Lynch's "fake songs" are equally entertaining from his sour Frank Black impression on "Colleen" to the artsy lift of David Bowie's "Space Oddity" on "Eclipse Me," Lynch's presentation is right on. NME loved it so much, they hailed it as one of their Singles of the Week in November 2002.
His many characters of Kiki, Officer Leroy, and the girl at the pool hall are introduced in the sock-puppet favorite "United States of Whatever," an absolute standout that crassly makes fun of American youth in its own self-deprecating kind of way. But as Fake Songs takes shape, Lynch vocally stretches things out all over the place and switches tempo in order to suit a specific character in each song. Vocally, he's got that lazy, nonchalant drawl and it's pretty freakin' cool. "SOS" kicks things off with a Dead Milkmen meet the New York Dolls swagger, showcasing Lynch's punk-inspired style of playing. Tenacious D is funny, but Liam Lynch is a riot. Lynch is a man lousy with talent for rock ‘n’ roll doggerel it remains to be seen whether he’ll ever use his gift for good, not evil.Sifl and Olly creator/co-writer Liam Lynch makes his recording debut with Fake Songs, and it's a hilarious effort loaded with satirical song parodies and rock & roll spoofs. If only it were open-mike night….You want to yell out requests: “Do blink-182!” “Do Elliott Smith!” On Fake Songs, Lynch does neither, though he does do Bee Gees-esque nasal disco (on “Sugar Walkin’”: “It’s a very sexy, sexy dance”), David Bowie’s nasal theatrico-pomp (on “Fake David Bowie Song,” which begins “I dreamt of a wizard with a hot guitar”), and even non-nasal synth-pop drone (on “Fake Depeche Mode Song,” aka “Miserable Life”).
Lynch’s David Byrne impression, for example, is devastating, and his “Fake Björk Song,” with its dead-on female vocal, is indistinguishable from its inspiration. (The L.A.-based Lynch, creator of MTV’s The Sifl & Olly Show, is pals with Black, who appears on this record.) Still, Lynch has an ear for the kinds of lyrical and instrumental tropes that vault into pretentiousness with just a little tinkering, and he sings his skewed little novelty tunes as if he were half in the bag on open-mike night. has going for himand a lot less than Jack Black and Kyle Gass’ Tenacious D does, with its hysterical behind-the-music narrative. (This from “Well Hung”: “I’m hot like a knife-a/I’ll scratch your Formica.”) All of which, give or take a few gazillion decibels, is approximately what Andrew W.K. Self-explanatory tunes such as “Well Hung,” “Still Wasted From the Party Last Night,” and “Rock and Roll Whore” have little more going for them than aggressively strummed acoustic guitar, shaggy art-damaged vocals, and clever-pretending-to-be-dumb lyrics. He’s not, but he is making it up: Fake Songs is a fake record about fakery. On the careless, scruffy single “United States of Whatever,” Liam Lynch snottily shrugs, “Whatevah” at everyone and everything, sounding as if he were making it all up as he goes along. Whoops! There was an error and we couldn't process your subscription.
0 kommentar(er)
