Maybe they're just all-in on that kind of tension. I salute songwriters who sit in rooms together staring at each other. “John actually sent me just some mini-files of the bass line and the chords, and I put the track together from that, then created the song around that. We write a lot of apocalyptic material on a pretty consistent basis, so any time it seems like the world is teetering on oblivion, a TMBG song might come to mind.”įlansburgh and Linnell collaborated on “I Lost Thursday” via long distance due to last year’s lockdown. It's probably more like cicadas: every bunch of years, something we do really synchs up with the zeitgeist. “I feel like John and I have such cloistered lives. “I'm sort of reluctant to ever commit to the idea that we have our finger on the pulse,” Flansburgh says. I think that's something about street photography that is both objective and really subjective, for lack of a better term.” Even though we write in the first person a lot, it's kind of understood that the songs aren't really from our point of view. There's something about street photography in general, and specifically about his work, that complements our point of view. “That made the curation of the images and the synchronization of the photos to the lyrics a lot easier. “Brian was very generous in supplying us with a huge amount of work to choose from,” says Flansburgh. The art book contains Karlsson’s vivid photography capturing New York City's under-the-radar quirky and eccentric street moments-such as a broken piece of a vinyl record, a sea of plastic forks littered on a sidewalk, or two people wearing ‘eyeball’ costumes-which perfectly match with TMBG's surreal sensibilities. Spread of TMBG art book 'Book.' credit: photo by Brian Karlsson/typeface by Paul Sahre
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