‘New Wave will Never Die:’ The spectacular return of They Might Be Giants

They Might Be Giants (TMBG) has been an integral part of my life since I was little.

My father, who is just as nerdy as I am, introduced me to the band with “Why Does the Sun Shine” as soon as I could comprehend music. This has also led to many inside jokes between us, and it’s one of the reasons I’m great at trivia games.

“The World is to Dig” is the 24th studio album by TMBG, proving beyond a reasonable doubt that the band still has it in them to produce quality music.

The title is a reference to Ruth Krauss’ children’s book “A Hole is to Dig,” which the band previously posed with for a promotional shoot about 35 years ago.

Starting strong with “Back in Los Angeles,” it is a crooning sound I don’t think I’ve ever heard from them before. Jazzy and smooth, it’s a real vibe-setter that signals something new and experimental from them.

I love a good Wu-Tang Clan reference as much as the next guy, but the song “Wu-Tang” somehow takes the cake as my favorite. “Wu-Tang” feels less like a group and more like an unstoppable force interrupting the narrator’s mind.

“Sleep’s Older Sister” might be the most interesting on the album. They create an odd ambiance with the idea of going somewhere from whence you can never return. The line “Dreaming’s so expensive now,” also really resonates with me (and my melatonin stash).

“Je N’en Ai Pas” is entirely in French. According to my dear friend Google Translate, the title is “I don’t have any.” Any what? We don’t know. The song is catchy but vague, with sentence fragments and repetition.

“Outside Brain” feels like an ode to the socially awkward. The lines “Shook by the stares, I left too soon/ I lost the bet, can't read the room” connect with me on a personal level.

While you might assume, and understandably so, that “Let’s Fall in Lava” is just a quirky love song, TMBG subverts your expectations to instead talk about quite literally jumping into hot magma. It’s a good song, and has been stuck in my head on a loop.

What is a TMBG album without the short, funky song somewhere in the middle? “Telescope” fits that mold. The song feels like the first or second cousin of the song “Stuff is Way”.

I genuinely can’t seem to decipher what “Garbage In” is supposed to be about — and I think that’s the point. I think it’s supposed to touch on depression and feeling overwhelmed, but it also features one of my favorite pieces of advice: “Remove the head or destroy the brain/ Those are the two solutions."

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“Get Down” is punchy and fun. It almost feels reminiscent of that one scene in Whiplash where all the people are playing. It’s fun, catchy and a good lightbeat listen.

“New Wave Will Never Die” is a mellow tune that feels like an ode to continuing to make art even in an age where it feels unstable to. In a time when artificial intelligence is so prevalent — even in music — a ballad that encourages the creation of real art is refreshing. New wave, or just man-made creations, will never die.

I didn’t consider TMBG to be a cover band, but “Overnight Sensation” is frankly one of the best covers I’ve ever heard. Reminiscent of Weezer’s “Beverly Hills,” it’s fun, and the guitars are filthy in the best way (Dan Miller, please email me your amp settings).

“Character Flaw” feels like an ode to a night out. It’s light-hearted and fun, but the lyrics underneath feel like waking up with a nasty hangover, realizing you made some serious drunken mistakes. The lyrics showcase this, with “Afterwards, when no words can express the depth of regret.”

“Hit the Ground” might be my least favorite track on the album. It feels as though it lacks what makes TMBG, well, them. The synth is alright, but it doesn’t keep my attention the way all of the other songs have.

“What You Get” makes a great comeback to regain my attention. The beginning especially panders to my anxious thoughts, with “Is there something to get?/ Are you overthinking it?”

Have you ever drunk a potion that makes everything slow down completely? No? Well, “Slow” walks you through it. You analyze colors, shapes and how bad architecture has gotten in the past 50 years. Instead of being bored as I was with “Hit the Ground,” I feel that this one used its slowness more effectively to keep me enraptured.

“In the Dead Mall” is super catchy, and another one of my favorites. The quick pacing of the lyrics completely contrasts the dead mall they seem to be exploring. It’s an almost liminal feeling; the building still stands, but everything you once knew is gone.

“What the Cat Dragged In” feels as though you’re somewhere you’re not welcome — and you don’t care one bit. Reading into the lyrics, it even seems the narrator is a lawbreaker; “All the fine points of my criminal past/ Of which the details have been conveniently lost.” It beautifully showcases their ability to tell a story through song.

“They Might be Feral” feels as if it’s trying to make a statement. TMBG has a record of making social commentary through their music, such as “Your Racist Friend,” which describes the idea of confronting uncomfortable political or social situations. This seems like a callout to fans who attempt to separate politics from the art, reminding them that while They Might Be Giants, they also might be feral.

This album is a stark reminder that John Flansburgh and John Linnell are still producing high-quality music decades after they started.

TMBG manages to escape the most common failures that kill popular bands — they remain true to their personal style. Even while testing out new styles and techniques, they keep their quirkiness that makes them so lovable.

Rating: 10/10

hannaer@miamioh.edu

Elise Hanna is The Miami Student’s Digital Media Editor and a first-year Strategic Communications major. Alongside writing, she is involved in Kappa Alpha Pi and enjoys the Detroit Lions, the Muppets and learning about the Watergate scandal.