By Rob van Alstyne
By Zach McCormick
By Emily Eveland
By Jack Spencer
By Michael Madden
By Reed Fischer
By Emily Weiss
By Emily Weiss
The stout main hook nearly rips off Stereolab's "Mountain"—all organ sinew shot through with limber bass ligaments. Singer Tara Key (intentionally?) draws a line in the sand in apparent reference to Antietam's commercially unsuccessful yet awesome 20-plus-year career: "It's now, or nevermind."
GHOSTFACE KILLAH feat. SHAWN WIGS
"White Linen Affair (Toney Awards)"
This is pretty much just an excuse for the Wu's own Diana Ross to do a contemporary hip hop/R&B rollcall/shoutout, but it's a hoot'n'holler set to pulsing horns with a canned, Cheez Whiz comedy routine thrown in, so, okay. Also: makes for a nice break from all the crime-drama bangers crowding the rest of The Big Doe Rehab.
"Do You Wish I Left?"
This could be a lost outtake from Beck's Mutations, but that's not a knock or anything: very pretty, washy, gently psychedelic, etc. But I kinda wish Mike Bones sang in tune, or at least sang in some way not teetering on the edge of utter and total out-of-tunefulness.
"On the Lam"
They've got a real (funky) drummer now, thank heavens, and it appears that singer Charlie Salas-Humara is dodging his one-time tendency to ape Prince. Here we're on some jazzy, groovy ground, and Panther could stretch this jam out for a good 20 minutes with no complaints from me. Also: supple, ample bassline alert!
"That Is Why"
In a bizarro alternative universe, this is the sort of snappy Vegas ditty with which 2023's equivalent of Frank Sinatra might entertain supping tourists' post-slot overindulgence. Someday—once Say Anything have split and frontman Max Bemis has outgrown the emo impulse (he already sort of has, even though it's his present operating theater)—he'll no doubt blossom into a spectacularly successful Adam Schlesinger-type, ruling Hollywood and doling out the odd schmaltzy smash single.