they rap/sing in French) before the track reverts to the driving original electro grind. Then they flip the script and unleash un petite Francais (i.e. But then it takes a bizarre turn, flipping into complete electro mode as Nicole Morier and Mia Dame kick a sinewy rap stylee over minimalist synth pulses. Electrocute dish out a sock hop/beach, blanket, bingo teen beat blow-out on "Bikini Bottom," which gurgles and shakes to a turgid '80s keyboard crunch and features a raggedly skirling rock guitar solo crammed into the middle third of the song. The mix is incredibly insane, Paul mixing in Hawaiian luau music (the song is also credited to The Waikiki's), dolphin chirping, and lots of Spongebob scratch-and-match audio collage. The zaniness continues on "Prince Paul's Bubble Party," which again features audio snippets of Bob and his posse intermingled with a languid rap courtesy of Wordsworth. Dust Brother Mike Simpson wraps the whole affair in a bouncy, comedic groove that rolls out like a funky cartoon theme song - albeit one that has been put on speed cycle and allowed to get waterlogged. Further creating a connection with the aforementioned Pee Wee Herman, this track is a mind melting pastiche of sound bytes that seem innocent enough on the surface, but also pack quite a bit of innuendo (whether intentional or not, it's your call). Things veer off slightly with "The Goofy Goober Song," which features Spongebob, Patrick, and everybody's favorite nautical peanut, Goofy Goober. Wilco keep the mildly trippy rock intact on their contribution, "Just A Kid," which is propelled by surging guitar that riffs and cascades in seductive waves and is coated by Jeff Tweedy's warmly lit whine. It's like a Beach Boys tune submerged into the warm sea, brushed with coral fragments, and allowed to wash up on the shore, salt caked and sandy. Musically, the song is effervescent, bubbling along with happy, bright synth expulsion and some crisp and clean guitar.
#Spongebob squarepants movie soundtrack series
"Spongebob & Patrick Confront The Psychic Wall of Energy" sounds like a FLips solo endeavor, the inclusion of references to the movie/television series able to stand on their own apart from the franchise and just like Wayne Coyne is waxing quixotic on his own. Thankfully it only clocks in at a meager 46-seconds (though it feels much, much longer).įrom the innocuous Avril experience, the album plunges head first into bubbly quirkiness courtesy of everybody's favorite sonic space cadets, The Flaming Lips. it's quick, fast, and rather generic) and really the only glaring blemish marring the album.
Unfortunately, for all its intrinsic hipness, the soundtrack also succumbs to the smack down of diluted popularism, ushering listeners into the whole affair with the faux agro, mock punk fallout of Avril Lavigne screaming and careening her way through the "Spongebob Squarepants Theme." It's more or less just add water music (i.e. Yep, you heard right, The Flaming Lips, ¿ of the Dust Brothers, Ween, Wilco, The Shins, and Motorhead have all come together to embrace and pay homage to everybody's favorite talking yellow sponge. I mean, how else does one explain the presence of The Flaming Lips, Mike Simpson of the Dust Brothers, Ween, Wilco, The Shins, and Motorhead on the soundtrack to The Spongebob Squarepants Movie soundtrack? Like those two shows, Spongebob Squarepants appeals to young children, but packs enough wink-wink/nudge-nudge innuendo to make it a favorite amongst older viewers with pop culture antennae tuned into the multiple frequencies of cool, hip, and quirky. Spongebob Squarepants has always been one of those kid-oriented shows that I label as being borderline subversive, much in the way that The Muppet Show and Pee Wee's Playhouse were.
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