What is the album about, then? Mangum ends the album with a simple direction for the the two-headed boy: “Two-headed boy, she is all you could need / She will feed you tomatoes and radio wires / And retire to sheets safe and clean / But don’t hate her when she gets up to leave.” Here, Mangum acknowledges the boy’s love and dependence on his caretaker, but above all urges the boy to acknowledge her autonomy. This theme, more than any other, is the golden thread that keeps the album’s floating pieces together.Anyone knows, or can at least appreciate, the feeling of love that cannot bear separation; the heart pines to beat only ever in the presence of the beloved. Here we must return to “Two Headed Boy Part II", wherein Mangum ties together the album’s pieces into an impossibly rich conclusion. it turns out, is a ghastly symbol for two who have tried unsuccessfully to merge into one autonomous and coherent entity. Critics generally describe it as indie rock or psychedelic folk with a lo-fi sound, but also note the wide range of influences, including Eastern European choral music, Canterbury Sound, circus music, musique concrète, drone music, free jazz, and Tropicália. With this framework in mind, we can begin to make sense of the incessant corporeality of Mangum’s lyrics. It's not biography. In the Aeroplane Over the Sea is a personal album but not in the way you expect. In the Aeroplane Over the Sea is widely considered to be written about Anne Frank due to lyrics seemingly referring to her, such as lines referring to her birth and death dates. [2] The most complex example of Mangum’s symbolism is his “Two-Headed Boy”, a baby with two heads preserved in a jar of formaldehyde. The “Boy”. "In the Aeroplane Over the Sea" is about love and yearning, and inherent to this yearning is a desire to merge and possess.

This is not to insist that Mangum wrote “Ghost” with Plato in mind, of course, but there is certainly a sophisticated nucleus around which Mangum’s lyrics revolve.The album’s third song, the title track, offers perhaps its most clear and self-contained vision of Mangum’s project. At first, this grotesque image appears eccentric at best, and gratuitous at worst. Non-lyrical content copyright 1999-2020 SongMeaningsJavascript must be enabled for the correct page display He took a merciful pause, before a gentle answer: “No… But, I mean, it could mean that if you want it to.” Sweet, sweet Jeff. It’s a hard and possibly reductive question, one that I’m sure even frontman Jeff Mangum would be uneasy to answer. While Mangum illustrates the drive to merge in fairly ghastly ways, his tone changes radically when talking about separation. Procreation, God, loss: it’s all there, too. Where his fingers are turning pages and her mouth is a different way of referring to her voice and the way it lives on in her writing. Diagnosed with Parkinson's disease, former nurse Debbie LaGrange turned to songwriting and celebrating the preservation of the Cajun-French language and heritage. Jason Ankey of AllMusic compares the album to a "marching band on an acid trip", while Kim Cooper wrote: "the music is like nothing else in the 90s underground".

But the album's nucleus is an exploration of the lover’s desire to merge with the loved - the human drive to become one with the people (or things) we love most. One minute you're on a Colombian dance floor, and the next you're singing along with the tribes of West Africa.Singer-songwriter Ruston Kelly discusses his new album, In a packed month with 20 great new heavy metal records, Faceless Burial and Necrot stun with their death metal prowess, Jaye Jayle and Steve Von Till break ranks, and Primitive Man gaze further into the abyss.That today's viewers can't easily fall into the fantasy of Rock Hudson as an "Indian" in Armando Iannucci veers sharply from pitch-black satire to a more upbeat comedy with The real “miracle” of Mangum’s project is the realization that one cannot merge successfully with another, and that any love that jeopardizes the individual cannot hold. Yet, this mingling echoes and reinforces all of the body-merging that swirls throughout the album.

Their miracle would be life as two autonomous individuals, no longer constrained in the prison of a single body. The merging of lover and loved is also crucial to Plato’s Recall the end of “Oh Comely”: “Goldaline, my dear, / We will fold and freeze together / … Place your body here, / Let your skin begin to blend itself with mine.” Also remember how Mangum addresses Anne Frank in “Ghost:” “One that I loved / With all that was left within me ‘till we tore in two.” This is not the warbling of an incoherent cook; it is tightly engineered engagement with some very serious ideas. This, more than anything, is the crux of the entire album, and the theoretical framework upon which it stands.

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