Word: girls
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Dollhouse is my usual sort of hybrid. But I would call it a thriller, or a drama, before anything else. It's very much a story about this girl's attempt to reclaim her identity, inside of an organization that would perhaps prefer she be stopped. But then within that, because she takes on a different personality every week, there are all sorts of adventures. There's one that's like a whodunit, there's one that's like a caper, there's one that's like a horror movie. We can bounce around...
...something smart. "The Fear," already a hit in Britain, is a hummable single about vapid consumerism ("I want to be rich and I want lots of money/ I don't care about clever I don't care about funny") that honors both "Lost in the Supermarket" and "Material Girl." "Not Fair" laments that her otherwise excellent boyfriend is lousy in bed ("I look into your eyes, I want to get to know yer/ And then you make this noise and it's apparent it's all over") but advances from slagging wit to real disappointment in the chorus...
...Allen has a rather mellifluous name. She dresses in full skirts and dons a lot of bows. She wears her chocolate-brown hair in side bangs to accentuate her round face. Her melodies are simple and sweet. In short, she plays the part of a naïve little girl particularly well. It’s an impressive façade, and in her new album “It’s Not Me, It’s You,” she uses it to her great advantage.A boldly irreverent lyricist, Allen seems to have taken Mary Poppins?...
...while watching their video. In “She Loves Everybody,” D.A. Wallach ’07 couldn’t possibly have looked nerdier—he sports a curly Jew-fro and bowtie—while singing about having safe sex with a cheating girl. Bandmate Maxwell C. Drummey ’07 seems to embody the rocker spirit with shoulder length hair and the stony, “I don’t give a damn” look. However, his style must have been too hip a statement as both Drummey and Wallach...
...seeming reversal on their word count policy, prefer to forego their surnames—are much better at making music than they were at christening themselves.On their self-titled debut album, they prove themselves to be unapologetically dedicated to crafting tight and wistful three-minute pop songs. Boy-girl, matchy-matchy harmonies are blissfully paired with jangling rhythms and mumbled chords.To say that POBPAH’s music is derived from Twee—that dainty, sweet style that emerged from mid-80s England, then-described by music critic Simon Reynolds as “a revolt into childhood?...