Get Out Is Exactly Right on The Violation of the Terms and Conditions

By Deuce

There are a couple discernibly notable motifs to The Violation of the Terms and Conditions, the latest Long Player from the quartet Get Out.

Most eminent, perhaps, is the sheer pace of many of the tunes. The band borders around 125, if not 130 BPM regularly. Mid tempo affairs for these fellas is likely over 110 BPM—and there aren’t many of those. They come in and out blazing, especially with the swift surety of Chris Rios’ drums which, not infrequently, is a chore simply to keep up with.

Believe it or not, the gang also has a propensity for geography, of all things. Well, at least as it pertains to states. There’s tunes entitled “Florida Man”, “Florida Woman”, “Florida”, and even “The End of Florida”, for heaven’s sake. I’m not sure anyone ever spent that much time on the so called Sunshine State, its denizens, or its impact on musical creativity.

Lyrically speaking, there’s much to keep listeners entertained. That fact’s largely attributed to the unique perspective of Ian Robbins, who mans the lead vocals, or at least to whoever else was penning these tunes, if Robbins wasn’t responsible for doing so.

Sometimes, the lyrics are outright bizarre. “Florida is shaped like a penis,” Robbins caterwauls on Florida. “A penis without any nuts,” he then clarifies. Other times, they’re delightfully tongue-in-cheek. “Opening Band” is an ode to audiences to hear the band out despite the fact that “you’ve never heard our songs”. Still, the melody is sumptuous on this one—which is one of the slower numbers—and certainly stands out for both of these facts.

“Florida Woman”, as you may have guessed by now, is almost satirical in its lyrics and the poignant truth found at the base of them. Here, the lead singer admits to agreeing to move in with the lady’s “12 kids” and hella other family members. The track pulses at times with a bass line funkdafied enough to rap over, which is the work of Angel Vera.

All in all, this is a collection of cuts, concepts, and colloquialisms quite like none other, which says much about Get Out’s past and future.  

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