I forgot to listen and join in, but quickly, I’m a huge LC! ride or die, and this era is extremely charming and full of rawness, but I just don’t go back to it a lot. Except for The International Tweexcore Underground, which is such an amazing song.
The Los Campesinos! listening club: Sleeper hits for weeping dipshits! A Los Campesinos Christmas starts at post 474!
I don’t think that Gareth really understood why people get their ears pierced tho
and look how he turned out
I only got my ears pierced about 2 years ago and I miss being able to sing that line sincerely.
I’m not Bonnie Tyler and I’m not Toni Brixton and this song isn’t gonna save your relationship, oh no shit: Hold on Now, Youngster
Death to LC! is still a lovely fun song.
FOUR SWEATY BOYS WITH GUITARS TELL ME NOTHING ABOUT MY LIFE
ah i love that line so much
I sorta like it but it feels very of it’s time and also I think it’s aged quite poorly given how many women in the band have been replaced with men but anyway
Not sure that is fair, as a band they are pretty right on in terms of gender equality. Only really Ellen on bass that this has happened with - Kim came in to replace Aleks and nobody replaced Harriet.
yeah also i think they’ve very rarely (only their first couple of tours i think?) had all-male support bands too
Yeah fair enough. I just think in that sense they very much felt like an outlier to the time they formed and that’s changed over time
(also in my head this coincides with the football references greatly increasing and I have strong feelings about that as well, but I’m largely projecting here)
The football references and gender politics together are one of the reasons I love them so much.
I go to the football a lot and I still hear conversations on gender and sexuality that are just wrong. As someone who works in arts / charities / student unions, and is very passionate about it, outdated views like that are not the norm (quite rightly) but Gareths words mixing them both are just a perfect mix for my loves and passions
I don’t like that line it comes across as smug and condersending, ‘aren’t I so superior, I don’t like bands with all guys in’, feels very performative, like the type of guy who puts they are a feminist in their dating profile as they think it’ll help them get girls.
That and the line ‘never trust a guy who doesn’t like a single sport’ also comes across as really laddy and again smug and dissmissive. I used to be a fan but completely went off the whole persona/character in the songs. Just red flag stuff.
That said the sea is a good place is still a great song.
Yay! At last! 3 out of my 11 favouritest LC tracks are on this album
Still the best album imo. Obviously lots of rough edges, cringey lyrics/titles etc but an energy and sense of fun that they never quite matched at any point after. It’s like how Rousseau depicts man in the state of nature
Really struggled with Sticking Fingers Into Sockets and The International Tweexcore Underground. The hectic clatter of HON,Y but with the production values of a set of clippers in a washing machine. Find Gareth’s voice beyond grating, it’s aggressively honking and urgent, like he’s belting out these (sometimes staggeringly) cringy lyrics at the object of his affection’s back as they desperately try to run the fuck away from him.
Songwriting and production are a night and day difference with HON,Y but I’m still finding it a difficult album to locate things I like about it; the lyrics still come across as judgy and performative, and I can’t tell if it’s them or me; they make me feel old, and maybe I am, but I felt the same back in 2008 (…when I was 29). Were they just too late for me, and it’s not their fault? /principalskinner.jpg
Hoping things change soon, though I’m given to understand that won’t be by next week.
yeah they’re very smart arse student a lot of the time, which i could see even as a smart arse student. it’s funny, SFIS came out in my final year at uni, same as the band, then HONY came out when i’d (and they’d) graduated into a recession with a worthless arts degree, and while i didn’t regret it coz i’d had a lot of fun, it definitely didn’t help me get a job. so when HONY came out i definitely enjoyed it but it felt a bit lightweight for what i was hoping for i guess? and then WABWAD came along in no time and sorted me right out BUT THATS ANOTHER STORY. anyway i don’t listen to it much these days, but i look back on it fondly, and more than half the songs on it are really good and still sound great live and stuff, and i’ve not listened yet this week but i’m looking forward to it
Nice. I was thinking I was the only person here who loves this album, given all the other LC threads I’ve gone into I’ve seen lots of comments along the lines of “liked it a the time, but have moved on” or something about immaturity or similar. I’ve tended to rank RIB and, more recently, Sick Scenes over HONY, but listening today, I’m not quite sure why. I think all three are equally brilliant, albeit in different ways.
Maybe part of why I never counted HONY as the best is owed to the fact that I was a disappointed with the production on my first listen, and so I never bought it. It was actually hard for me to get at first (in Australia), so it had been out for quite a few months before I finally got the chance to listen to it, and when I did it hurt my ears! In retrospect, I chalk it up to the fact that, firstly, I was measuring it against the early demos, and secondly, life changes meant I was largely having to listen to music via apple ear buds (terrible fit = leaky bass / high treble), rather than on the car or home stereo. Ended up not properly listening to HONY until after falling in love with RIB.
But it is such a great, fun album. “Fun” is THE word that defined LC for me (and thus continued for a long time to be the criterion by which I measured their future releases: more on that at the appropriate time), and HONY is chock full of it. I love the lyrics — or what I pick up of them, at any rate, as I don’t really notice/focus on lyrics generally. It’s the orchestration of melodies and rhythms that I love. For almost every second of almost every song, there’s something just going on that has me snapping fingers or punching the air or bopping my head or whistling the tune. In that context, the vocals are another instrument, playing their part, and only occasionally do the actual words make an impression. Dancing and Sweet Cheeks, in particular, never fail to give me a rush. But also Death, Math(s), Doe Eyes … really, probably Accelerated Readers is the only one that doesn’t give me quite the same thrill as the rest.
Fucking love it.