Cannibal House Rules Jonathan Something

• 1 Theme to Cannibal House Rules 02:32
• 2 God Is Goth 03:45
• 3 Power Moves 04:03
• 4 Sticky Love 04:08
• 5 Cannibal's Reprise 01:13
• 6 Cake World 05:00
• 7 The Cannibal's Den 02:19
• 8 I Tried to Lose You (But I Don't Know How) 04:07
• 9 Firestarter 05:32
• 10 Escape from Sex City 02:33
• 11 Idiot in Love 04:52
• 12 Waves 00:50
• 13 It's Hip Not to Try 03:48
• 14 Voices from Beyond 00:12
• 15 Cannibal House Rules 04:13
• 16 You're Surrounded 02:14
• Total Runtime 51:21

Info for Cannibal House Rules

Jonathan Something‘s forthcoming Cannibal House Rules is a dramatic left turn for an artist who in his short career has already developed a reputation for his dexterous, left-field approaches to pop music.

Though still at the very beginning of his career, Jonathan Something's catalog already displays a skillful musical command, a puckish sense of humor, and a knack for absurdist but pointed send ups that at times make him feel like an indie rock Andy Kaufman. It shouldn't be surprising then that for his third album, the forthcoming Cannibal House Rules (due out August 7th on Solitaire Recordings), Jonathan Something has made a sharp left turn and created something that not even the most attentive members of his cult-like fanbase could have predicted. Partly inspired by his interests in anime, classic horror/sci fi cinema and video games, Cannibal House Rules is a synth-driven album of pop songs that draw on the cultural ephemera of the mid 80s, blending the sounds of Italo disco and top 40 new wave with John Carpenter's Big Trouble In Little China and Brad Fiedel's The Terminator scores on a release that is structured to play like the soundtrack from a non-existent film.

Jonathan Something

Jonathan Something
is no stranger to transformation. Born Jonathan Searles in Brooklyn, CT, the critically acclaimed songwriter has shed his creative skin repeatedly, disappearing for years at a time only to return with a radically reimagined sound and fresh lyrical perspective on each successive record. But even for a lifelong chameleon, Searles’ mesmerizing new album, One More Lonesome Cowboy Song, marks a radical departure.

Recorded and produced by Searles, who also plays all of the instruments, the collection is gentle and hypnotic, with an intimate, understated delivery that’s at once aching and beautiful. The songwriting is indeed rooted in the cosmic cowboy tradition of Gram Parsons or Gene Clark, but the recordings share more in common with Neutral Milk Hotel or Elliott Smith, layering up fingerpicked acoustic and electric guitars with hushed, serenely doubletracked vocals. The result is an album that feels both lush and raw at the same time, a captivating inner monologue of a record that finds comfort in slowing down, tuning in, and making peace with the moment.

One More Lonesome Cowboy Song follows an eclectic series of early albums that ranged in style from blistering garage rock and quirky anti-folk to retro synthpop and sample-laden neo-soul, prompting NPR’s Slingshot series to hail Searles’ “delightfully bizarre” approach and The Line of Best Fit to declare that “he’s thrown out whatever rulebook he went by (if there ever was one).

This album contains no booklet.