MFT: Sesame Street - Big Bird - ABC-DEFGHI-JKLMNO-PQR-STUVW-XYZ

The original Sesame Street was jam-packed with an inventive stuff from top to bottom. It was daring, boundary pushing entity in so many ways. Sure, it was a children's program, but that was what let it to run away with so many subversive aesthetic concepts. The sketches were always two-fold. There was one simple thing on the surface and the other much more complex right underneath it. This wasn't always intentional - but it there was always more than just a setup and a punchline in every sketch. Case in point - this sketch.

This is a sketch from Sesame Street Season _ episode _. It features Big Bird as an overzealous student who just learned how to read. However, he is yet to comprehend the meaning of what he is reading. Because of that he comically misses the meaning of an Alphabet written on a fence and reads it as if it was one big word. You can't blame him - an alphabet sequence can be pronounced as a single word, there is just no point in doing that.

And so Big Bird was very happy (let's call it "profoundly satisfied") that he managed to read and memorize such a big word and so he was eager to share his progress with Lisa. And in return she points out that he was doing it wrong - it was an alphabet all along not a big word. It was a heartbreaking moment for Big Bird - he tried so hard and yet he missed the point and did it wrong. The drama lasted a moment more or so and since this is a children's program the resolution was a compromise. That thing was an alphabet and Big Bird was spelling it wrong but he made up his own way of pronouncing an alphabet and it got the right to exists too, because why not?

This sketch is a neat showcase of the flexibility of language. Within a simple setup it shows you what the language is all about. There are rules that exists to keep it accessible to the others, but there is also an incentive to try it differently - intentionally or not. After all - why bother if it all can be only one way - even a mistake can lead to something unexpected and inspired.

Having Fun with OCR: Owls are not what they seem edition

Sometime Optical Character Recognition can uncover something really unexpected in the text that is actually quite comprehesible.

This is the case with this caption:

Here we have an entire sheet of with the word "Zoop!". In case if you don't know, "Zoop!" is an onomatopoeaic exclamation accompanied by finger guns that originated on Reddit a couple of years ago. The story goes - it came out of tired frustration. But in essence, it is eerie nondescript.

Know your meme got the caption you can see above and given its repetitive nature - it is perfect cannon fodder for some blatant conceptual experimentation. Naturally, i've put this image through OCR engine.

Here's what came out of it:

fiQfiEwo@oEwfi©fiEWfi©fiEwfi©fihwo@fiEWfi©fihw
a©aEWfi©fiEwa©amwfi©fihw¢©amwfi©fimwa©amw
fi©fihw¢©amwfi©fih®fi©fih®fi©fimwa©amwfi©fimw
fi©fiEWQ©fiEWfi©oEWfi©fiEWo©oEWfi©fihwo©fihw
fi©fihwa@fihwfi©fifiwa©fihwfi©fihwo©oEWfi©fihw
G©oEWfi©fiEWoQoEWfiQfiEWfi©fiEwfi©fiEWfi@fiEW
fi©fihw¢©amwfi©fih®fi©fih®fi©fimwa©ahwfi©fimw
a©5EWfi©fibwa©fimwfi©fimwa©amwfi©fihwa©ahw
fiQfiEwo@oEwfi©fiEWfi©fiEwfi©fihwo@fiEWfi©fihw
a©aEWfi©fiEwa©amwfi©fihw¢©amwfi©fimwa©amw
fi©fihw¢©amwfi©fih®fi©fih®fi©fimwa©amwfi©fimw
fi©fiEWQ©fiEWfi©oEWfi©fiEWo©oEWfi©fihwo©fihw
fi©fihwa@fihwfi©fifiwa©fihwfi©fihwo©oEWfi©fihw
G©oEWfi©fiEWoQoEWfiQfiEWfi©fiEwfi©fiEWfi@fiEW
fi©fihw¢©amwfi©fih®fi©fih®fi©fimwa©ahwfi©fimw
a©5EWfi©fibwa©fimwfi©fimwa©amwfi©fihwa©ahw
fiQfiEwo@oEwfi©fiEWfi©fiEwfi©fihwo@fiEWfi©fihw
a©aEWfi©fiEwa©amwfi©fihw¢©amwfi©fimwa©amw
fi©fihw¢©amwfi©fih®fi©fih®fi©fimwa©amwfi©fimw
fi©fiEWQ©fiEWfi©oEWfi©fiEWo©oEWfi©fihwo©fihw
fi©fihwa@fihwfi©fifiwa©fihwfi©fihwo©oEWfi©fihw
G©oEWfi©fiEWoQoEWfiQfiEWfi©fiEwfi©fiEWfi@fiEW
fi©fihw¢©amwfi©fih®fi©fih®fi©fimwa©ahwfi©fimw
a©5EWfi©fibwa©fimwfi©fimwa©amwfi©fihwa©ahw
fiQfiEwo@oEwfi©fiEWfi©fiEwfi©fihwo@fiEWfi©fihw
a©aEWfi©fimwa©amwfi©fihwa©amwfi©fimw

It turns out that underneath that completely innocent and absolutely pointless image was hidden this wicked incantation. I find it debilitatingly charming.

But that's not all. When I turned the image in 180 degrees - i've got this:

doon-@Q-
doon-@Q- doozfl©odooz$©$ doozfl©5dooz$®$ doozD©Ddoon~©Q~
doon©odoon©Q doozD©odoon©Q doon©odoon©Q doozfl©LI
doon-@Q~ doozfl©odooz$©§l doozD©Ddoon©Q~ doozD©9doon~©Q~
doon©odoon©Q doozD©odoon~®Q~ doon@-Ddoon-@Q-
doon-@Rl~ doon©Odoon~©Q doozfl©5dooz$©¢ doozfl©odooz$©¢
doon©Odoon©Q doozD©5doon©Q doon©odoon©Q doozfl©§I
doon©Q doozfl©odooz¢©§l doozD©Ddoon©Q~ doozfl©9dooz$©¢
doozD©odoon©Q doozD©odoon~©Q~ doozg@odoon-@Q-
doon-@Rl~ doozfl©odooz$©$ doozfl©5dooz$®$ doozD©Ddoon~©Q~
doon©odoon©Q doozD©odoon©Q doon©odoon©Q doozfl©LI
doon-@Q~ doozfl©odooz$©§l doozD©Ddoon©Q~ doozD©9doon~©Q~
doon©odoon©Q doozD©odoon~®Q~ doon@-Ddoon-@Q-
doon-@Rl~ doon©Odoon~©Q doozfl©5dooz$©¢ doozfl©odooz$©¢
doon©Odoon©Q doozD©5doon©Q doon©odoon©Q doozfl©§I
doon©Q doozfl©odooz¢©§l doozD©Ddoon©Q~ doozfl©9dooz$©¢
doozD©odoon©Q doozD©odoon~©Q~ doozg@odoon-@Q-
doon-@Rl~ doozfl©odooz$©$ doozfl©5dooz$®$ doozD©Ddoon~©Q~
doon©odoon©Q doozD©odoon©Q doon©odoon©Q doozfl©LI
doon-@Q~ doozfl©odooz$©§l doozD©Ddoon©Q~ doozD©9doon~©Q~
doon©odoon©Q

This is even more disturbing. It reminds me of Tibetan monks chants as heard on KLF's Chillout.

But that's not all. After getting another fix of OCR discovery - i've used another OCR engine and this time - i've got this:

Q.Q.Q.Q.Q.Q.Q.Q.Q.Q.CLQ.Q.Q.Q.Q.Q.Q.CLQ.Q.Q.Q.Q.Q.
OOOOOOOOOOOOOOOOOOOOOOOOO
ooooooooooooooooooooooooo
NNNNNNNNNNNNNNNNNNNNNNNNN
©©©©©©©©©©©©©©©©©©©©©©©©©
CL^CL^CL^CL^CL^-Cl^CL^-Cl
CL ^ CL ^ Q ^ CL
CL
©©©©©©©©©©©©©©©©©©©©©©©©©©
ClClClClCLClCLClCLClClClCLClCLClCLClClClCLClCLClCLCL
oooooooooooooooooooooooooo
oooooooooooooooooooooooooo
NNNNNNNNNNNNNNNNNNNNNNNNNN
©©©©©©©©©©©©©©©©©©©©©©©©©©
CL
CL
CL
CL
CL
CL
CL
CL
CL
CL
K "8 "8 „
N m N m N m N
N
ClClClClClClClClClClClClClClClClClClClClClClClClClCl
OOOOOOOOOOOOOOOOOOOOOOOOOO
oooooooooooooooooooooooooo
NNNNNNNNNNNNNNNNNNNNNNNNNN
©©©©©©©©©©©©©©©©©©©©©©©©©©
CL ^ CL
CL
CL
CL ^ CL
CL
CL
Cl a Cl
CL
CL
CL
Kl N N Kl Kl Kl INI Kl Kl Kl Kl Kl Kl Kl
N
N
N
N
N
N
N
N
N
N
N
N
CLClCLClCLCLCLClCLClCLClCLCLCLClCLClCLClCLCLCLClCLCl
oooooooooooooooooooooooooo
oooooooooooooooooooooooooo
NNNNNNNNNNNNNNNNNNNNNNNNNN
©©©©©©©©©©©©©©©©©©©©©©©©©©

Now this is some serious concrete poetry.

Bullshit: Bad Product Name AKA Kleptomania Features

Getting the name of your product right is one of the hardest things ever. No wonder - it is the first thing that turns up and it should make the impression. 

But there is always some kind of a challenge in the mix. 

Sometimes the name is descriptive but not really expressive. Other times it doesn't really transmit what the product is about. Then there are times when the name of the product is just there. And then there are times when the name is so out there it doesn't really work the way it was supposed to and instead causes acute bout of cognitive dissonance.

Case in point - Kleptomania.

What it is? It is a tool to convert screen images to text with OCR algorithms. It is called that way because it enables OCR's anything in a manner of screensnapping tool. Theoretically, the name like this makes sense but not exactly. Because the word "kleptomania" refers to "inability to refrain from the urge for stealing items" which is not exactly what this application is about.

While the app itself is fine, its name is just so off, it is unintentionally funny. 

There is list of features on the product page and it looks like this:

The list of feature is representative. It gives you more or less complete understanding of what this thing is capable of.

However, taken outside of context - the name of the product in the heading creates unintentional cognitive dissonance. Really hard and punishing cognitive dissonance. Because it says "Kleptomania features" and when you read "Kleptomania features" you think about "inability to refrain from the urge for stealing items" and not "OCR Screensnap Tool". The combination of the list and the title creates weird piece of conceptual writing.

MFT: Wish You Were Here - Tell Me all the Swear Words you know scene (featuring Heathcote Williams)

This is a short scene from 1987 British quirky romantic melodrama "Wish you were here". It features _ as Lynda, the lead character of the film and Heathcote Williams as her psychiatrist.

The story goes Lynda went a little bit mental and acted quite a bit beyond the boundaries of decency. She showed her stockings, suspenders and knickers to everybody. Because of that she was sent for evaluation by the psychiatrist played by one and only Heathcote Williams, who somehow manages to chew scenery while retaining stone cold demeanor. The way he hams it up is simply impressive.

The scene starts with the psychiatrist attempting to determine what kind of help Lynda needs. In order to do that, he asks Lynda to go through the alphabet and recite all the swear words she knows. Lynda is a bit confused by the proposed exercise but is onboard with this kind of exercise and happily engages in the act.

The thing starts with "A" and "ass". Heathcote tries to confuse her by accentuating on the ridiculuousness of the situation, but Lynda is undeterred. There is nice back and forth with "ass...hole".

Then, on the later "B" Lynda blasts the whole barrage of words - "bloody bastard bugger bum". But she missed "balls" and points that out and Heathcote retorts with "so we did, nevermind".

Then, on the letter "C" she finally stumbles. She wants to say "cock" or "cunt" but stops herself, says she can't think of nothing. Heathcote asks her to say "something really filthy".  Instead she delivers "caca" while increasingly annoyed Heathcote catches her on that.

The next letter "D" rolls on smoothly with "damn". The letter is "E" is omitted due to the fact that there are no swear words starting with "E". Lynda tries to argue that but decides to go on.

When Heathcote transitions to letter "F" he suggests Lynda to use the "dirty, smutty" word everyone knows while Lynda tries to play stupid and says she doesn't know what he is talking about. Heathcote is trying to get it out of her while she denies she knows it. When he bluntly states that he wants to hear he saying that words, Lynda cuts him off with "dirty old bugger".

Heathcote gives up and goes away. I guess this is going to be a long day.

Heathcote Williams reads his poem 'Advertisement' in 1980

Today is Heathcote Williams' birthday. Happy Birthday, Heathcote! You are sorely missed. Let's celebrate this great man by watching him reading one of his poems.

Heathcote Williams is my favorite poet. There was just something that i could really identify with in his writings. The way he explored themes, the verbiage he used, the way he managed to make everything feel big and engrossing...

Here's the video of him reading the poem "Advertisement" from 1980. Heathcote reads this poem in a way that makes it the coolest thing in the world.

Part of the reason why this performance is so cool is because of delivery. Heathcote avoids that damned "poet's voice" and just reads the stuff in a semi-casual, deadpan dramatic manner. And it leaves lasting impression. There is this thousand mile chill in his voice. The way he slightly slides between the tones is nothing short of astounding.

There is not much happening on the screen. Heathcote just sits on a chair and reads the poem. Sometimes he looks at the camera, then his eyes move back to the sheet of paper with the text. Slowly but surely, the camera moves towards him. You can see his hands trembling a little, you start to see the details of his face. The camera gets closer and closer until it is a close-up. Heathcote stops reading and for a moment or so gives a piercing chilling glance straight into the camera.

MFT: Hulk Hogan vs Randy Savage - Breathing Match

Here's a little video that shows how transformation and recontextualization makes the case for a new concept forged out of an old thing in a completely unintentional manner. The video depicts a bizarre sighting - two acclaimed professional wrestlers Hulk Hogan and Randy Savage doing nothing but intensely breathing. Why? Because this video is an edit of a the pair of back to back promos following the break-up of their tag team Mega Powers prior to the feud culmination at Wrestlemania V in 1989.

It is strangely affectionate piece. Here's what is going on. First The Hulkster breathes hard as if his life depended on in (just don't think about it too hard). He breathes and breathes and breathes in leaps and bounds. He is red, he is sweaty, he is trembling. Then Randy Savage does the same thing and he breathes so intensely he takes off his glasses and breathes even harder, because he wants to come on top or something like that (just don't think too hard about it). His veins pop up, his eyes are bugged out huge - one thing for sure, this man is on the edge.

In the end - it is fair to say that Randy Savage had decisively outbreahed Hulk Hogan in a recontextualized promo standoff. Even though it doesn't really mean a thing - it is a feel good moment for whatever reason nevertheless (maybe because Hulk Hogan kinda sucks). Sure, if this thing was edited as back and forth - it would have been much more effective showcase. But even like that it is enough to establish the concept.

With all the words edited out - this segment is a completely different thing. While the video is loving mocking overly exaggerated promo delivery that was a dominant aesthetic of WWF in the late 80s - it also unintentionally presents a novel concept - a breathing match. The one where competitors should outbreath each other. And the more i think about it - the more i like it.

Just imagine how it might work - you have to outbreath your opponent. How to do it? What is counted as outbreathing? Probably, it depends on who is judging or physical condition of the opponent over the course of the match. Or stumbles and stutters in the breathing bouts. Either way - this video is one of those magical moments when the bliss of nonsense sparks excitement.

MFT: Celebrating MindVox ASCII Banner

Of all the things you can find on the internet - bizarre promotional typographic constructions are among the ones that also always manage to occupy a special place in my heart even though there is nothing special about them even if you lower your standards of specialness low enough for them to qualify.  

The reason for that is simple - they are easy to play with through various text manipulation and transformation applications. That's the thing with ASCII stuff - it is fun to mess with. 

Case in point - MindVox ASCII Banner. The startup was founded in late 1991 by two former members of Legion of Doom hacker group - Bruce Fancher AKA Dead Lord and Patrick Kroupa AKA Lord Digital. It was an Internet Service Provider of a new kind - the one free of corporate shenanigans (something that is becoming increasingly timely right now when the notion that corporations and their grip on the internet is detrimental to the very essence of the world wide web became obvious even to the most casual users). By the mid-90's the service was shut down, probably because it was way ahead of its time and there was not enough momentum to sustain it on a proper level.

Nevertheless, their legacy lives on. And they left a fancy banner for me to screw with. While it is not really a piece of sophisticated artistry, there is a weird charm to this logo, the way the characters are arranged and formatted. 

Takes a look:


         /\_-\
        <((_))>
         \- \/
 /\_-\(:::::::::)/\_-\
<((_))  MindVox  ((_))>
 \- \/(:::::::::)\- \/
         /\_-\
        <((_))>
         \- \/

There are slashes left and right, underscores, dashes, dashes, dashes, colons, colons, colons, brackers, less-than sign, more-than sign and the name of the company "MindVox" right in the middle of all this. Also - the whole thing is manually centered to compose an image. There are whole lotta spaces involved in this unthankful operation. 

While you play with those things long enough (and you do because it is rather time consuming exercise in wasting time) - after a while (a long-long while) you can get some really unexpected things out of it. You can even get some sweet conceptual poetry out of it, if you waste your time hard enough. But it is fun to mess with it just for the sake of it. 

BSPH: The Beatles + Clint Ruin and Lydia Lunch - Why don't we do it in the road

"Why don't we do it in the road" is the song by The Beatles. It was released in 1968 on the band's double album known as "The White Album". The song was written by Paul MacCartney in a bout of inspiration so perplexing it is fascinating. The story of inciting accident goes like this: while vacating in India MacCartney saw two monkeys having a moment of raw passion for a blink or so and then he thought a good idea to wrap this moment into a song but in an abstract manner. You have to respect him for being able to do that much with so little.

This song is so sparse and vacuous - you can't really do much with it perception-wise. You have to take for what it is - a short, barebone arranged and very simple piece based on a blues formula. In a way, it is a tour de force in being as lame as it is humanly possible in the format of a song.

You can also pretend to think about it for a long time with no closure whatsoever. After a while you can almost reconstruct the train of thought that lead to the creation of this song. I guess, it was just a daring spark of "what if" that erupted out of longing for the sheer sting of amusement. Nevertheless, it is charming

"Why don't we do it in the road" is what can be described as a throwaway. And by late 60s The Beatles and Lennon / MacCartney in particular had mastered the subtle art of throwaway to perfection. The song is a showcase of how you can do a song basically out of anything at hand - spoilers: you just do it (i feel Pink Fairies vibes).

In fact, it is not even a song, there is just this jingle "Why don't we do it in the road" and some transitional ramblings to spice it up. The lyrics are unintentional exercise in constraint. There are only two lines - "Why don't we do it in the road" over and over again and "No one will be watching us" once in a while because apparently it gets boring uttering the same thing over and over again. The lyrics are performed in an increasingly erratic manner. It gets more and more aggressive or agitated and it brings a lot of needless intensity to this little piece. And then it is over.

***
Later, in 1991, JG Thirlwell AKA Clint Ruin and Lydia Lunch had released their interpretation of the song on their collaborative release "Don't Fear the Ripper". Ruin / Lunch version is a good example of how to make a cover version really distinct piece that brings something new to the song.

This cover version was a complete reinvention that put its tongue-in-cheek barely-there sensual subject matter to the forth and upped the tension to the uncomfortable levels. The word that best fits this version is "malevolent". 



The changes are drastic but subtle. The song follows the original but turns it upside down at every turn. In addition to the original minimalist lyrics performed by Lunch with an exquisite salaciousness and sheer voluptiousness, there is an additional bout of scatting from Clint Ruin after every verse. It is disturbingly joyful blare of drooling expectation. This is a culmination of something-something and not in a good way.

The guitar part transmits this notion. Its parts are barely kept in tune, they swirls around the song like a pack of scavenger crows waiting for the thing to be done so that they could start feasting. The drumbeat is expanded into a full-blown strolling swing. The bass brings twisted groove of two heartbeats getting closer. There is suspence.

Ruin / Lunch version drips with sleaze. It is dark and brooding stomp. In this arrangement, it is a tale of raw lusty desire trapped beyond reach and attemting to get out of its restraints by all means necessary. It is a story of passion boiling and slowly going out of control and destroying everything. It goes nowhere with that maniacal thousand yard stare and it is fascinating...

BSPH: Kraftwerk - Boing Boom Tschak

In continuation of previous post - let's remember the last time someone pulled the audacious trick "Let's spell obviously scat lyrics absolutely straight".



"Boing Boom Tschak" is a composition by legendary german techno-pop band Kraftwerk. It was released in 1986 as an opening track on their abortive comeback album "Electric Cafe". The composition is a part of the Techno-Pop suite that encompasses the entire side A of the album.

And what an album it was. While "Electric Cafe" continued to explore minimalist stilted aesthetic presented on the 1982 album "Computer World" and 1983 single "Tour de France", in the same time it presented something new and completely different for Kraftwerk. If previously Kraftwerk were working out the theme - this time there was no concept to back up the music, it was less about exploring any particular idea and more about just making some bangers.

Or so it seemed.

Also - they've probably heard Art of Noise and Yello, said "What?" a couple of times and thought they should hold their beers. Which was rather fair assessment all things considered.

"Boing Boom Tschak" is built around the blips of samples of onomatopoeiac exclamations reminiscent of sharp percussive sounds. In addition to obvious "Boing", "Boom" and "Tschak", there is also "Peng" and a slew glitched-up, chopped and screwed variations for every word. Every exclamation got their share of "B-b-b-b", "Tsch-tsch-tsch", "Pe-pe-pe", "Boo-boo-boo" and "Bo-bo-boing" fills. In addition to that there is a title drop "Musik Non Stop" which is means so little in the space of this track, it could have been "giraffes on horseback salad" to the same effect.

Despite being reminiscent of drum sounds, the samples blatantly sound like mere words and nothing else which creates dubious dissonance with their meaning. The exclamations are intentionally devoid of any semblance of groove and dried down to their very carcasses. They occur as sparks in the vacuum, surrounded by some sparse sonic wallpaper.

It sounds utterly pointless but in spite of that, the resulting "lyrics" are really inspired example of constrained scat sound poem score designed for as many elaborations as possible but stuck in the routine. It should be noted that the variation part was something that was explored by Yello at that time.

"Boing Boom Tschak" tries really hard to fill as much space as possible with this stuff and in the same time make it feel like every word is launched straight into heart of the abyss. After a while it starts to resemble poker face "try not to laugh" exercise. However, despite all odds, combined together they create some otherworldly Dalek-like groove.

As it is "Boing Boom Tschak" is barely a song, it is more like an extended jingle that just goes on and on and on apparently nowhere but with that boggling tenacity. It is a part of the bigger thing that was torn out and left on its own. The next track "Technopop" just pretends "Boing Boom Tschak" don't exists and does its own thing.

In 1991 it was incorporated into the song "Music Non-Stop" on the 1991 album "The Mix". This time it was much better fit that improved upon both songs which were criminally underdeveloped in their original forms. Now it sounded like a demented Detroit Techno stomp by the way of Moondog.



But as it is, "Boing Boom Tschak" is a weird stilted piece. It is stuck uncertain of what it should be. The best word to describe it will be "pointless" and it is probably the most glorious example of a completely pointless song that nevertheless exists and definitely proud of this fact. But the lyrics are really great scat material worth performing the right way.

BSPH: The Prodigy - Boom Boom Tap

Sometimes you stumble upon something so simple and astoundingly mind-numbing you just can't help but morbidly wonder how it managed to be the way it is. You realize that by this point you have put more thought in the piece then the actual creators, but nonetheless you soldier on as if it actually mattered. 

This is what i thought when i first heard this song.



The song is titled "Boom Boom Tap". It is performed by seminal british big beat electronica producer Liam Howlett AKA one-man band The Prodigy. "Boom Boom Tap" is very simple song, in fact, it is late Black Eyed Peas level of simple. One dig pony. Basically it is what it says on the tin. It is booming, blasting, blaring banger that walks around with a purposeful grimace and a terrible sound.

And indeed, how atrocious does it sound.

It is so loud, you can't really tell what is going on in the song aside from the song playing. It is quite an experience. I think Luigi Russollo would have liked the production of this song. It is so nondescript - it is just impressive.

The loudness of "Boom Boom Tap" is catharthic. It is like a sonic equivalent of Katamari Damacy star substitutes. Mess of sounds so dense - it is nothing in particular but nonetheless imposing and eventually effective.

The production of the song is so uneven - it leaves this weird approximation of impression - as if you haven't really heard the song but some rotting, partially incinerated, partially calcified remnants of the song being blown off by the gust of wind of the incoming tornado. It is just bits and pieces caught in a snapshot and thus turned in the wholesome piece by the act of documenting.

The best thing about this song is the lyrics. While being simplistic and absolutely mind-numbing, the lyrics work really well with the overall sound of the song. It is blatantly charming. These words are really good for crooning and scatting all over the place and also banging head against the wall out of nebulous notion of opaqueness. But in the song they are delivered in the manner so straightforward you start to question the very nature of reality. Why? The reality is that it would have been tongue-in-cheek, if the tongue wasn't biten off...

From the compositional standpoint, it is a master class in lyrical minimalism. "Boom Boom Tap" lyrics consists of barebones, repetitive slurred onomatopoeiac drolling of either "Boom Boom Tap" or "Tick Tick Bang" with neat pigtails of "Fuck You" at the end of each section. While the verbiage is limited, there is a lot dynamics between the lines and you can really feel there is a lot of things going on beneath the words. It is really impressive.