Movement Magazine

Terrible Terrible share new single from “Get The New Computer!”

Playing Shea Stadium in Brooklyn, August 19!

NEW Terrible Terrible “Dog Days”
https://soundcloud.com/terribleterrible/dog-days

Terrible Terrible is an ambitious quintet that combines naturalistic and contemporary shades of the musical spectrum to create a new aesthetic using synthesizers, guitars, varied percussion, and three voices in close harmony. For fans of Grizzly Bear, Local Natives, Fleet Foxes, Tame Impala, and contemporary synthesizer-driven music.

 

 

2014’s Fail Better saw a smooth and immediate transition into the band’s unique sound, boasting baroque pop mentality united with a keen, modern musicianship. The follow up, Get The New Computer, is an expansion of that sound into different territories; due to arrive on July 10th, 2015.
Get The New Computer is an EP inspired in its entirety by growing up in a world of increasing technological development, and the ongoing conflict this presents to a group of twenty-somethings whose growing dependence on it exists in a culturally nostalgic world. From the record’s artwork (a tongue-in-cheek recreation of an album cover from our childhood, Nirvana’s Nevermind, by a young man lying naked face-down in a bathtub with a dollar floating above his head) to the instrumentation of the record, Get The New Computer exists in a world of the push and pull of our generation’s unsure blossoming. Whirling synthesizers dance around dense multilayered percussion, accented by twinkling guitar, all lying under the bed of Terrible Terrible’s signature unforgettable melodies and unique vocal harmony.
Three songs about a stubborn aversion to love and sex, a harrowing realization of mistakes that drove that love off, and an anxious admission of one’s tendencies to consume love and flesh in an unconcerned fashion; all proceeded by an introductory electronic soundscape. The title track, “Get The New Computer,” is a 4-minute sonic journey through chaotic synthesizers and soothing electronic releases that acts as a overture to the record and its motifs. The soundscape is overlain with sounds found on an old cassette tape unearthed from the drummer’s childhood home where, among other unknown noises from children and their toys, he can be heard pleading with his parents to “get the new computer.”
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