Tag: Drunk Drivers/Killer Whales

Happy Sunday, bibliophiles! I hope this week has treated you well.

This week: Aquarium gravel music, driving-in-the-summer music, and music that I would’ve made a badly-animated Warriors AMV for in elementary school, if I had the capabilities.

Enjoy this week’s songs!

SUNDAY SONGS: 7/27/25

“Drunk Drivers/Killer Whales” – Car Seat Headrest

Yeah, yeah. I will not shut up about the Car Seat Headrest show two weeks ago. This is a threat. Consider this me gripping the sides of your head and forcing you to look at this screen and listen to a painfully awkward gay man’s earth-shattering voice cracks. You WILL listen.

After talking about how he doesn’t play much of his old music anymore, namely that of Teens of Denial, Will Toledo said that this song was one of the more optimistic songs he’d written during that period, where he described himself as an “angry young man.” This is going to sound incredibly corny, but stay with me. I knew all the words to “Drunk Drivers/Killer Whales” for years, but it wasn’t until then that it really hit me. That’s when I knew them. Granted, I was 13 and focused more on the enigmatic wails of Will Toledo and the raw wave of emotion that swept me up in the undertow, but I never quite considered that, in the midst of an album steeped in substance abuse, self-hatred, and depression, that this is a much more optimistic outlook on it all. (Speaking of said substance abuse, I really think that listening to Teens of Denial so much when I was younger was unironically very good drug prevention for me. Sure, a good 50-75% of their songs up to 2016 are about drinking and drugs, but they’re all about just how deeply miserable Toledo was while drinking and doing drugs. They need to implement this album in schools instead of D.A.R.E.) I wouldn’t be surprised if “Drunk Drivers/Killer Whales” was the last song of the album written; it takes a more retrospective look at the cycle of self-hatred and bad decisions that color Teens of Denial as a whole, and it offers a knowing look, a hug, and a rallying cry: “It doesn’t have to be like this.” From the outside looking in, Toledo looks at the wreckage of everything he’s done up to this point, and professes this to his own anxieties:

“Here’s that voice in your head/Giving you shit again/But you know he loves you/And he doesn’t mean to cause you pain/Please listen to him/It’s not too late/Turn off the engine/Get out of the car/And start to walk.”

GOD. OW. That’s another way homer. I suppose it’s taken years for it to hit me like it was likely intended to, but that’s probably for the best. I think of recent times, when I was so wrapped up in my own anxiety that I didn’t even realize that I could make the choice to work with it, to create a life for myself that would result in me being a happier, healthier person. I’m still on that road. Every day, it’s a little more effort. But it’s all worth it, brick by brick. As Toledo says, “But if we learn how to live like this/Maybe we can learn how to start again/Like a child who’s never done wrong/Who hasn’t taken that first step.” The power is always in your hands, whether you realize it or not. You can’t make every negative thing in your life disappear into thin air, but you can make those choices, take control of the wheel and start to steer your life in a better direction. It takes a monumental, gradual effort, but IT DOESN’T HAVE TO BE LIKE THIS. It never does. Looking back to a year ago, I can’t be more proud of myself for taking that leap, of leaning into my support system to try little by little to end the cycle of anxiety that I was falling into. This song couldn’t have come back to me at a better time. You can always learn to start again.

…AND A BOOK TO GO WITH IT:

“Stay” – Shakespears Sister

There’s a brief window in every decade where the signature sounds haven’t yet been cemented. It’s a limbo that allows for the final bastions of the last decade’s sound to grab ahold. This song comes to mind, because this is quite possibly the most ’80s song of the ’90s.

My mom knew exactly what she was doing when she played this for me. I feel like I was around 8 or 9 when she first played it for me. I wished I remembered more of the specifics, because I definitely had some kind of elaborate Warrior Cats AMV planned in my head set to this, but I remember just being so enraptured. It was one of those songs that instantly marked its place in my memory: I was in the backseat of the car, at a gas station, and the sky was overcast, and I’d just had a revelation. My mom and I are definitely interlinked at critical points in my music history, and the more I think about it, “Stay” was absolutely one of them. Like…how did I not know that the album was called Hormonally Yours? I mean, what else is there to say other than fuck yea, that’s an album title??

“Stay” is pure drama, and as over-the-top and gloriously camp as it is, in the right amount, that’s my absolute catnip. Funny that I should mention catnip, because despite the ubiquitous lyrics, it was meant to be part of a concept album, all based around [checks notes] this ’50s sci-fi movie called Cat-Women of the Moon. (Hence this song.) “Stay” was intended to be about the love story between one of said Cat-Women and one of the human male crew members of the ship to the moon, with Marcella Detroit being the Cat-Woman in love and Siobhan Fahey taking the part of, one of the other Cat-Women who shuns their romance. Despite Shakespear’s Sister not being able to execute the concept album as they wanted to, “Stay” retains the high drama and yearning present in the original idea. Over-the-top as it is, I can’t help but be enraptured by it, the same way that I was when I was a little kid. The dueling voices of Detroit and Fahey craft a story of operatic proportions, cranking the yearning up to 11.

Even though the Cat-Women of the Moon never saw the light of day, what did survive is glorious—namely the music video for “Stay.” Instead, we’ve got a vague sci-fi setting, where Detroit is doting over a comatose man, and Fahey is Death tempting the man to come to the other side, complete with a star crown and some absolute Harley Quinn crazy eyes. It’s so camp. God, I love it.

Jenny Joyce could never.

…AND A BOOK TO GO WITH IT:

“Re-Hash” – Gorillaz

Nothing like a great pop song about how much pop music sucks.

Gorillaz, at least in the early days, was a study in artificiality. The project famously came about because Damon Albarn and Jamie Hewlett had been watching a lot of reality TV and hearing the much more manufactured aspect of pop music at the time (“It’s the sweet sensation over the dub/A one-off situation that don’t wanna stop”), and wondered if they could take it to the extreme: an entirely artificial band. In a way, “Re-Hash” was them slyly taking a shot at what Albarn viewed to be the state of pop music at the time, before blowing it out of the water and making the most artful indie-pop music possible. That first album is almost a no-skip album, and there’s no shortage of tracks that I constantly revisit. I hadn’t listened to “Re-Hash” in quite some time, and I’d forgotten just how incredible of an opener it is. Admittedly, my association with their self-titled album will always be of summer, since I’m pretty sure I first listened to it in July or August back in high school, but everything about “Re-Hash” is soaked in sunshine, with a combination of acoustic guitars mixed with drum machines that begs for a rolled down window. That Ba-ba-ba-ba-ba-aaaaah repetition towards the last third of the song is just infectious—without a doubt, a very recent holdover the more playful side of Blur’s discography. What a propulsive start to such an iconic album.

…AND A BOOK TO GO WITH IT:

“Miami” – Cate Le Bon

Oh my god, CATE LE BON!! Reward is an excellent album as a whole—I’d say that it’s just about equal to Pompeii as far as consistency, creativity, and the uniqueness of the soundscape. Although she’d begun to transition into the more synth-dominated part of her sound here, Reward has a more naturalistic feel to it. Even if the album cover didn’t have her bent over, walking over the contours of a time-worn cliff against an overcast sky, it has this inherent aura to it that feels like having the wind toss your hair as you walk along a pebbly beach as a storm brewing in the distance. The comparison that jumped out immediately to me was Damon Albarn’s The Nearer the Fountain, the More Pure the Stream Flows, an album with similarly rocky shore imagery on the album cover and throughout the lyrics. I wouldn’t expect such a feeling to brew in me from an album dominated by artsy brass and woodwinds and synth in equal measure (lots of great clarinet and saxophone action here, similar to Albarn).

In my exploration into her music, I’ve found a constant in Cate Le Bon’s more recent work: she’s damn good at making an opening track (see also: “Dirt on the Bed”). “Miami” sounds like being in a goldfish bowl. The bright, percussive synths in the background bubble like an aquarium filter, while others sound like water sliding against glass. Some of the more recognizable percussion hushes like aquarium gravel crunching in the palm of your hand. It’s all so strangely aquatic, even with the steady blast of saxophones in the background. It honestly feels far more appealing than the actual Miami, but then again, my only experience of Miami was a grotty hotel, so maybe that’s my overall Florida bias. But I’d be hard-pressed to think of a song on Reward that’s better suited to open up Le Bon’s peacefully avant-garde soundscape than this one. It lulls you into a state of calm while enticing you forward with breadcrumbs of her signature, off-kilter charm. The lilt of her voice is as much an element of the ecosystem as the brass or the synths; if anything, it’s the goldfish in this metaphor, her voice like the smooth, effortless flap of fins underwater.

…AND A BOOK TO GO WITH IT:

“You’re Damaged” – Waxahatchee

For all intents and purposes, I really should be into Waxahatchee. Stylistically, she’s often grouped in the company of Snail Mail, Adrianne Lenker, and Soccer Mommy, which should be a massive red cape to my sad indie rock bull. (In fact, my reigning association with her is this one tweet that reads “I would personally be afraid of snail mail because she’s friends with waxahatchee and waxahatchee looks like she open carries”) But the main thing that keeps me from enjoying her most of the time is her voice. It’s fully just personal preference, and I’m sure she’s very talented, but Waxahatchee feels like proof that singing in cursive isn’t exclusive to pop music. Please!! Sing without over-enunciating everything!! My god!!

Thankfully, there are exceptions to the rule. “You’re Damaged” fits snugly into the indie rock that I usually love, with Katie Crutchfield’s sparse, bare vocals. Here, her voice soars, free of expectations, dipping deftly from hard to soft as she runs circles around memories of a broken relationship: “And no I can not see into the future/No I cannot breathe underwater/Bit your last word, I call out to you/This place is vile, and I’m vile too.” It mirrors the album cover of Cerulean Salt, where Crutchfield is blurry and submerged underwater, her face obscured by her own hair and the ripples of the water; rambling through the misty glass shards of memory, she struggles to break away from an unhealthy relationship when she’s just as unhealthy as the other part, wanting them when everything around her screams for her to do the opposite. It’s the kind of song that only a raw voice and an acoustic guitar can capture, and it does so hauntingly.

…AND A BOOK TO GO WITH IT:

Since this post consists entirely of songs, consider all of them to be today’s song.

That’s it for this week’s Sunday Songs! Have a wonderful rest of your day, and take care of yourselves!