Oh look it’s a Schuyler special. Maybe the best electronic bass sound in the entire greedyfeedr corpus.

This likely came from a Rob riff, with some Jeff special sauce drizzled over it.

EDIT: It is actually impossible for this dear web designer to decipher which line was the real genesis for this song. But nothing unites us like an ancient mystery.

A Schuyler riff + a Rob bridge equals wholesome family entertainment for all. Everyone’s really doing their job well in this one.

It’s about leaving breadcrumbs in this life that you can use in the next.

Shine. Shine like a flame. Silent and noble like the soul lodged between us.

A patented electronic Schuyler experiment. Some KAOSS pad, Judy Garland, a smooth bassline, and a song title everyone confuses with the Jackass soundtrack equals some sweet, sweet streaming revenue.

This song came from a Jeff guitar line that Schuyler promptly bungled and turned into kind of a saccharine version of what it could have been. 

FUN FACT: The first 4 songs (actually 5, but Dearest Heloise, pt. 1 and 2 were written as one long song) on Like Sisters were going to be pressed as an EP to hand out for free to people at shows. Its title was The Perfect Human, a nod to Jørgen Leth’s short film featured in Lars Von Trier’s experimental feature film The Five Obstructions. The keys of the first 3 songs are G, A, and C, so the 4th song is titled T(6) to complete the four letters of the human genome; G, A, C, T – The Perfect Human.

Align yourself with someone who is strong enough to fight the tide. Force him on his chest into the water when the time is right. Ride him like a fisherman, just for a while, now let him back in. Ask him “what’s the value in humility sustained”?

No idea who wrote this one.

Extremely inferior to its demo version, recorded in Schuyler’s bedroom late one night.

This song, if memory serves, came from a pure jam. Possibly the only song in the catalogue created that way. 

It’s about Schuyler’s friend Paula, dead at 24.

A lion, a witch, a dissident.

A pure Jeff song. Perhaps the pure Jeff song. His finest work.

This is a primo example of how our songwriting worked at the time. Jeff taps a riff so good the rest of us take notice. Rob taps something equally impressive. Kyle goes absolutely bananas to the extent that the song will allow. Schuyler functions as the arranger, which includes instructions on where to relax things to make room for vocals, and where things can get wilder. The chorus, for instance, is just 3 bass notes and the re-introduction of Jeff’s opening riff, with a gigantic vocal line. Kyle gets room to do cool shit during the interlude before the 2nd verse. 2nd chorus is even bigger than the first and ends with the juiciest major chord imaginable, which leads into the bridge. And because the song has been so rewarding thus far, we can go as insane as we like from here to the end. And we do. Including a temporary suspension of the time signature to confound before another reward in the form of 4 thunderous tom hits signaling re-entry into coherence.

God damn talking about music is the absolute worst.

Press Your Skin Grafts Against Me is about boundless love from something very large, and the song’s function as a counterpoint to 3 Victors immediately preceding it in the track listing is no coincidence.

Look at our faces. There’s not a single one not expecting you to fold your arms instead of opening your heart like you did. As if I needed incentive to love you. As if I needed incentive to love you more.

A true Schuyler piece if ever there was one. Just one rhythm over and over again, then Kyle does the rest.

Kyle’s work in this song is not remotely what Schuyler had in mind when he wrote it, but judging by audience response, Schuyler was wrong. This song was a motherfucking hit live. Wonders never cease.

It’s about denying all impulses that aren’t sufficiently humanizing.

The tempter bats his heavy bedroom eyes. Still refusing invitations from the water I am.