Human Pursuits Radio 001: There's a HOLE in yer MOM JEANS.
Guest contributor Dan Zajac joins from Sydney, AUS, to talk sugary sweet pop-punk and shimmery 90s grunge.
VANCOUVER – We interrupt our programming to bring you this special pan-Pacific bulletin. Human Pursuits Radio is now fully operational. On the first Tuesday of every month, best musical buds Ethan Sawyer and Dan Zajac will select one album (new or old) for the other to spin and then comment on. The goal is simple: sift through the endless stream of music to separate PROPER CHUNES from PROPER CHUM. Along the way, they’ll write a few sentences for every song, and defend (or even deride) their respective choices.
For this inaugural edition, Dan picked Sweet Tooth by the California pop punk band Mom Jeans., and Ethan picked Celebrity Skin by the divisive, but nonetheless decorated rock band Hole.
So sit back and relax – Human Pursuits Radio starts now.
Dan’s pick: Sweet Tooth by Mom Jeans.
Intro
DZ: Ethan and I used to share music all the time - mostly because we liked the same stuff but also because we just loved the discourse (to the chagrin of everyone else around us). At the time our musical tastes aligned largely in a genre that Ethan has since moved on from - and one that I forever return to. For me, pop punk shines in its energy, its honesty, and the genuine way in which it makes me feel. A lot of that has to do with the straightforwardness of the lyrics - but perhaps I mostly love how all the melodrama remains fun. I thought it’d be fitting, to start off this lil’ project by bringing Ethan back to the genre that originally brought us together, with an album that gives me all those emo feels that I crave. Also, that’s Sydney in the background of the album cover (my new home - an unintended plus!).
ES: The album cover alone makes this selection feel like a troll. It’s not enough that I must return to my pierced-lip, pop-punk roots, I have to stare at two pasty white asses now too? I’ve long been skeptical of these Moms (and their Jeans), but I know Dan sees something in them. And so, my white ass jumps in feet first.
Something Sweet
ES: Until now, I have had limited exposure to Mom Jeans. I listened to their debut, Best Buds, during the pandemic and found Eric Butler’s vocals a tad whiny. Within seconds, the album makes it clear that will be *less* of an issue. The arrangement is urgent and the production is spacious. It’s sweet. Maybe too sweet.
DZ: While Best Buds would be the ‘quintessential’ Mom Jeans album, it did suffer from a couple of things - namely Eric Butler’s whiny vocals. You say the vocals are ‘less’ of an issue - I think they are a non-issue right from the jump! You always need a bit of whine in the genre (just ask your old idol Tom Delonge). Agree on the production and urgency; also, you noted the brevity in a couple of later tracks (this one is slightly over 2 minutes), which is another plus for me. Lyrically this feels less substantial than some later tracks, but it’s a good start.
What’s Up?
ES: There is a long history of punk and emo bands putting absolute SLAPPERS in the second slot. Blink-182’s “Don’t Leave Me”? Paramore’s “That’s What You Get”? Taking Back Sunday’s “Bike Scene”? All track twos. Hell, The Ramones did it in ‘76 with “Beat on the Brat.” Because track two is where good bands prove they have more to offer than their opening salvo. “What’s Up?” does just that, more or less. A good song with a great bridge.
DZ: Agreed with all of the above. Let’s not forget some other great emo ‘track 2s’ like Motion City Soundtrack’s “Everything Is Alright,” Brand New’s “Jude Law..” and Fall Out Boy’s “Dead On Arrival”. Love the build at the start with the running drum beat and instruments/vocals added one by one. Another pro of the genre - straight men singing about their feelings in an unabashed way! Really great bridge and one of the highlights for me.
Hippo In the Water
ES: Maybe it’s because TikTok has rotted my brain, but sitting here in 2023, I feel strongly that more songs should be 2 minutes or less, particularly if the songwriting is this economical. While not perfect, “Hippo In the Water” is a triumphant burst of emo maximalism. The only thing missing is a Wurlitzer.
DZ: YES, this is one I was excited for you to hear and you took the words out of my mouth. I just love the efficiency of this song. Feels like the band is firing on all cylinders with a song that goes all over the place (dynamically) in a miniature 1 minute and 45 seconds. The freneticism of the production is matched by the story of young/drunken love - just a fun song all around.
White Trash Millionaire
ES: When he was interviewed by Chris Payne, Max Bemis mentioned that the emo backlash of the late 2000s was, in his mind, partially a result of people being unwilling or uncomfortable with the sincerity and over-the-top feelings contained in the music. This song, which actually kind of sounds like Say Anything, makes me think he might be onto something.
DZ: Interesting point! Can definitely see the Say Anything comparison in this one (there’s a random spoken-word interjection that could totally come from Max Bemis). I think this one’s quite fun in all its OTT sadness. Nice horns on the bridge and quite dynamic throughout.
Circus Clown
ES: I already know you’re going to say this song is catchy. And it is. But being catchy is not always a good thing. Consider, for example, herpes. This song is kinda like Herpes if Herpes grew up listening to late-career Weezer and All-American Rejects.
DZ: You’re right, this is catchy. And to be honest, your commentary here sounds like you’re doing your best early-days Fall Out Boy/PATD song title attempt: “This song is kinda like Herpes if Herpes grew up listening to late-career Weezer and All-American Rejects.” Fits right in on A Fever You Can’t Sweat Out. As for the song, this is one of the best examples of Eric Butler’s improved vocals. They just sound so full, especially in the last chorus. Love this one.
Sugar Rush
ES: Speaking of Weezer, this guitar solo is giving epic bacon sauce (in a good way). Mom Jeans? More like Mom Chemical Romance. Welcome to the Jeans Parade, dawg.
DZ: So did you like this one? Because, if you’re comparing the solo to Weezer and MCR then I am taking this as a positive. Really enjoy the lyrics here - again, lots of brutal honesty re: love/relationships that (at least for me) create some real *relatable content*. Along with “Circus Clown,” this is probably one of the catchiest on the album - so that doesn’t hurt.
Graduating Life
ES: OK. I think we should talk about Eric’s vocals a little bit. I’m not here to yuck anyone’s yum, or to needlessly shit on a young band chasing down a dream. But as someone who used to cosplay as Tom Delonge, I feel comfortable saying that, at times, the singing on this record borders on parody. Reddit suggests he has improved, and that’s great, but it’s a barrier to entry and something that might prevent me from reaching for this record.
DZ: I think the vocal criticism is fair, especially on this one. As the one ‘ballad’ on the album, I think the ‘room for improvement’ is most evident here. This is one of the only skips for me. On an album of front-to-back high energy, it feels a bit out of place. The “Graduating Life” line is also just a bit much, even for me.
Luv L8r
ES: Since we’ve entered my critiques of this record, I’m interested to know what you think about the lyrics, or if you even really think about them. I don’t need everything Eric says to be relatable, but I do find that his subject matter toes the line between meaninglessly juvenile and relatably genuine. If I was 16 and going to therapy maybe the spoken word poem would hit differently. But I’m 32 and going to therapy and I feel like he’s saying a lot without saying much at all.
DZ: Oh HERE we go - I had a feeling this may be divisive. I absolutely love this one. Yes, the lyrics are dramatic, juvenile, immature, whatever you want to call them. This song is a straight-up banger, with a killer chorus and two verses that hit so hard (including the full spoken-word verse that gives my 32-year-old teenager brain the hit of angst it so desperately craves). Like come on - the following is too much (and I mean that as a compliment):
“And I’m still just as angry
But now I’ve got no outlets
You only understand me
If it’s in a catchy chorus”
Crybaby (On the Phone)
ES: In an unexpected twist, Eric’s got himself a nice little falsetto. Human Pursuits has long been pro 6/8 time, so I’m happy to hear the band waltzing for 2 minutes. My only gripe is that they buried the guitar solo at the end. Go, Joel!
DZ: Agree, love how the time signature gives this a waltz-y/old-school vibe (the “old baby” refrain also helps with this). Lyrically, it’s a pretty straightforward sad-boy breakup/missing my girl song, but I continue to fall on the ‘genuinely relatable’ end of the lyrical spectrum. Also, the guitar solo at the end is so Weezer. Another efficient one too (2:24). In the top half of the album.
Anime Theme Song
ES: Is that a synth? A guitar? Either way, it sounds cool. This song is giving Warped Tour 2006. Not my favourite, but not bad.
DZ: Agree. If there was one song on here that would represent the most ‘average’ Mom Jeans song (in terms of sound, energy, and overall quality), I think this would be it. For me, the average Mom Jeans song is great, so this is great too.
Tie Dye Acid Trip
ES: One thing I will say about these Moms is that they are rarely boring. Every song before this had something for me to chew on. This one doesn’t. It isn’t bad, but it is a little generic (aside from that one lyric about french fries).
DZ: Interesting - I actually really like this one. It is a bit more mid-tempo than the rest, but I really like the chorus and the main guitar riff (which is layered with gang vocals as the song progresses). Probably the only song on the album that I would say is “pretty”. The sad-boy breakup energy is in full force here, and the straightforwardness of the lyrics really works for me.
Ten Minutes
ES: A small part of me hoped this would be a Get Up Kids cover. It’s not, but I won’t hold that against them. The verses remind me of Turnover which is nice. I mentioned the gang vocals earlier, but whoever is doing harmonies on this record did a nice job. It sounds a little bit like Modern Baseball, which I know they get a lot.
DZ: Maybe we’ll have to cover some Modern Baseball sometime! This is one that I don’t come back to often. I appreciate the self-awareness (“I’m not just being dramatic, I really care this much for you” - in reference to an ex). Nice guitar solo at the end. Otherwise a bit mid.
Teeth
ES: So look. I get what they were going for but I feel like viewing love through the lens of dental hygiene is kind of corny. Maybe it’s my old-head fourth-wave emo roots, but I think lyrics are often what separates good emo bands from great emo bands. After 13 tracks I can safely say Mom Jeans is a good band with glimmers of greatness. Musically this sounds like a poor man’s John Mayer, so bonus points for that.
DZ: Yeah, I don’t love the central ‘dental health’ metaphor but I do enjoy how it ties this album together (with opener “Something Sweet”). A bit of a downer end to the album - would’ve loved something with a bit more punch to close this off. Not following the John Mayer comparison at all. “A good band with glimmers of greatness” though? I’ll take it!
Ethan’s pick: Celebrity Skin by Hole
Intro
ES: Dan is currently in his riot grrrl-era thanks to Olivia Rodrigo. While I think her new album, Guts, has more in common with Avril Lavigne and The Cars than Courtney Love and Hole, there are trace elements of the latter in certain songs (I’m looking at you, “All-American Bitch”). Knowing he isn’t much for grunge, I thought we’d dive into the group’s glossiest batch of songs.
DZ: First off, I’ve never listened to a Hole album in full, so this’ll be fun. I thought Live Through This was the Hole album, so I’m a bit surprised by Ethan's pick. Going into this quite blind - here goes!
Celebrity Skin
DZ: This is the only song I am really familiar with from the album - giving me big ‘90s family road trip/early ‘NOW’ CD vibes. I think this still hits hard - the production sounds crisp/clear and surprisingly modern. Really efficient and catchy song. Noticeably this is the shortest song on the album, which I think is a strength. It’s also by far the most commercial song on the album (to the point where it feels like it belongs on another album). Really great.
ES: Honestly, this song is the main reason I thought you might enjoy the album. When people say Olivia Rodrigo sounds like Hole (does anyone say this?), I think this is what they mean. It’s interesting hearing this after listening to Mom Jeans. She literally quotes Shakespeare!
Awful
DZ: Another highlight. The bridge/transition to the last chorus is fun. Noticeably this is the second shortest song on the album, which again I think is a strength (stays high energy without overstaying its welcome). Has a lighter energy than the rest of the album, which I like. A catchy mid-tempo bop - not much more to say!
ES: Add this to my aforementioned list of track two SLAPPERS. I’m so glad we agree that this is a Proper Chune.
Hit So Hard
DZ: These lyrics are really interesting - on first listen I thought the "hit so hard" lyrics were an innuendo (which was probably naive) but it quickly became clear that this relates to a toxic/abusive relationship. Musically I find it kinda flat but I really like the story about a harmful/addictive relationship and the complex emotions that come along with that. More of an ‘interesting’ song than one I expect to come back to.
ES: I’m probably too deep in the Google Doc, but it’s interesting to consider how Love’s lyrics are almost Mom Jeans-y here. Both singers rely on candy and sweetness as a metaphor, but I feel like her approach is infinitely cooler. As for the music, I suppose it’s kind of flat, but I love the minor key feeling in that bit after the bridge.
Malibu
DZ: I think this is the only other song (aside from “Celebrity Skin”) I had previously heard from this album. Feels like one of the few bright spots on the album - softer/prettier guitars with the SoCal backdrop. Good road trip/summer BBQ music. A welcome balance against the heavier stuff.
ES: Dude, we should cruise the PCH down to Laguna. Hit Crystal Cove Shake Shack. Make a day of it.
Reasons To Be Beautiful
DZ: Love this one. Courtney’s vocals are really strong - love how she starts off essentially yelling the first line. The song moves up and down quite a bit and stays dynamic through the whole thing - there’s a moment right at the three-minute mark where everything picks up and it’s SO cathartic. Love the lyrics re: the fleeting nature of beauty and desire for validation. Definitely a highlight - the essential track IMO.
ES: I’m actually a little surprised this one is such a highlight for you. The chord progression is very ‘90s grunge and it feels a bit repetitive. I also think the band uses dynamics in more interesting ways, including the title track and the next song.
Dying
DZ: This one surprised me - it starts off quite dreary but slowly picks up through the song and turns into something really pretty. Lyrically it’s super grim - but honestly, it’s kinda haunting and affecting. Quite like this one. The sub-4 minute length is also nice, in contrast to some of the tracks to follow.
ES: Courtney’s lyrics and vocals tend to get the most attention, but we should acknowledge that Hole’s other members make meaningful contributions across the album. Eric Erlandson (guitar) in particular shares songwriting credits on every track and a song like this simply wouldn’t be the same with Melissa Auf der Maur’s background vocals.
Use Once & Destroy
DZ: This is where the album starts to dip for me. I have a problem with a few of the songs later on this album that are 5 minutes or longer and which really start to drift for me. This one also feels really mid in terms of tempo/energy throughout - lots of the ‘same’ for most of the runtime (although it does pick up a bit near the end of the song). I’m also struggling to connect with these lyrics, which are heavy on the self-destruction/addiction points.
ES: We’re getting into real “chicks rock” hours here. I actually find this song more cathartic than “Reasons to Be Beautiful”. It builds and eventually releases. Off with her head, bitch!!!
Northern Star
DZ: Super grim lyrics again, although I do enjoy the ‘Northern Star’ metaphor. I think this album does get a bit same-y in its hopelessness/general malaise but this one has a tint of hopefulness in its central metaphor. Generally, I do appreciate the introspective lyrics throughout the album though. Vocally it’s an interesting performance from Courtney but musically it hasn’t hooked me. Don’t expect I’ll come back to this one.
ES: Agreed. Mom Jeans can be melodramatic at times, but the songs are usually fun. This is melodramatic in a sort of Smashing Pumpkins way that I find irritating. Music for a coffee shop open mic.
Boys on the Radio
DZ: Seems to be a pretty clear nod to Kurt Cobain. Like most songs on the album, mixes themes of love and loss (i.e., none of these are too straightforward/on-the-nose, which I like). Musically this one is lighter than the last few - it’s also quite dynamic throughout. Has a hooky-er chorus as well. I still think it suffers from its length (over 5 mins) but this is one of my faves from the second half.
ES: For context, this song was deeply beloved by critics when the album dropped. And I sort of get it. It has multiple hooks (“Baby, I've gone away”), and it does the quiet-loud thing so well. It’s five minutes, but in my opinion, it doesn’t really feel like it.
Heaven Tonight
DZ: Relatively poppy/upbeat and a lot more optimistic than most of the album. I am struggling to find much that stands out from this one - it’s nice enough in the context of the album purely because it contrasts some of the heavier/lengthier tracks but it doesn’t give me enough of anything to warrant repeat listens.
ES: Listening now, this song’s arrangement is sort of giving Jimmy Eat World. Specifically “Your House,” which is a low-key heater. But yes I agree, it’s the sort of song I’m happy to hear but I wouldn’t necessarily put on, if that makes sense.
Playing Your Song
DZ: Lyrically this one feels very ‘on brand’ for what I expected from Hole - a lament on music commercialization/becoming a ‘sellout’. Sadly it’s all a bit mid for me. I just don’t feel much from this one.
ES: Yeah this one feels kinda schlocky. I do not care for that lead guitar effect.
Petals
DZ: Another one that uses a song-wide metaphor to detail loss, heartbreak, etc. I think the chorus in this one is relatively strong but I am still struggling to connect with it. By the time we’ve hit track 12 on this album, I think we’ve seen all its tricks, and this song doesn’t do anything different/better than the ones we’ve heard earlier. A disappointing end.
ES: I don’t know if I would call it disappointing but I agree that this one sort of blends into the surroundings. At least it’s better than “Northern Star.”
Proper Chune & Chum
Dan → Chunes = “Luv L8r,” // “Reasons To Be Beautiful”
Dan → Chum: “Graduating Life” // “Use Once & Destroy”
Ethan → Chunes: “Hippo in the Water” // “Awful”
Ethan → Chum: “Graduating Life” // “Northern Star”
Closing Arguments
DZ: These two albums represented a pretty stark contrast in their lyrical approach. One is juvenile, direct, and honest; the other is poetic, and metaphorical. If Courtney could’ve given me some of that sweet emo directness, maybe it would’ve hit harder for me. As it stands, Hole’s Celebrity Skin is an interesting album that suffers from some pacing issues, with a few bangers that I’m sure to come back to.
ES: Mom Jeans may be more direct, but I think Hole is arguably more cathartic. Sweet Tooth contains some exciting moments, like “Hippo in the Water” and “What’s Up,” but Eric Butler and co. come off a tad one-note. Courtney Love and Hole operate with a much richer palette, tackling themes like fame, innocence, power, and death, producing at least four (!!!) Proper Chunes in the process. Neither album is perfect, though, and I’m more likely to pick and choose songs than play either in its entirety.
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