse plays the vibraphone.
8. White Corvette
In the demo of this song I was just freestyling stuff and rapping about my brother’s white corvette and how cool I thought he was when he worked for Pepsi as a kid. But I went back and turned the lyrics into a love story so the ‘white corvette’ line got cut. But I kept the name on the demo and after we recorded the song no one would let me change it. It is supposed to be ridiculous, we were crying when the really cheesy keyboard line got recorded. None of us could do the hi hat that fast for that long so we mic’d a different crappy casio (same casio as ‘Life Preserver” and “World is a Drag” “Dept. of Nothing”, I like him to have a recurring role) and used the drum machine, then Woodhouse doubled real drum on the top. I’ve never seen “Less Than Zero” but it’s a song for the soundtrack.
9. The Beetles
1. Booger Sugar 2. Weight Loss 3. Flat tire on a Mustache Ride 4. Party’s Over 5. Link Wray and the ‘poke a hole in the speaker technique’. 6. 40 days and nights in the desert. 7. Evaporating into Partnership 8. Screening calls 9. Relationship Rescue 10. Bath Bomb 11. Irma Thomas 12. Domestic Tranquility 13. Psalms of Love 14. Independence Day 15. Sexy Grandpa
10. Chateau Bandit
This song is a tribute to a joke I only know the title of that Calvin Lee Reeder (Icky Baby Bassist) said a lot on our first euro tour so it’s just a little tribute to him and those times. And our Bordeaux friends Buzz, Sophia, the Weakends, and Sideburns Robbie. Another true story, Sideburns lit his pubic hair on fire as a gesture of friendship. We are spelling C-H-A-U-T-O wrong in the chorus.
I mean just the title kind of makes you cringe. It just conjures up such a repulsive image.
We had some time left after we did the basic tracks and I had these 2 song ideas sitting around so at the last second we glued them together Beren made up a beat and we just did it on the first take. We’ve had 2 really crummy guys in the band before this, just really bad examples not only of musicians but just bad, boring, selfish people in general. If I had a nickel for each time I wake to find Beren crunched in a corner on the floor and this smug f*cker spread out and drooling in a double bed. And it’s just kind of raised this theme of the shitty modern man, simplified into the image of the 1,000,000 wet toilet seats you see on tour and the KKK. I wanted the song to explode into the sounds of WWIII but liked Woodhouse’s idea of playing one chord that he turns the level of a “Frost Wave” pedal up.
I love Susanna’s vocal on this and I think it’s cool that after 6 records of mostly doing it myself that to me our finest moment is this nice group effort. BUT DON’T GET ANY IDEAS GUYS.
You seem to have this love-hate relationship with Seattle. I’ve read interviews where you’ve said you’re tired of it and you’re planning on moving. What do you think of Seattle in it’s present state (old Seattle vs. New Seattle, no drinking on stage, musice scene in general, this so-called summer we’re having, politics, anything)? Is the Intelligence leaving Seattle?
The people are just the worst, no one can even look at each other on the sidewalk. It’s so weird. We had a weird red faced R.E.I. old man bike dick spit on our car and call us “motherf*ckers” with my 12 year old in the back seat because he though we honked at him. Susanna’s been called a C*nt in the target parking lot by a lady in a reindeer sweater at Christmas! There is a real pent up aggressive terror that I just find really specific to this region. Our neighbor won’t look in our direction when we’re walking parallel to each other to go in the house. I hate the weather, I hate that the ‘goal’ here is to be cozy in your hole. I hate that I spend every penny I have on all the great restaurants and movie theaters because it’s the only thing to do. The sushi here is great but the bands that get big here are terrible and everyone’s so depressed and never wants to do nothing. ME INCLUDED.
The nightclub stuff is too stupid to even pay attention to. In what way does someone drinking a beer on stage in a place that is 21 and over and is selling beer make any kind of difference. The summer, shit they get shorter each year, and it’s to the point that i hate ’em anyways all these people wizzin’ around, i like ’em bummed out. It’s hard to make our plans to move, they keep getting pushed with tours and working and traveling but our hope is to start scooting to New Orleans after Christmas.
The number of people who have played in the band seems to rival the Fall. How would you rate the current incarnation of the Intelligence against past ones?
Well what kinda jerk would answer ‘ I sure miss Gary, now that guy could PLAY A BASS’ ! But honestly right now is my favorite version. I love playing with Beren, she’s great and we never have to practice. Susanna is the most professional person I’ve ever met, has great taste and she isn’t easy to impress. Touring with them is perfect, though I miss Beren’s scallywag days just for the entertainment value but she’s a blast. I feel set and supported by them and lucky. The Icky Babies was a fun era. Shannon McConnell was a real joy. I do miss Kaanan Tupper but he may come back as a guitarist / auxillary weirdo at some point. I’m very thankful that so many people have helped us out.
I know you are a fan of the Fall. Would you ever consider doing what LA band Darker My Love did for Mark E Smith on the Fall’s Reformation Post TLC and offer up your services to Mark E Smith to be in the Fall for an album? Why/Why Not?
I wouldn’t want to be doomed to the pages of musical history as a footnote for the Fall but how would you not answer that call? I got to hang around him once when we played with them in New York and he is a magnetic person to say the least. I saw some youtube of him playing with Gorillaz and it’s exciting as he steps on the stage. So yes, I’d have to.
The new album Males was recorded with Chris Woodhouse who is also a new addition to the band. How do you know him (A-Frames days?)? How did he get drafted into the band? Why did you want him to produce the album?
A-Frames bonded over one of his bands “Karate Party” in a big way and though they were broken up they got back together on our first tour to play with us in Sacramento. It was number 2 in my big 4 shows:
1. Country Teasers first time over here playing for 15 people for about 3 hours until Ben Wallers was so drunk he couldn’t tune a guitar and was dragged offstage by his band.
3. Love reunion show at EMP – Arthur Lee came out (everyone was worried if he could even perform) and over dead silence and said “…….it’s hot in here” and took off his American Flag w/Fringe leather jacket for about 2 minutes and folded it up, then said ‘no, it’s COLD in here’ and put it back on, stared at the audience for 2 minutes, and said ‘well, i guess we’ll start off with, what i started off with, and started beating the tambourine to start ‘little red book’ and absolutely destroyed for 2 hours.
4. Simian from Silver Apples playing by himself (I had no idea we just went to see Viva La’ American Deathray in New Orleans one night) for about 10 people in a bar that more resembles a living room and playing all the great Silver Apples songs with a table full of oscillators and crazy electronics).
Anyway back to #2 Karate Party was just unhinged that night. Woodhouse’s brother was drunk and flopping around on the floor kicking people in a semi-obnoxious way so Woodhouse signals someone over to his pedals, motions at them to hold down the pedal he’s pointing at (which makes this crazy loud curly loop of guitar noise) , hangs his guitar around a random persons neck, and dives onto his brother emulating his flopping but also kinda kicking his head in in a ‘knock it off idiot’ kinda way. To end the show (during “Pressure”) he dives into the drums taking everything but the hi hat out and storms out. The bass keeps going in this ‘I hate you kinda way and your not getting out of here like that’ way, and the drummer keeps hitting the hi hat, slowly the audience builds the drummer’s kit back together around him piece by piece as he starts rebuilding his drumbeat as the pieces come back to him. Soon the rhythm sounds great again and finally Woodhouse has to come back in (probably because he doesn’t drive) with his shoulders a little slumped like ‘ you dicks, that was the END’ and puts his guitar back on and they KILL an added verse and chorus (Woodhouse also makes sure to destroy ALL of the drums this time). The song “the world is not a drag” is about this actually. So we bonded pretty hard, he did the A Frames records and we fell out of touch for awhile and came back together when Mayyors came up a few times, and talked about doing an Intelligence record, a bit into planning it he asked if we’d replaced our guitarist yet and asked if he could do it so we jumped at the chance. I wanted him to do the album because I am a huge fan of his work, especially what he’s done with the last Oh Sees records, they are just huge sounding. And though I love Mike McHugh so much and love what he did on the last records we need to do something different and I also have to say so much of this record was Larry Hardy from In the Red really pushing for a band record and Woodhouse producing.
Each new Intelligence record seems to sound a little more ‘produced’ (with the exception of Crepuscule) and you seem to have become more collaborative if not with the rest of the band at least with the producer. With Males you’ve even let the rest of the band into the studio. Are you weakening in your old age, or just more open to collaboration?
I’m weakening, I’m lonely. It’s more fun to make something with everybody else now, it’s new. My ears are just tired of the ‘LO-FI’ sound for us, I’m also sick to death of being called that, it’s stupid but nothing gets called mid-fi or hi-fi, such a tired and petty complaint I know. I thought the most interesting thing we could do would be to try to make a big clean record. But really it’s just the most interesting path to go down for me, we can record on dirty blank cassette tapes forever, it’s easy but the challenge of having real bright vocals up front was scary and fun. Also our bass sound is cool with Susanna I wanted the record to have a lot of low end. Beren is a great drummer and we wanted a record with US as a band playing, since the 3 of us have been together a long time now it’s just more fun to have something we make as a group. Plus if it sucks it’s THEIR FAULT TOO.
The last few Intelligence records have introduced me to bands like thee Oh Sees, Christmas Island, Wounded Lion and the Lamps. Are there any special guests or covers you have lined up to introduce to Intelligence fans on Males?
No, not this time. I didn’t want it to be a ‘thing’ having covers on our records, I actually think it’s kinda lame doing a cover on your LP (and I like trying to break our own rules) but the novelty of us doing an Oh Sees song seemed original to me at the time, though maybe it doesn’t make as much sense now that they are more popular than us! I probably would not have done it a second time except for 2 things: In the Red asked us to put our version of “Pony People” on the record and 2. When a song that great comes around you bend your rules. Since we did this one in Sacramento I didn’t have the same level of friends to come out, though Beren really pushed for one of the Ganglians to do the ‘bong’ sound on bong life.
The cover of Males is the first to feature a photo (Not counting the collage on Deuteronomy) of the band. (I noticed you stuck a piece of masking tape over the second guitarist who’s no longer in the band, funny.) What was behind decision of the band on the cover? Who did the album cover? Where was the photo taken?
I did the cover, it’s a photo from Torino, Italy. It’s called Velvet Club and it’s just this great tiny dank dungeon basement that we’ve had some of the funnest shows at. Like you said we’ve never used a band photo before so I thought that’d be cool and the type is this cool 1940’s stamp set I got from the antique store I work at (If you’re in Seattle you should visit, it’s Fruitcocktail Collectibles, it’s a great little store). The tape I just thought would be funny and kind of make fun of the ‘rotating’ lineup, though the idiotic things the guy did under the tape could fill a book. My 2 faves: stealing Crash Normals sunglasses when we stayed with them and selling Beren free water from a club.
A few songs on Males are taken from previous singles and compilations. What was impetus for plucking LikeLikeLike and Beetles and including them on the new album?
“Like…” is kind of similar to the song “Dating Cops” in that it was a song I liked but thought was maybe too stupid for and LP but when we played it live seems to strike a chord and it’s always fun to play so I want it to be recorded good on an album since we play it all the time anyway. Plus Beren plays it better than I do on the single. I don’t want it to be out of print on some B-side I want it to be available but honestly I just picture it from a fan’s perspective I want it to be available for 99cents or on our new record so you can crank it up in the car.
The Beetles is an old song, I did a version for Deuteronomy but it just didn’t sound big enough so I sat on it for a while, I knew I wanted it to have the nylon acoustic in the verses, which was funny because it’s hard for me to play, Woodhouse likes to wake up earlier than me at the studio so I just said ‘here record this and work on it all you want and just wake me up when you’re done’. I threw it on that world’s lousy compilation earlier because I thought it’d be cool to hear a rough version of it first and then a really fancy one.
You said: “I don’t want to have too much stuff out there.” referring to putting too much stuff out at once. What’s too much? Robert pollard? Fresh & Onlys? Thee Oh Sees? Do you feel pressure to always have something new coming out every few months? Has the 24 hour news cycle mentality affected music today?
I’m only talking about us personally, if your inspired and are recording yourself and there are different labels asking for things it’s hard not to be prolific. One thing I don’t think people complaining about this realize is the economics of it for little bands like ours because I think the thinking is this: We’re going on tour, X label offered to put out a 7″, we will get 20% of 500 of these records, which means we’ll make $500 which means we can stay in hotel 5 times for 2 songs, kinda hard to say no. For the record I don’t think F & O do too much or Oh Sees, and their stuff is all good anyways, I love them both. I would never say anything bad about Robert Pollard either, if anything his being prolific is part of his thing. Just for us I want it to be special when a new LP comes out and space them out a little more and have them make an impact or statement against the last one. But we put out 2 LP’s at the same time last year, what do I know?
Hi-fi or lo-fi, you seem torn between them (ie. Surfers vs Pacman). What is your preference and has it changed over the years?
It’s Hi-Fi for now, I want our records to sound good with the windows down! I want it to sound good on a P.A. in a club and DJ’s to be able to play it next to Adam Ant and the Buzzcocks without people involuntarily grinding their molars.
I know you’ve alluded to Jazz being an influence on you in other interviews. Miles Davis advocated a less is more approach while John Coltrane especially towards the end of his career like to fill up every empty space with sound. I noticed on Fake Surfers that the sound kind of opened up a little from the claustrophobic feel of earlier albums. Is that a conscious effort on your part and how much of a jazzhead are you?
I’m happy you can hear that, I wanted Fake Surfers to have a real fidelity arc to it, to start out dingy and droney and gradually let the sunlight and space in. I think what’s happened for me is just learning things about the studio, one real moment for me was recording the song “Deuteronomy” and when your mixing you listen to each track at a time, get it to sound good and add the next one. Out of boredom we were just messing around and listening to the bridge of the song but just playing the bassline and the percussion and laughing it just sounded so much like “Low-Rider” in that McHugh just recorded the bass so nicely but as you add the tracks it just gets buried so I started thinking about letting the instruments kind of take turns in the spotlight so everything’s not fighting for frequencies. Later my buddy Drew (from Puberty) told me that was an early rule in Devo, that nobody was supposed to play at the same time and thinking about that you can see another key in why their records sound so good. As far as Jazz, I like Miles a lot but like Coltrane the best but I like his late 50’s (Traneing In and Lush Life are my favorite records) but I got into jazz through Thelonious Monk so if I had an influence (which feels very pretentious to say) I think it would be him, just that really cool less is more approach, and ‘bad’ notes played in the right way.
The A-Frames recently got back together and released a triple album collecting demos, singles, and the aborted 4th album. Do you have any nostalgia for your days as the drummer for that band (any fleeting desire to play with them again)?
I miss those days as soon as I see those guys, which is pretty frequent, Min fills in for Susanna whenever she’s out of town which is great to play with him again. I owe a big debt to the A-Frames musically and am happy they found a drummer that they like and they are still doing stuff. I love them.
Your other band Puberty which you started with Susanna recently completed a residence that you curated at the Orient Express in Seattle.
– What was the initial idea or reason for starting Puberty?
– What are your future plans for Puberty? More live dates, any records?
Puberty was born from a few things: 1. Wanting to do something new, there was a point when I was in A-Frames/Intellignce/The Dipers/Unnatrual Helpers and it was really fun to be thinking musically from 4 different perspectives. I missed that and I think I just working on the Intelligence was frying my brain.
2. Starting with listening to lots of Tones on Tail I wanted to do something like that bigger and broader and poppier and cleaner than the Intelligence.Then Brad Eberhard from wounded lion played me a Fun Boy 3 record “Fame’. The cover is terrible but it’s a great record. That helped me write the first song and get on a roll. And Susanna playing me U-Roy “Flashing my Whip” made us decide it’d be cool if we just sang and rekindling my love of the Specials made us want a big back up band and to dress nice.
3. Susanna had come up with the “Trainwreck” night and we new we wanted to have a band but couldn’t think of anyone that was perfect for it, so she asked if I could get Puberty together in town which gave me a dead line and context to start working on it.
Then we liked the idea of a residency, maybe I heard Suicide did Max’s Kansas City or something?
4. I’ve been wanting to play with everybody in the band for years, they are some of my favorite people in Seattle and some of the best players in town, it’s funny I just sent them demos and they were all hunched over the boom box figuring it out easily at the first practice, I just get to show up with a microphone and they do all the music, it’s really nice.
I think we’re putting the Trainwreck night on ice for a while or maybe forever, it was great but we wanted to go out on a high note I guess. We are working on a 7″ right now and hope to record an LP sometime this year and we’ll be playing around once and a while in town when someone we love comes touring through, we just want it all to be special, we’re all busy, we’ve all been doing bands for years so our motto is ‘refuse to pay the dues’.
The Intelligence has released a lot of singles, eps’s, compilation tracks over the years, many which are out of print and difficult to find. Have you ever given any thought to putting out something that compiles all of your non-album songs? (If not you wouldn’t happen to have any extra copies of Message Of Love/Leopard Skin Pill Box Hat 7″ lying around you’d like to get rid of?)
I’d like to do one at some point, we’ve talked about it with In the Red just not sure when, I want to reissue Boredom and Terror too since it’s out of print, not sure which is more interesting to do first, maybe the singles comp. But I got a Message of Love for you man.
Do you think it’s easier or more difficult to making a living in the music industry today vs. 10 or 20 years ago?
I can’t really tell yet, I guess I can’t see where it’s more difficult, maybe a buncha turds downloading your record for free but that’s probably a bunch turds that would have probably never heard it anyway. It’s not like anyone just takes a chance at the record store anymore anyways so I’m sure it helps. It’s sure as hell easier to book a tour but there sure are a million bad bands booking easy tours too. As much as I’d like to talk bad about the computer I can’t think of anything to say other than muttering ‘thanks’ under my breath.