“People who find the Web distasteful — ugly, uncivilized — have nonetheless been forced to live there: it’s the place to go for jobs, resources, services, social life, the future. But now, with the purchase of an iPhone or an iPad, there’s a way out, an orderly suburb that lets you sample the Web’s opportunities without having to mix with the riffraff. This suburb is defined by apps from the glittering App Store: neat, cute homes far from the Web city center, out in pristine Applecrest Estates. In the migration of dissenters from the “open” Web to pricey and secluded apps, we’re witnessing urban decentralization, suburbanization and the online equivalent of white flight.”—
Mind blown. What a crazy, and what I think accurate, thought.
So the new Sleigh Bells album is out (there’s a link in the previous post to a stream of the album), and I noticed a few weird things about the track “Rill Rill.” First of all, almost everyone who’d heard the previous version of this track called it “Ring Ring” (which actually is a repeated line in the song, part of a bit about calling up a friend on the telephone). When I originally found this song on YouTube, there were descriptions and comments confusing the more obviously appropriate title and what actually really became the album title for the song. So that’s kinda weird, right? Also, the original “Ring Ring” track had a line that went “we are the river flow/ and you can never know/ you’re just the weatherman/ we make the wind blow.” But in the album version (“Rill Rill”) those pronouns are all reversed: “you are the river flow/ and we can never know/ we’re just the weatherman/ you make the wind blow.” This is preceded in the song by another change in the lyrics switching (what I think is ) “pentagon” to something (even more) indiscernible. This is all a “just sayin’” kind of situation, but I wonder what the motivation was here; I wonder if it was meant as a well-conceived Freudian slip or something.
The album is really fantastic, by the way — making the most out of being under M.I.A.’s creative umbrella while reminding me of sounds as distinct as The Fiery Furnaces’. And for those of you who may be sitting on the demo tracks, rest assured that the updated versions are all superior (lyrical shenanigans notwithstanding).