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Sheena is too old
Verse1
Alternative - alternative facts abound
around the world - she’s caught up in a storm of lies
She feels her a-age, computer noise, no help at all
She cries alo-one, Coping with a loss of hope.
Verse 2
rasping bre-eath - of a wild and twisted world
She can’t acce-ept, prozac pulsing through her viens
Scared on stre-eet - but she knows it’s all a lie
feels obsole-ete - as if her friends all think she died.
Oh oh oh
Prechorus
the truth is always one step behind.
You think you understand how fucked up this world is?
or
The truth slowly slips away as we drown in chaos!
Chorus
Sheena is too old!
dumpster diving got her down
Prehistoric man
Verse
(first) touch of tech gadget phantoms
Your hands shakin’ (with) trepidation
Cells degrade, thermic radiation
No one (I know) cares
Bluetooth givin’ you a nosebleed
Wireless router with some- fiber optics
Fear of crowds, fear of the future
No one (I know) cares
Pre-chorus
Whoa oh oh
a nervous update
Wo oh oh oh
a coding mistake
Wo oh oh oh
A static frame rate
Jitters scream, a white noise howl
Chorus
Pre-historic man look at me
gaping eyes at the world to be
Pre historic man take my hand
Back to the trees man, trash your flint
Verse 2
Touch screen dreams on a rainy day
Connected kids, wireless ricochet
Global village sleepwalk away
No one (I know) cares
Your mind flickers like a faulty flatscreen
(Your) Hands are shaking with a wi-fi vaccine
Frenzied mess flying down the livestream
No one (I know) cares
Chorus
Chorus
You feel hopeless. You feel the glitches accumulate in your brain. You feel the persistant push of wi-fi signals and bluetooth radiation pushing through your defences. Nothing feels real anymore, and you scream as alternative facts are pummelled through your eyelids through pervasive media propagation networks. Roots spreading through your immune system. Alienated white noise and cries for help fill the landscape around you. You clench your fist. The love you feel is real. No one can take that from you or reduce it in anyway. Love is the first step to the resistance.
The story of the record:
We’ve played lots of benefit concerts for lots of great causes that we believe in and I often meet people that were brought into the alternative world partly because of our concerts. Music really does help and really does change people's lives. It's an incredible honour to be part of something like that.
I think the concert that moved us the most was when we played for refugees in a squatted high school in Paris. 400 refugees had set up an autonomous community in the squat with elected representatives from each community and floor etc. A system that worked pretty well. Paris was a no go area for refugees and still is. The city and the police have a zero tolerance policy for refugees. Maire Hidalgo tries to make life as hard as possible for them in the hope that they would disappear or something! The inhabitants and companies of the 19th arrondissement didn't agree and provided them with food and supplies. I had visited them and asked them what they needed and wanted. They spoke to their constituents and said to me that they had enough food (local companies and people were very generous) but what they really wanted was a bit of culture and music. Life without any culture or music starts to seem like a prison after a while. I said I'd do that for them and I spoke to my friend Dalia who really inspired the whole idea and put me in touch with a crew called Disco Soup or something. They wanted to make a huge banquet for the refugees (and they certainly did that!). I put the word out for other bands to play with us. In just one day we had lined up Brazilian marching bands, klezmer bands with our friends from Klunk, jazz bands, African drum circles, hip hop bands and most strange of all an open top sports car that rolled in and became an industrial hip hop sound system. Like a fucking transformer or something! So fucking cool. I couldn’t believe the response that we got. It took a fair bit of juggling and negotiating to make it all work and all the groups to play one after another throughout the day. The klezmer music went down well as did the brazilan band and the african drum circle…. I almost forgot to get Louis Lingg and the Bombs to play! We played mostly acoustic instruments on a tiny little sound system that I’d borrowed off Amnesty International. We played in the middle of the courtyard surrounded by everyone and sang our hearts out for about 4 songs or so.
Then the refugees who were visibly moved by all this wanted to present their show to us. The afghans did a traditional song and dance that moved me and Juliette to tears and then the Egyptians showed us a very young central African rapper that they'd taken under their wing. An amazing talent. He blew us all away with his rapping skills.
All the musicians gave instruments and drums to the refugees (all instruments subsequently stolen by the police) and the refugees thanked us for making them feel like the centre of something. It was a very emotional day. There have been thousands of concerts to raise money for refugees but hardly any concerts just them for no other reason but to provide them with joy and the love of life. They had tears in their eyes and we had tears in our eyes. The cultural exchange was incredible. I've rarely done anything important like that in my life. (The Police raided the squat soon after and dragged them all out to the suburbs and stole all their property as I previously mentioned.)
Another interesting gig we did in this period was a concert in a preschool creche for 2 and 3 years olds! Yes! semi acoustic punk rock for 2 years! Put that on a fucking t-shirt!
I had explained to the director of the creche that we were an anarcho-punk band and had even given her a CD. She really really really wanted something different to the farm animal show they normally booked for the kids. Anything but them again!
We did two gigs: one in the morning and one in the afternoon, each one followed by a jam with the kids on loads of percussion instruments that I had brought with us.
We were accompanied by Jean-Louis Lopez, the famous singer of the Dead Boobs. He said he was afraid to miss the start of the gig so he had decided to stay up all night so he could be on time. He had some coffee in a CNT beer glass and asked the creche workers where he could smoke. Nowhere was the answer! Played acoustic guitar for us. He stood up on a chair to play and instantly became a legend to the children there who were constantly told not to stand up on chairs! They speak about him to this very day! The gig in the morning went well, the spectacle of a bunch of moshing 2 year olds jumping and rolling around on the floor was enough to raise a few eyebrows with their parents that’s for sure. The afternoon gig didn’t go so well. Most of them cried and a couple of them started a fist fight in the mosh pit and had to be separated. Hey, that’s punk rock kids! Sometimes it makes you happy, sometimes it starts fights. That’s just how it is! I tried not to laugh at the spectacle of fighting two years and all the rest crying in misery as we slugged our way through the laborious set. (Hey, I’m not a total arse-hole!) We cheered them up and made amends by letting them torture their parents with percussion instruments for a full hour after the gig!
It was the best paid gig we’ve ever done. Don’t knock it til you try it!
The record that we did in this period was a 4 track EP called Kiiroichurippu: Hopeless Love in the Age of the Glitch.
The Favela Ninja album had taken almost 4 years to do and it had nearly sucked away our will to live and was a financial failure. I thought it was important to break that cycle quickly as we were spiraling downwards towards a band catastrophe. We were arguing a lot in the group. We were frustrated and desperate. I needed to show the group that we could do a world class record quickly and with zero budget… and we did!
Juliette is half japanese and we all like japanese music so we made the record half japanese and half english. That was the concept. We even used one of our drummers, Greg’s, guitar riffs. Juliette wrote the lyrics to Onigiri entirely in japanese and people who understand japanese think they’re great. A funny take on onigiri recipes!
We recorded and mixed the record super fast in our practice room. I often just used the first take of every part. It sounds great! Yay! We broke the long soul crushing album curse! It got picked up by quite a few radios and podcasts so it ended up helping out of a slump.
This is difficult to talk about. This is the moment that Greg left the band. I don’t really blame him because we’d been struggling to have regular band practices for a few years. A couple of our members were rarely there and it became hard to survive as a band. When we played concerts or when we went on mini tours, I sent and received hundreds of emails to organise things as best I could but the nature of punk people is that chaos and logistical mix-ups were never far away. He found that hard to take as he was often the driver. He put up with it for a while. I thought that the EP Hopeless Love in the Age of the Glitch would show him that we were exceptional (and open to drummer input!) but it didn’t work. He wasn’t looking for something exceptional, he was looking for something else. He joined a semi-professional band called Toybloid (remember the super cool, Madeleine, from the Polysics gig?) and played in huge stadiums with them (no exaggeration, they literally played quite a few stadium gigs! I shit you not!) and realised how horrible and grubby our lack of organisation was. He also joined Cookies, a truly mediocre band that apparently writes their songs in five minutes and records the lowest of lo-fi records imaginable and he must have realised that our pain-staking writing and recording process, stretching out over months, was actually a heartbreaking and nerve-wracking business. Imagine what a breath of fresh air songwriting with the Cookies must be! Again, I don’t blame him. As a drummer, he must have looked at our arguments over melodies absolutely aghast when his other bands were well oiled machines, spewing out music and getting paid for gigs. It hit me really hard after years of struggling with the band. We had sacrificed so much over the years. I’d almost given up so many times. I didn’t know how I could get out of this depression. How could I survive this setback? It was really brutal for everyone because he’s one of our closest friends to this day. I sincerely hope to be good friends with him forever.
credits
released April 2, 2018
Songs by Louis Lingg and the Bombs
Little bit of guitar and screaming by Jerome and JB Ganivet
Recorded and mixed by Joshua Hudes
Mastered by Barry Gardener
Cover art by Aurelia Folch (strangerwolf.com)
Design by Arno Life
Louis Lingg and the Bombs are goddamn punk-rock-garage-electro-big beat-pop-anarcho saviours of the 2 and half minute pop
song. The bombs they throw are musical, they come from Paris (they could only come from Paris!) and they'll grab you and demand your instant attention.
Their sound is a mix of ultra-political anarchic punk rock and fizzing children's nursery rhyme riot-pop. Formed in 2006!!!!...more
supported by 4 fans who also own “Kiiroichurippu: Hopeless Love in the Age of the Glitch (EP)”
Great album, this band is better than Nickleback but not as good as Ace Of Base. Buy all their music and merch, and go see them live.
Can we have a vinyl release of Terminal Boredom please!!?? bovril
Taking cues from Midwestern emo and early ’10 pop punk, this Leeds, UK outfit are full of heart— not to mention hooks. Bandcamp New & Notable Sep 21, 2022
