They have a distinctive, minimalist sound based on unusual and urgent time signatures, repetitive heavy rhythms, an angular guitar sound, and Albini's surreal, bitingly sarcastic lyrics. Songs typically do not have traditional verse/chorus/verse structure and the arrangements are sparse, to the point where some describe them as "amelodic". Shellac's signature sound is often associated with their enthusiasm for vintage Travis Bean guitars, a rare brand of aluminium-based instruments. Albini is also known to use copper plectrums and unique guitar straps that fit around the waist rather than over the shoulder. The band prefers the intimacy of smaller clubs, and live appearances are sporadic.
Both Weston and Albini are renowned recording engineers, and use their preferred methods with Shellac: Albini prefers a very clean, analogue recording sound with little or no overdubbing, and he is meticulous about microphone placings and equipment - this is reflected in Shellac's no nonsense approach to their own music, both in the studio and live.
Shellac are also renowned for their unconventional modus operandi. Touring is often an excuse for the band to take time away from their day jobs (Albini and Weston are both recording engineers; Trainer works at a commercial photographer's studio in Minneapolis) instead of being used to promote a recent record or even for financial gain. Indeed, Shellac do not have a "fixed fee" for performances like most bands, instead preferring to take the door charge minus expenses such as promotion, running costs and venue fees. They have also been known to ask venues to remove ticket charges they regard as unnecessary, which have become common in Europe and America.
An early claim from the band was that all of their songs were about two of Albini's favourite subjects: Baseball and Canada. In actuality, Albini and Weston's songs can refer to a broad range of topics, from the highly emotional to examinations of everyday minutiae. However, regardless of the subject, each song is presented in the same deadpan, occasionally violent manner. An example can be found in the concluding tracks from the band's album 1000 Hurts. Although both songs have a title referring to a mundane house-hold object, these items are in actuality symbolic of a larger theme. Weston's "Shoe Song" deals with the realisation of love and its subsequent loss, whereas Albini's "Watch Song" details irrational anger and aggression. Shoe Song also heavily references post-rock band Slint, who were produced by Albini.
Shellac are known for their mercurial nature, which has produced some interesting records and events. Most notably, they recorded an instrumental album known as The Futurist for a modern dance troupe. Unwilling to grant what the band considered a sub-par recording a wider audience, they pressed approximately 700 vinyl LP copies of the music and gave them away as gifts to friends. The front cover was a list of the recipients, with the relevant name encircled. Shellac also played a Halloween show as the anarchic British punk group The Sex Pistols, featuring former The Jesus Lizard and Scratch Acid singer David Yow as Johnny Rotten. Both of the aforementioned can now be found on several file-sharing networks.
In 2002, the band was also responsible for curating the All Tomorrow's Parties festival in Camber Sands, England. Amongst fans of independent rock, these weekends have achieved legendary status and featured performances from some of the world's finest groups. Knowing that most of the audience had come specifically to see Shellac, the band went on first every morning as an incentive for the festival-goers to be up in time to see the other acts. An album of live tracks from this festival was also released on ATP Records.
In December 2004, Shellac recorded a final BBC Session dedicated their longtime fan John Peel. Peel had been an ardent supporter of the band and his death earlier in the year came as a great shock to the independent music community. In 2005, Shellac were recorded playing 'Steady As She Goes' in an abandoned house as part of a film project called Burn To Shine, organised by Fugazi drummer Brendan Canty and film-maker Christoph Green. This is the only available recorded video footage of the band playing live.
Dude Incredible
Shellac Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Let's leave this place directly
and go where the females congregate
Some of us are tired and where we are is copasetic
Fuck that, let's go, we can always eat along the way
Suddenly we find ourselves surrounded
By a group of strangers
Even though we are outnumbered
Oh my brothers, oh my other comrades
This is how we fight them, it's terrific how we fight them
Hand over hand over hand over hand
This is how we travel
The higher we go, the higher we go
Hand over hand over hand over hand
Suddenly, we are upon them
Sunning themselves on the beach
Some of them are none too fit but
Some of them are spectacular
Oh my brothers, oh my other comrades
If I find myself in competition
I will fight you ruthlessly
Hand over hand over hand over hand
The song "Dude Incredible" by Shellac is a commentary on male bonding, bravado and competitiveness. The opening lines of the song suggest a group of male friends who are content with their current surroundings but decide to leave in search of female company. The lyrics "Some of us are tired and where we are is copasetic, Fuck that, let's go, we can always eat along the way" indicate a sense of spontaneity and carefree attitude amongst the male group.
However, as they embark on their journey and encounter strangers, their frivolous adventure turns into a display of machismo and strength. The lyrics "We resolve to fight them, Even though we are outnumbered" articulate the idea of male bravado and competitiveness. The subsequent verse continues this theme, as the group of men use their physical prowess to climb higher and higher up a certain mountain.
The final verse of the song suggests a possible competition amongst the male group when encountering females. The lyrics "If I find myself in competition, I will fight you ruthlessly" underscore the idea of male competitiveness and the need to win at all costs even at the expense of friendship amongst males. Thus, the song "Dude Incredible" can be seen as a commentary on masculine bonding, bravado, competitiveness and displays of strength.
Line by Line Meaning
Oh my brothers and oh my other comrades
Addressing fellow males in a group
Let's leave this place directly
Proposing to leave the current location immediately
and go where the females congregate
Suggesting to go where women gather
Some of us are tired and where we are is copasetic
Not everyone wants to leave as they are fine where they are
Fuck that, let's go, we can always eat along the way
Dismissing the concern of hunger and emphasizing the importance of leaving
Suddenly we find ourselves surrounded
Noticing that they are encircled
By a group of strangers
Referring to the people who have surrounded them
We resolve to fight them
Deciding to engage in combat
Even though we are outnumbered
Despite the overwhelming odds against us
Oh my brothers, oh my other comrades
Calling out to the other men in the group again
This is how we fight them, it's terrific how we fight them
Praising the strategy they use in combat
Hand over hand over hand over hand
Referring to the climbing of a structure or object
This is how we travel
Describing the method of their journey
The higher we go, the higher we go
Stating a fact about the process of climbing
Suddenly, we are upon them
Coming upon the group of people they were fighting
Sunning themselves on the beach
Describing the activities of the people they encounter
Some of them are none too fit but
Noting the appearance of some of the individuals
Some of them are spectacular
Noting the beauty of some of the individuals
Oh my brothers, oh my other comrades
Calling out to the other men in the group a third time
If I find myself in competition
Suggesting that they may compete for the affection of a woman
I will fight you ruthlessly
Asserting that they will fight without mercy for the prize
Hand over hand over hand over hand
Repeating the words used earlier to describe the climbing
Lyrics © SC PUBLISHING DBA SECRETLY CANADIAN PUB.
Lyrics Licensed & Provided by LyricFind
istrumguitars
Track Listing (Corrected Time Stamps):
1. "Dude Incredible" 0:00
2. "Compliant" 6:00
3. "You Came in Me" 9:38
4. "Riding Bikes" 11:47
5. "All the Surveyors" 17:15
6. "The People's Microphone" 20:38
7. "Gary" 23:53
8. "Mayor/Surveyor" 27:52
9. "Surveyor" 29:34
Great album. Piss poor quality, please upload in HD so this album can be heard the way they intended!
3 Balls And None Of Them Like Getting Whacked.
It does actually. Go check. Only the guy who said so's judgement probably wasn't impaired, biased or compromised by, for example, a strictly 'of their time' perspective, a genre-police type attitude, or by fanboy white-knighting.
Not that yours is. I don't mean that. I don't presume to know why you wrote something that was so uninsightful, dismissive and blunt.
He (the poster of the Priest comment) obviously has a wide and varied taste in music, spanning a long period of time and probably some extensive knowledge of what he is talking about. And I appreciate that.
There's nothing really wrong with his comment but I think that there is with your manner of criticism.
Me; what I heard at the start was something very like Helmet's 'In The Meantime' from (coincidentally?) the very start of their album 'Meantime' and my immediate reaction was "What is this, fuckin 'Country-Helmet' or something"?
I imagine the artist here is probably fully aware of both the similarities that could be drawn. He could well be knowledgeable enough about his own medium, too, to know that there is probably no more scope for any good sounding originality left within it. So, perhaps being aware of the possible comparisons, he might also think there is no point in giving a fuck about whether they will be made or whether some people might call it Country-Helmet-Priest, so just plays whatever he likes. I applaud that. And this. Playing without regard of what anyone else will say you sound like.
What amuses me though is the current trend towards some sort of bluesy sounding, rootsy 'authenticity', or something, that some bands are trying to reproduce lately (like this, Earth, Pelican, Baroness, Band Of Horses, whatever... loads of different shit from loads of different 'genres'), all sounding a wee bit Americana-ish and Westerny. Maybe trying to recreate an alternative 70's or make the music they wish that they'd heard as a kid by melding together elements of seemingly disparate bits of music they did hear as a kid. Fuck knows.
I don't really like a lot of 70's, bluesy, dinosaur-rock, though. Or dinosaur bluesy-rock influenced shit. Which includes both that Priest song and this, sorry. But I do like lateral thinking, understanding, open-mindedness and tolerance which is why I fancied writing this in response to what you wrote.
By the way, in case anyone is wondering: I am currently smoking some Rattray's Old Gowrie that I've lightly blended with a little straight mixing Latakia, in a Savinelli Roma 305.
Jonathan Boice
Late to the party, but holy shit these guys hit a deep and pure vein of post-punk goodness on this one. So much to unpack, but conversely so few notes to unpack. It's literally the notes that aren't played that make this a monster of an album.
Peter Adams
"Music is the space between the notes." - Claude Debussy
Jeff Riley
Truth
Natter Sting
Have you heard of Big Black? Kerocene!
Jonathan Forster
@Peter Adams 'you have to listen to the notes she's not playing' - Lisa Simpson
tommybuckley999
i see some people disagree, but i feel like this is the most listenable shellac record yet. can't put my finger on it but it just feels right. riding bikes gives me chills.
hammies
I agree 100%. this is the only shellac album that gets stuck in my head
ant eater
its a lot less abrasive than the others, got some minimalistic prog vibes to it
Hermitcrabdeluxe
i had my back. he had his. each one had the others. doing things that made us whole and something close to brothers.
Mr Stanhope
Totally agree. My favourite shellac album.