If you haven’t watched the new Netflix original series Girlboss, this will just be some random song that you’ll like. If you have watched the show you know…you just know.
A Giant Dog – I’ll Come Crashing
A Giant Dog was nice enough to answer some questions I had for them:
Your song will have the most emotional impact for season 1 of Girlboss, how did the band feel that their song will forever be associated with a cheating boyfriend?
We don’t mind at all that the song will have a connotation of infidelity due to its placement in the scene where Shane cheats on Sofia. To be honest, we were a little disappointed they only got to third base during our song. We feel the pounding drums and aggressive riff warrant some real sweaty, ham slammin’.
Have you had a lot of new fans because of the show?
Lucky for A Giant Dog, the show has brought new listeners, and that’s the best outcome. YouTube is a good forum for discussion between fans of the show, who are unanimously disgusted that Shane would cheat.
We want to point out that our drummer pulled this recording off in one take, a far superior drummer to Shane, who couldn’t keep his butterfingers around his sticks. We dig the addition of a theremin player, right on point!
When we put a song out there, we want it to become property of the listener. Sure, we write from our personal experience and from our egos, tapping ourselves like a resource for people’s entertainment. I could tell you what I was going through that prompted those lyrics. But the song doesn’t belong to only me anymore.
It is an anthem for self sabotage, for witnessing your own demise. So in Girlboss, I’ll Come Crashing is perfectly placed.
A Giant Dog – Sleep When Dead
A Giant Dog – Sex & Drugs
For more on the band, check out there website www.agiantdog.com
Merge Records – Forging their friendships in the crucible of their Houston, TX, high school, Sabrina Ellis (vocals), Andrew Cashen (vocals, guitar), and Orville Neeley (drums) first got their start covering AC/DC, The Ramones, Joan Jett, and the finer points of the Back to the Future soundtrack at school dances under the band name Youth In Asia. Reuniting in Austin in 2008, they enlisted their pals Andy Bauer (guitar) and Graham Low (bass) and christened the act A Giant Dog.
AGD is raucous ear candy culled from the hook-driven melodies of Slade, the glammy swagger of Marc Bolan, the morbid fantasy of Killer-era Alice Cooper, and the unpredictable wit of Sparks. Sabrina and Andrew’s lyrics, equal parts brutally honest, clever, and debased, have a knack for taking their idiosyncratic depravities and making them feel universal. These songs are by, for, and about the losers, freaks, and outcasts. The lonely. The terminally horny. Boozehounds and party animals. No band better speaks to the hearts of slackers, burnouts, rockers, sluts, and creeps everywhere than A Giant Dog.
AGD have built their reputation blowing the goddamned doors off every venue in Austin. Live, they are loud, heavy, electrifying. Sabrina struts around the stage like Iggy Pop channeling Tina Turner. Andrew hurls himself from the summit of the speaker stack. Graham’s headbanging clobbers anything close to him. The audience rages, asses shake, and everyone leaves drenched in beer and bodily fluids.
Over the years, they’ve clocked in their time on the road, leaving destruction in their wake. They’ve shared members with other bands in the Austin rock ’n’ roll community including Sweet Spirit, OBN IIIs, Bobby Jealousy, and others.
In 2012, AGD impressed fellow Austinite and Spoon frontman Britt Daniel enough that he took them under his wing to start demolishing concert halls across the USA as the support act for his band. In Daniel’s own words, “Andrew and Sabrina are currently writing circles around just about anyone else in rock and roll. Their live show is insane, which is probably why I’ve seen more of their shows than any other band’s over the past few years.”
Pile, AGD’s third LP and first for Merge Records, shows a band whose years of road-dogging have honed them into unstoppable rock machines. Their second time working with producer Mike McCarthy (Spoon, White Denim, Trail of Dead) reveals Sabrina’s impressive pipes, Andrew’s sweet licks, and a pummeling rhythm section—everything is tighter, more focused, crisper. The album deals with divorce, getting older, dying, frustration, and futility, ultimately transcending those earthly headaches through the power of rock ’n’ roll.