John Flansburgh and John Linnell are the men of standard stature behind They Might Be Giants (TMBG), the alternative Brooklyn-based band that took their name from the 1971 film of the same title, as well as (in a gesture of appropriate absurdity) a friend’s discarded ventriloquist act back in 1982.
Well, if truth be told, their very first concert was performed under the moniker El Grupo De Rock and Roll, but the Spanish title only lasted a single show, before it was replaced by its unique and memorable counterpart.
Linnell covers keys, vocals and accordion for TMBG, and asked what exactly first drew him to the latter of these instruments, he says it was both the “good natured” suggestion by a friend, and the means of being closer to audiences when playing live that lured him to the accordion.
“I did a couple of shows were I played the keyboard and then we thought that maybe the accordion would be a way for me to stand up and be at the front of stage facing everyone,” says Linnell, “to be more present.”
“[To] also be able to move around without playing one of those keytar things, which would be too terrible a sacrifice,” he adds.
“It’s like the accordion of now, because at the time we were playing it, it was considered a kind of shameful thing to get mixed up with…now I don’t think people worry so much about that.”
In 2012, the band celebrated 30 years together – their pearl anniversary – and while they’re still yet to find something practical made of pearl that can mark the occasion fittingly, the search certainly didn’t slow them down musically.
But looking back even briefly, it’s been a pretty damn successful triad of decades. “Programming for children is not always specifically aimed at certain ages, so you have this problem where people don’t want to talk over kid’s heads.” – John Linnell
There was Dial-A-Song, a project in the late 80s which saw TMBG record tracks onto an answering machine, advertise the phone number in local publications, then sit back and wait for people to call in and hear the songs, demos, and fake advertisements play through.
But with the advent of the Internet and new ways of consuming music, Dial-A-Song was soon superseded by newer technology and other band endeavours.
Asked if the disconnection of the Dial-A-Song number warranted a day of mourning, Linnell replies, “[it] sort of died like the Roman Empire. It didn’t actually end at any particular moment, it just sort of faded out.”
“The news that it was gone wasn’t even a particular moment, there was no announcement,” he explains. “It just continued to break down and get repaired, and then the last time it broke without getting repaired went sort of unheralded unfortunately.”
What did warrant and indeed receive heralding however, was the winning of not one, but two Grammy awards.
In what is perhaps a fitting dose of bizarre irony for the band, neither award was for an album in the central TMBG discography.
Rather, the first, in 2002 for Malcolm In The Middle theme song “Boss of Me,” and in 2009 for children’s album Here Come the 123s; the follow-up to their first album for kids, No! from 2002.
The success of the family friendly album, containing track titles like “Fibber Island,” “Where Do They Make Balloons?”, and “I Am A Grocery Bag,” prompted the production of several other children’s albums, Here Come the ABCs, and Here Comes Science.
All were well sold and well received, it appears TMBG’s love for the ridiculous and fun, as well as a highly eclectic musical palate fused perfectly, enabling them to create children’s media that was stimulating and Linnell, now a father himself, says, “not entirely treacly or unbearable.” “If you ask me what I have to look forward to, that is one of the things – coming up with a wrap for the new album.” – John Linnell
“Programming for children is not always specifically aimed at certain ages, so you have this problem where people don’t want to talk over kid’s heads,” Linnell adds. “But we weren’t stymied by that, because we figured if kids don’t get it they can still like it.”
“I think it also enabled, and I can’t recall whether we did this deliberately or not, to make something that adults could stand to listen along to,” he continues, “which of course adults have to do.”
“Speaking as a parent, I know this. You can’t get away from your kids music, they’re going to listen to it over and over and over.”
While their youthful efforts were praised, the many years making music have also seen TMBG pen jingles for a Dunkin’ Donuts campaign, contribute to the score of Austin Powers: The Spy who Shagged Me, serve as the 1992 Musical Ambassadors for International Space Year, and on a personal note, saw Linnell make it into People Magazine’s Most Beautiful People of 1998 poll.
The accordion half of TMBG was sandwiched at number 9 (between Sarah Michelle Gellar and Madonna), and he still responds to the flattery diplomatically. “Yes, that was me,” he says shyly.
Moving beyond warm, glowing nostalgia, TMBG released their new album, Nanobots, on March 5th, and in to-be-expected wacky fashion, released an anti-spoiler: “the first 7 seconds of every song on Nanobots at the same time,” – to give fans a taste of what their 16th release sounds like.
As for themes though, Linnell says he’s “glad” he wasn’t quizzed intensively on “the connective thread between all the songs,” because simply, he doesn’t know.
“If you ask me what I have to look forward to, that is one of the things – coming up with a wrap for the new album.”
Another thing to await excitedly is TMBG’s return to Australia for the regional Groovin’ The Moo circuit, and a scattering of other sideshows along the way. After more than 10 years since he toured Australia, Linnell still feels fondly about his first time.
“That was a memorably good tour; everyone still has very fond memories of that tour, and not only because it was in contrast to a miserable tour of Britain we did in that same season,” he compares. “I suppose in a way that was kind of our philosophy. We still don’t really know what we’re doing exactly…we don’t know what the charter is.” – John Linnell
“The shows themselves were good but we had this terrible tour, it was uncomfortable and kind of crappy. But (in Australia) it was just the most gloriously fun and exciting tour. The weather was great, the shows were great and the travelling was great. So we’re really looking forward to coming back,” he says enthusiastically.
As for what to play after 30 years, 16 albums, and a tonne of multifarious side projects, Linnell says that with all their shows now, what they choose to play is pretty “proportionate.”
“We always try and play a generous amount of stuff that people who barely know the band at all might have heard,” he replies. “As well as deep catalogue stuff that’s really for the benefit of the front row. So it’s something like: a third new album, a third classics, and a third completely obscure. Hopefully that way there’s something for everyone,” he asserts.
While change has been an utterly unavoidable element for TMBG, and for die-hard fans heading to upcoming shows, maybe apparent in their sound as well, Linnell says that over the years very little was calculated, and there was certainly no considered career plan.
“I suppose in a way that was kind of our philosophy. We still don’t really know what we’re doing exactly…we don’t know what the charter is,” Linnell says breezily.
“That may be the reason we’ve been going at it so long, because we don’t know, we’ve never known what to expect next. We’ve never had an idea of what this is; it’s always been very ill-defined. And as a result it sort of gets to be anything,” he admits.
Who the hell knows what’s next for TMBG, but if the past offers any insight, for the pioneers of songs such as “Ana Ng,” “Doctor Worm,” and “Birdhouse in Your Soul,” it’s destined to be a weird and wonderful journey if nothing else.
Nanobots is out now through Warner Music Australia. They Might Be Giants head to regional centres with Groovin’ The Moo in April/May, as well as playing headline sideshows around Australia, dates and details below.
They Might Be Giants 2013 Australian Tour
Wednesday, April 24th (Anzac Day Eve) *SOLD OUT*
Sydney – Metro Theatre
Thursday, April 25 – Playing Flood live in its entirety
Sydney – Upstairs Beresford
Thursday, May 2nd
Melbourne – Corner Hotel *SOLD OUT*
Friday, May 3rd – Playing Flood live in its entirety
Melbourne – Corner Hotel *SOLD OUT*
Tuesday, May 7th- Playing Flood live in its entirety
Brisbane – The Zoo
Wednesday, May 8th
Brisbane – The Zoo *SOLD OUT*
Thursday, May 9th
Adelaide – The Gov
Friday, May 10th
Perth – Rosemount Hotel *SOLD OUT*
Tuesday, May 14th
Wrestpoint – Hobart
Tickets are $59+bf and are available from metropolistouring.com and the venues
Groovin The Moo 2013 Dates
Saturday 27 April 2013 – Maitland NSW – SOLD OUT!
Maitland Showground
Blomfield St, Maitland NSW 2320
Sunday 28 April 2013 – Canberra ACT
University of Canberra
Kirinari St Bruce ACT 2617
Saturday 4 May 2013 – Bendigo VIC – SOLD OUT!
Bendigo’s Prince of Wales Showground
42 – 72 Holmes Rd, Bendigo VIC 3550
Sunday 5 May 2013 – Townsville QLD
Murray Sports Complex – Townsville Cricket Grounds
Mervyn Crossman Dr & Murray Lyons Cres, Idalia QLD 4811
Saturday 11 May 2013 – Bunbury WA
Hay Park
(off) Parade Rd Bunbury WA 6230
