Generic corporate electrohipster band Capital Cities scored a minor hit in 2013 with "Safe and Sound." What do you really know about Capital Cities or "Safe and Sound?" I have an uncanny feeling that the apparent men representing themselves as Capital Cities are holograms, and the song is not so much music as a marketing pitch hatched from a fascist corporate overlord.
Rudimentary research indicates that Capital Cities is presented as a duo: one clean-faced guy with a high-and-tight haircut (popular among the youth) and one James Harden-looking guy. Are we to believe that these two ciphers played all the instruments? Where is everybody else? The video provides clues: These two keep blipping and bleeping into different personae, bodies, and even eras of time. It takes tremendous effort to believe that they are not holograms.
The song itself is perfectly designed to be in a car commercial or a dystopian loudspeaker. Everything is safe, sound, and taken care of. The lyrics are perfectly generic: "I could be your luck / In a tidal wave of mystery you'll still be standing next to me." Musically, it's genre-free. While catchy, it's sexless, so it doesn't fit as pop. EDM? The Capital Cities boys seem to be pushing dance in their video, but I don't buy it. And it has no pathos, or even emotion, so rock doesn't work. It's sales music. And wouldn't you know it, State Farm used the song in a commercial just this year.
If you don't buy my explanation, let me ask you this: Why would human beings make this music? Don't get me wrong, I think the song is great and have probably listened to it 100 times. But it expresses nothing, in the eel-slickest, most amorphous style imaginable. Isn't music supposed to be a form of expression? What motivated High-and-Tight and James Harden to link up in Los Angeles, give themselves an aggressively fascist band name, sign to Capitol Records (really), and release corporate pitch music? There is no reasonable explanation, because that's not what happened. What happened was, a massive global conglomerate with offices in all the capital cities -- let's call it Capital Cities Corp., or CCC -- needed a "safety song" to reassure people when they buy bags o' glass or explosive tinderboxes on wheels. CCC input parameters into its music-simulating application to yield "Safe and Sound." Then, it generated two holograms to serve as the ostensible band, which data dictated should be a basic white guy and a hilarious wild card. "Safe and Sound" was released as a single, not for the sake of the holograms' careers (duh) or even to be promoted into a big hit, but rather for the song to become vaguely familiar prior to being used in commercials a few years later. Now, the commercials are here, and the true purpose of "Safe and Sound" is realized: To sell us plebs on our doom.
What is fascist music?
In Dave Marsh's 1979 review of Queen's Jazz, he wrote, "Indeed, Queen may be the first truly fascist rock band." No other word so neatly expresses supremacy of the powerful and devaluation of the individual.