How does one define the sound of pop group "They Might Be Giants?" The only answer may be to play one of their albums.
The enigmatic, category-defying pop group "They Might Be Giants" continues to amuse and befuddle in their sixth and most recent release, "Factory Showroom," out on Elektra Records.
Indeed, the pair have taken on a number of tenuous band members, including drummer Brian Doherty, bass player Graham Maby and guitarist Eric Schermerhorn, late of David Bowie and Iggy Pop.
The band has a mercurial style, changing mood, sound and general subject matter on each track. Throughout the course of "Factory Showroom" the band whips through funk, punk rock, new wave and alternative chord progressions, to name a few.
Each song on "Factory Showroom" is a new adventure in a different style of pop music.
However, the constant shifting from style to style leaves "They Might Be Giants" in a state of limbo, without any clear direction or cohesion to their newest album.
The song composition on "Factory Showroom" is uniformly simplistic, with little or no attempt at a deep understanding of any one form or style of playing. Indeed, "They Might Be Giants" is most noted for its humorous songs, off beat and catchy tunes like "Istanbul Not Constantinople" that originally grounded the group's fame in the mid '80s.
To this extent, the band delivers. Notable tracks on the album are the quirky and morbidly funny "Exquisite Dead Guy," and the appropriately titled "James K. Polk," an ode to little know United States president James K. Polk which appeared on an earlier Giants' album.
However, when Linnell and Flansburg attempt to write or perform music with more substance, they fall far short of their mark. "New York City" is an unbearably syrupy song by a group called Cub from Vancouver. The refrain of this oppressively sentimental tune ends with the saccharine line, "The streets are paved with diamonds, there's so much to see, but the best part of New York City is you and me."
The last track on the album, "The Bells are Ringing," is a poor try at social commentary. The song is a tired warning about conformity we have all heard before whose lyrics are drowned out by a woman shrilly squealing "bong! bong! bong!" And yet the muffling of the voices of Linnell and Flansburg in the last track is not completely unwelcome.
Undoubtedly, the weakest component of "They Might Be Giants" ensemble are the voices of Linnell and Flansburg. The two have little vocal talent, and their voices strain, break and die on any note held for more than half a second.
Nor is the off pitch singing intentional, as may be the case with a musician like Lou Reed. Linnell and Flansburg sing like dying muppets, and clearly have little vocal talent or training.
Nonetheless, They Might Be Giants have a creative flare which at times almost saves them. One track, "Can I Hear You," is recorded on a 1898 device invented by Thomas Edison. "Can I Hear You" also features a tuba player. It is hard not to be charmed by such innovation.
Although they have considerable creative talent, Linnell and Flansburg would be best advised to stay with recording amusing, forgettable little songs, lest they bore listeners with insipid, uninspired music.
