If we want to.

Love and human kindness.

Last I heard, he and Neil weren't on friendly terms any longer. (Not that I keep up on Dave/Neil news or anything.)

I thank you.

Counterpoint: Yo, where the motherfuckin' Ween go at?

You know there's no supply cabinet in this holding cell, and stop calling me Cheryl. My name's Dolph.

Throw in a pleasantly plump Christina Ricci dancing in a bowling alley and you have my full support.

Friend and Foe also features what may be my absolute favorite music video/song pairing of all time, "Evil Bee." Unfortunately the full-on high-def version doesn't seem to be on YouTube anymore.

Too many growth mushrooms.

He is, however, your john.

I said this above, I'll echo it here: I prefer The Rheostatics' version of this song. https://www.youtube.com/wat…

Pretty much everything Phil Elverum makes/has made is designed to elicit goosebumps, and he's almost always successful.

I used to feel the same way as you: too much put-upon affectation to take the message seriously, right up to and including the cryptic title. But then I found out that "Maps" was an acronym for "my Angus, please stay," referring to her then-boyfriend Angus Andrews of the band Liars. Then it lost a lot of its seeming…

It's funny, Beck's version actually reminds me of the beginning of the film more than the end, when we're watching from inside the car with the rain coming down and Jim Carrey crying while the credits appear….that's one hell of a tone to use so soon into a movie.

Ringo Starr's.

I'm with you on "The Wreck of the Edmund Fitzgerald," but especially if it's the version of the song recorded by The Rheostatics. The way they spin out the instrumentals into a creep-overtoned drum-laden jam toward the end just overwhelms.

Look mummy, there's a twee aeroplane over the fuck.

My guess is the music and atmosphere will carry most of the experience here.

I'm sure that kind of incident from his formative years is just what led Mr. Koster toward making the kind of music he makes today. So…go right ahead?

The latter. All kinds of intentional clutter in the sound.