are you hungry? are you sick? are you begging for a break?
It's been an interesting 36 hours. Friday night I worked until the wee hours of the morning then proceeded to drink until the sun rose, whereupon I went to sleep, woke up after 4ish hours, watched Ashes to Ashes (THIS IS ME, REMINDING YOU TO POKE ME TO START TALKING ABOUT THIS THIRD SERIES), went to work, ran to the subway and to the Bowery Ballroom, where I saw (my first concert since my re-employment, since NOVEMBER) Caribou with Toro y Moi and Hounds of Hate. Then decided to walk home in the wind storm? (I have poor judgement.) I am writing this up now as Doctor Who gets ready for me to watch it (ahem) otherwise I will never get it out.
SUNDIALING! (Perfection. Probably my favourite drum work of all time.)
LEAVE HOUSE!
KAILI! (Not as epically house-tastic as it is on the album, but at the end the guitarist SHREDDED.)
MELODY DAY! (Tears literally leaked out of my eyes at the climax of this song. I didn't even notice until they were on my cheeks.)
FOUND OUT!
LALIBELA! (So beautiful, ugh, and so sad.)
BOWLS! (BLEW MY MIND. Best song off Swim, for sure. As soon as it started someone behind me lit up a fragrant bowl and I laughed out loud. And at one point I noticed that Dan Snaith was just WHALING on the cowbell to make that looped eerie beat.)
ODESSA! (Dance party! Though somehow more than during Bowls, which is crazy, but I guess since Odessa's the big single...)
SKUNKS! (It amazes me how Caribou can go from such dark almost trancey beats to this innocent 60s psychedelia, like almost Zombiesesque.)
HANNIBAL!
JAMELIA! (Amazing, less sad than on the album, more housetastic, I appreciated the guitarist's vocals and attempts to mimic Luke LaLonde's "WHOA-oh-oh"s.)
SUN! (SUN! SUN! SUN! SUN! SUN! EPIC EPIC EPIC THE MOTHERFUCKING JAM! It took me by surprise cos Dan Snaith just SHOUTED "Sun!" with no warning and started looping it and I couldn't stop daaaancing!)
-ENCORE-
BARNOWL! (Dan Snaith drumming with his drummer, sometimes IN PERFECT SYNCHRONICITY, sometimes overlapping and syncopating, is unmatched by anything I have ever seen. Half jazz drumming, half marching band. It is astounding.)
Also, Hounds of Hate are my new favourite thing (DUB. STEP.) and Toro y Moi is even better than I hoped they would be. They basically played all of Causers of This and one new thing they'd just written as a band (instead of just Chaz). Ooookay now I am going to watch Doctor Who.
Oh my god, loffffffff. This is definitely one of those episodes (like The Shakespeare Code) where I just want to go back and c&p a million quotes. First off, the Doctor jumping out of Rory's cake. ("Again!") I have rewatched that scene about twice already and I can't get over it. I can't. That fucking little camp flutter he does with his hand at the very end before the credits roll, that was almost surely just Matt Smith trying to get the tinsel unstuck from his hand, and the director saw it and was like THAT'S A SLICE OF FRIED GOLD! /edgar wright
"I like the bit when someone says 'it's bigger on the inside'. I always look forward to that." *BIG LONG LOOK* So evergleam83 and I had been discussing when each new Doctor clicked for us (as opposed to "OMG DAVID TENNANT! AND OMG HE'S THE DOCTOR!" and subsequently "OMG MATT SMITH..." you get the picture) and she mentioned that it was definitely during the two parter that Eleven really cemented for her. I would have said the same thing. But for some reason, I really think it was THIS episode which did it for me. Maybe it was something about him climbing a tall building? In all seriousness, despite the creativity of the episode, there was a real familiarity to the plot, in a somewhat comforting way. Similar to Whithouse's other episode, School Reunion (his face-offs with Roseanna vs his face-offs with Tony Head's character, though less allusions to procreation with Tony Head, "THINK OF THE CHILDREN" AHA BEST LINE DELIVERY AWARD GOES TO...) and the aforementioned Shakespeare Code -- maybe it's because he was back in time? I'm not sure. But whatever it was, it was so very Doctory. Hello, Eleven.
That scene with the Doctor and the vampy girls, "Oh, this is Christmas!" --that whole thing I had already been in love with since I saw it when Matt Smith promoted on Wossy, but then WHAT COMES AFTER! The Doctor and Amy just shrieking into each others' faces and grabbing each others' arms like schoolgirls squeeing over a cute boy! I literally cannot end a sentence without capslock or an exclamation point! (This may have become clear in my concert write up.) I love that the writers are taking advantage of having a young Doctor ("You look like you're about nine!") in the best ways, ways I didn't even think of. Some of the things he says, the things he can get away with, the incongruity of the things he does and what he looks like, and his relationship with Rory. Because you look at the two of them, they could be university-types, best mates. (You can DEFINITELY tell that Matt Smith and Arthur Darvill had worked together before [that play I almost saw in London, Swimming with Sharks], and they work so well together!) "We're definitely her boys." "Yep." Shades of Whithouse's Being Human, Mitchell and George and Annie, except this Annie is way more awesome and an actual 3D person. (Plus we had Gilbert from the first series in this episode, playing a character I like to call Mr. Cool Hat!)
I fucking love how they established Rory and Amy's relationship. They really, really showed that she loves him. I believe it with all my heart. And I love that she wants him to come along. It's like if Nine had been ready to let Mickey come along (and if Mickey had been ready to come along), instead of it all happening at the wrong time in series two. And Rory's love for her, he's protective of her, but not in a stupid possessive Xandery way (oh Xan-man, you have forever become the synonym for terrible males in relationships), and the Doctor understands it and respects Rory, and tells Amy to go back to the TARDIS. But of course once the tables are turned (and this was perfect), Rory wants to impress the Doctor, Rory puts HIMSELF in danger, and then he doesn't care anymore. He's in it. He's in it to win it, and by that I mean they are totally going to have a threesome. What? Yes.
I am so redonkulously tired right now, I have to go to sleep, but tomorrow morning I will watch the Confidential and probably the episode again (maybe get on that whole writing out every single fucking line cos they were all genius) and hopefully have more thoughts. Especially if the Confidential has another part of the Matt & Karen show that is as epic as "Smoochy Smoochy Time". (Speaking of that, what was that thing Eleven said to Rory about "I kiss no mouth" when Rory was asking about Smoochy Smoochy Time?, and Rory replied something like, "Very funny"?)
Oh yeah and um, THE TRAILER WHAT IN THE FLYING FUCK. It's going to be a doozy! I am so excited! Goddammit why are there weeks? Why don't I have a TARDIS?
(ETA: OH YES. And the bit about not being able to run into Casanova ...because he owes him a chicken. Haha, and because it's David Tennant! Lolz.)
And yes, I am listening to this song on purpose.
SUNDIALING! (Perfection. Probably my favourite drum work of all time.)
LEAVE HOUSE!
KAILI! (Not as epically house-tastic as it is on the album, but at the end the guitarist SHREDDED.)
MELODY DAY! (Tears literally leaked out of my eyes at the climax of this song. I didn't even notice until they were on my cheeks.)
FOUND OUT!
LALIBELA! (So beautiful, ugh, and so sad.)
BOWLS! (BLEW MY MIND. Best song off Swim, for sure. As soon as it started someone behind me lit up a fragrant bowl and I laughed out loud. And at one point I noticed that Dan Snaith was just WHALING on the cowbell to make that looped eerie beat.)
ODESSA! (Dance party! Though somehow more than during Bowls, which is crazy, but I guess since Odessa's the big single...)
SKUNKS! (It amazes me how Caribou can go from such dark almost trancey beats to this innocent 60s psychedelia, like almost Zombiesesque.)
HANNIBAL!
JAMELIA! (Amazing, less sad than on the album, more housetastic, I appreciated the guitarist's vocals and attempts to mimic Luke LaLonde's "WHOA-oh-oh"s.)
SUN! (SUN! SUN! SUN! SUN! SUN! EPIC EPIC EPIC THE MOTHERFUCKING JAM! It took me by surprise cos Dan Snaith just SHOUTED "Sun!" with no warning and started looping it and I couldn't stop daaaancing!)
-ENCORE-
BARNOWL! (Dan Snaith drumming with his drummer, sometimes IN PERFECT SYNCHRONICITY, sometimes overlapping and syncopating, is unmatched by anything I have ever seen. Half jazz drumming, half marching band. It is astounding.)
Also, Hounds of Hate are my new favourite thing (DUB. STEP.) and Toro y Moi is even better than I hoped they would be. They basically played all of Causers of This and one new thing they'd just written as a band (instead of just Chaz). Ooookay now I am going to watch Doctor Who.
Oh my god, loffffffff. This is definitely one of those episodes (like The Shakespeare Code) where I just want to go back and c&p a million quotes. First off, the Doctor jumping out of Rory's cake. ("Again!") I have rewatched that scene about twice already and I can't get over it. I can't. That fucking little camp flutter he does with his hand at the very end before the credits roll, that was almost surely just Matt Smith trying to get the tinsel unstuck from his hand, and the director saw it and was like THAT'S A SLICE OF FRIED GOLD! /edgar wright
"I like the bit when someone says 'it's bigger on the inside'. I always look forward to that." *BIG LONG LOOK* So evergleam83 and I had been discussing when each new Doctor clicked for us (as opposed to "OMG DAVID TENNANT! AND OMG HE'S THE DOCTOR!" and subsequently "OMG MATT SMITH..." you get the picture) and she mentioned that it was definitely during the two parter that Eleven really cemented for her. I would have said the same thing. But for some reason, I really think it was THIS episode which did it for me. Maybe it was something about him climbing a tall building? In all seriousness, despite the creativity of the episode, there was a real familiarity to the plot, in a somewhat comforting way. Similar to Whithouse's other episode, School Reunion (his face-offs with Roseanna vs his face-offs with Tony Head's character, though less allusions to procreation with Tony Head, "THINK OF THE CHILDREN" AHA BEST LINE DELIVERY AWARD GOES TO...) and the aforementioned Shakespeare Code -- maybe it's because he was back in time? I'm not sure. But whatever it was, it was so very Doctory. Hello, Eleven.
That scene with the Doctor and the vampy girls, "Oh, this is Christmas!" --that whole thing I had already been in love with since I saw it when Matt Smith promoted on Wossy, but then WHAT COMES AFTER! The Doctor and Amy just shrieking into each others' faces and grabbing each others' arms like schoolgirls squeeing over a cute boy! I literally cannot end a sentence without capslock or an exclamation point! (This may have become clear in my concert write up.) I love that the writers are taking advantage of having a young Doctor ("You look like you're about nine!") in the best ways, ways I didn't even think of. Some of the things he says, the things he can get away with, the incongruity of the things he does and what he looks like, and his relationship with Rory. Because you look at the two of them, they could be university-types, best mates. (You can DEFINITELY tell that Matt Smith and Arthur Darvill had worked together before [that play I almost saw in London, Swimming with Sharks], and they work so well together!) "We're definitely her boys." "Yep." Shades of Whithouse's Being Human, Mitchell and George and Annie, except this Annie is way more awesome and an actual 3D person. (Plus we had Gilbert from the first series in this episode, playing a character I like to call Mr. Cool Hat!)
I fucking love how they established Rory and Amy's relationship. They really, really showed that she loves him. I believe it with all my heart. And I love that she wants him to come along. It's like if Nine had been ready to let Mickey come along (and if Mickey had been ready to come along), instead of it all happening at the wrong time in series two. And Rory's love for her, he's protective of her, but not in a stupid possessive Xandery way (oh Xan-man, you have forever become the synonym for terrible males in relationships), and the Doctor understands it and respects Rory, and tells Amy to go back to the TARDIS. But of course once the tables are turned (and this was perfect), Rory wants to impress the Doctor, Rory puts HIMSELF in danger, and then he doesn't care anymore. He's in it. He's in it to win it, and by that I mean they are totally going to have a threesome. What? Yes.
I am so redonkulously tired right now, I have to go to sleep, but tomorrow morning I will watch the Confidential and probably the episode again (maybe get on that whole writing out every single fucking line cos they were all genius) and hopefully have more thoughts. Especially if the Confidential has another part of the Matt & Karen show that is as epic as "Smoochy Smoochy Time". (Speaking of that, what was that thing Eleven said to Rory about "I kiss no mouth" when Rory was asking about Smoochy Smoochy Time?, and Rory replied something like, "Very funny"?)
Oh yeah and um, THE TRAILER WHAT IN THE FLYING FUCK. It's going to be a doozy! I am so excited! Goddammit why are there weeks? Why don't I have a TARDIS?
(ETA: OH YES. And the bit about not being able to run into Casanova ...because he owes him a chicken. Haha, and because it's David Tennant! Lolz.)
And yes, I am listening to this song on purpose.