'''Godspeed You! Black Emperor''' [[note]](formerly Godspeed You Black Emperor!, often abbreviated to GYBE or GY!BE or shortened to Godspeed You!, and erroneously God Speed You Black Emperor!, sometimes God’s Pee in their liner notes)[[/note]] are a Montreal based symphonic post-rock band. They are known for their movement-based, side-length suites, inclusion of samples and field recordings, and employment of minimalism in their music.

Their music is also incredibly dark.

Godspeed You! Black Emperor released four albums (including a demo album) and an EP from 1994 to 2003 before splitting up, then reforming in 2010 to go on a reunion tour, and released their fifth album in October 2012. Another album followed at the end of March 2015, and can currently be streamed at ''[[http://www.theguardian.com/music/2015/mar/24/godspeed-you-black-emperor-asunder-sweet-and-other-distress-album-stream The Guardian]]''.

The group takes its name from a 1976 black-and-white Japanese biker film. The group’s debut recording, ''All Lights Fucked on the Hairy Amp Drooling'', was released in 1994 and limited to thirty-three copies on cassette. The group’s label, Constellation Records, has one copy, but the locations of the rest are unknown. Due to its rarity, it’s a bit of a case of [[FanonDiscontinuity Discontinuity]] with fans, although this is mostly because no one outside the label and the band’s close circle of friends has actually heard it (despite recordings claiming to be this tape leaking out on occasion, they have all, thus far, proven to be fakes; only two songs from the demo have genuinely surfaced. More info can be found in the Trivia tab). It could also be considered a case of CanonDiscontinuity, as the band members appear to regard it as an OldShame.

The follow up (generally considered to be their actual debut album), ''F♯ A♯ ∞'', was released in 1997 on vinyl and 1998 on CD. The two editions are notably different; the CD version is almost twice the length of the vinyl due to added, lengthened, and rearranged movements. It is considered by some a loose ConceptAlbum about the apocalypse.

Godspeed would stick to the minimalist, dissonant style of ''F♯ A♯ ∞'' for their breakthrough and magnum opus ''Lift Your Skinny Fists Like Antennas To Heaven'', a double album with four tracks. This style would be modified for 2002’s ''Yanqui U.X.O.'', produced by none other than Music/SteveAlbini.

After nearly eight years on hiatus, the band reunited for a few shows in 2010, and gradually extended this engagement into tours over the next two years. After more than ten years without releasing new material or announcing plans to, the band started quietly selling their fifth album, ''’Allelujah! Don’t Bend! Ascend!,'' at their live shows. A second new album, ''‘Asunder, Sweet and Other Distress’'', was released on March 31, 2015, to positive reviews.

Their best-known songs are probably “The Dead Flag Blues,” “East Hastings,” “Storm,” and “09-15-00” due to their use in films and television (“East Hastings” was notably used in ''Film/TwentyEightDaysLater'').

It’s also worth noting that their music contains a strong political component. They have been repeatedly described in the media as [[UsefulNotes/{{Anarchism}} anarchists]], although for a long time no one in the group explicitly subscribed to this label; however, Menuck called himself an anarchist in [[http://therumpus.net/2014/04/the-rumpus-interview-with-efrim-menuck/ a 2014 interview]]. (The band’s politics are [[http://www.tra-la-la-band.com/f-a-q/ hilariously lampshaded in sister project Silver Mt. Zion’s FAQ]]). In any case, their music definitely articulates a strong anti-authoritarian and anti-capitalist stance, which is even more explicit in sister band A Silver Mt. Zion (which contains several of the same members). That said, Efrim Menuck has said the band don’t consciously try to be political, but simply write songs about the sort of things they talk about with their friends.
Band members:
* David Bryant – Guitar, tapes
* Efrim Menuck – Guitar, tapes, keyboards
* Mike Moya – Guitar
* Sophie Trudeau – Violin
* Thierry Amar – Bass, contrabass
* Mauro Pezzente – Bass
* Tim Herzog – Drums, percussion
* Aidan Girt – Drums, percussion

Honorary members:
* Karl Lemieux – Film, stage projections, art, etc.

Former members:
* Bruce Cawdron – drums, percussion
* Norsola Johnson – cello
* Roger Tellier-Craig – guitar
* Grayson Walker – accordion
* James Chau – keyboards, harpsichord, guitar
* Thea Pratt – French horn
* John Littlefair – film projections
* Fluffy Erskine – film projections
* Peter Harry Hill – bagpipes

Studio Albums:
* ''F♯ A♯ ∞'' (Pronounced ‘F Sharp A Sharp Infinity,’ 1997; CD version, which was completely re-recorded and featured new material, was released in 1998)
* ''Music/LiftYourSkinnyFistsLikeAntennasToHeaven'' (2000)
* ''Yanqui U.X.O.'' (2002)
* ''’Allelujah! Don’t Bend! Ascend!'' (2012)
* ''‘Asunder, Sweet and Other Distress’'' (2015)

[=EPs, singles, and other releases:=]
* ''All Lights Fucked on the Hairy Amp Drooling'' (Demo, 1994)
* ''aMAZEzine! 7”'' (1998, split single with Fly Pan Am)
* ''Slow Riot for New Zerø Kanada'' (EP, 1999)


* AfterTheEnd: The monologue in “The Dead Flag Blues” describes this.
* AlbumTitleDrop: A subtle one in ''F♯ A♯ ∞''. Side A of the vinyl begins in the key of F♯, side B begins in the key of A♯, and the record ends in an infinite locked groove.
* BadassBeard: Efrim Menuck.
* BSide: They contributed this to a split 7” single with fellow post-rock band Fly Pan Am.
* BigRockEnding: “Providence,” following four minutes of silence.
* BoleroEffect: A favorite technique of theirs. Every track on ''F♯ A♯ ∞'' does this at least once.
* BreadEggsMilkSquick: ''Lift Your Skinny Fists'' is a relatively normal post-rock album, with the usual dark, movement-based suites and 20-minute tracks. Then, out of nowhere, [[http://www.youtube.com/watch?v=NivY_iRdSBQ this]] happens (0:00 – 1:14).
* BrokenRecord: The loop at the end of the vinyl edition of ''F♯ A♯ ∞''. Side one of ''‘Asunder, Sweet and Other Distress’'' also ends with a loop (which is just replaced with about a minute of drone on the CD and digital versions, and then [[FadingIntoTheNextSong crossfaded]] into the beginning of side two).
* CanonDiscontinuity: ''All Lights Fucked on the Hairy Amp Drooling'' is unlikely ever to be officially released to the public, at least during the band members’ lifetimes. While the band members are aware that people want to hear it and seem to regard it as inevitable that eventually someone will get their hands on a copy of the cassette and rip the entire thing (a couple of tracks have been ripped, but FanDumb [[WhyFandomCantHaveNiceThings drove the person who was going to rip the whole thing]] from Website/{{Reddit}}), they’re not exactly moving to facilitate matters. They seem to regard the tape as an OldShame.
* ConceptAlbum: ''F♯ A♯ ∞'' is considered this by some fans.
* CoverVersion: The very first movement of “Antennas to Heaven,” “Moya Sings ‘Baby-O’” is ExactlyWhatItSaysOnTheTin: Mike Moya singing the folk song “What’ll We Do With the Baby-O.”
* CrapsackWorld: The monologue that introduces “The Dead Flag Blues.”
* CrazySurvivalist: Blaise Bailey Finnegan III certainly comes across as one from what we hear of him.
* CreepyMonotone:
** “They had a large barge with a radio antenna tower on it, that they would charge up and discharge.” in the middle of “East Hastings.”
** The opening monologue of “The Dead Flag Blues,” at least for the first few lines.
* DigitalPiracyIsEvil: Averted completely. The band allow fans to tape and circulate their shows. There are a ton (and we mean ''a ton'') at the [[http://archive.org/details/GodspeedYouBlackEmperor Internet Archive]]. This is often a way to hear songs before they are released:
** All three of the songs on ''Yanqui U.X.O.'' had been performed live (under different titles) before the release of the album. This was the case with some of the movements on earlier releases as well.
** The two centrepieces of the band’s comeback album were débuted live ''nine years'' before the release of the album. (“Mladic” was available on bootlegs as “Albanian” and “We Drift Like Worried Fire” as “Gamelan”).
** The band’s latest album, ''‘Asunder, Sweet and Other Distress’'', was available as a live recording dating back to 2012, when it surfaced as a track dubbed as “Behemoth”, which would last anywhere from thirty-five to forty-five minutes in various performances. The band played it live at every show after they introduced it, or close enough at any rate. Sometimes (i.e., some of the nights they were opening for Music/NineInchNails) it was the only track they played.
** As of 2015, the band has premièred at least two new songs live. One of them is around fifteen minutes long and one is around twenty-three.
* DissonantSerenity: “The skyline was beautiful on fire, all twisted metal stretching upwards, everything washed in a thin orange haze.” from “The Dead Flag Blues.”
* DistinctDoubleAlbum:
** ''Lift Your Skinny Fists Like Antennas To Heaven''.
** ''Yanqui U.X.O.'' could also be considered an example on the vinyl edition, as the second LP is given over almost entirely (barring a strange and disturbing hidden track) to “Motherfucker=Redeemer”. The CD features a shorter version of the track and omits the hidden track in order to fit on one disc.
** ''’Allelujah! Don’t Bend! Ascend!'' is a somewhat bizarre case. The vinyl edition is spread across an LP and a 7”, with two long suites on the LP and two shorter drone pieces on the 7”. The intended order, however, is to play the first side of the LP, then the first side of the 7”, then the second side of the LP, and finally the second side of the 7”.
* DroneOfDread: A favourite technique of theirs dating back to “The Dead Flag Blues”, they’ve if anything increased their usage of this trope in recent years, with ''entire tracks'' devoted to it now (“Their Helicopters’ Sing” and “Strung Like Lights at Thee Printemps Erable” on ''’Allelujah! Don’t Bend! Ascend!'', “Lambs’ Breath” and “Asunder, Sweet” on ''‘Asunder, Sweet and Other Distress’'').
* {{Dystopia}}: “The sewers are all muddied with a thousand lonely suicides, and a dark wind blows. The government is corrupt, and we’re on so many drugs, with the radio on and the curtains drawn. We are trapped in the belly of this horrible machine, and the machine is bleeding to death.”
* EarnYourHappyEnding: “The Dead Flag Blues” ends like this. The majority of the song is dark and melancholic but the last few minutes of the song is upbeat and hopeful.
* EchoingAcoustics: Common throughout ''F♯ A♯ ∞'', but particularly “East Hastings.”
** Especially the version of "The Sad Mafioso..." from the LP release, It's much more echoing and deep than the version from CD release.
* EpicRocking: In spades. Long story short, it’s easier to count the number of Godspeed songs that are ''under'' 10 minutes than over. Most of their songs exceed twenty minutes in length, and two are so long that they had to be split across two sides for the vinyl releases:
** The band’s longest song (initially titled “Behemoth” in its early live performances) comprises the entirety of ''‘Asunder, Sweet and Other Distress’''. It is over forty minutes long in its studio incarnation and has been known to reach forty-five or longer in live performances (which extend back to 2012).
** The band’s second-longest song, “Motherfucker=Redeemer” (from ''Yanqui U.X.O.''), isn’t that far behind at over thirty-one on the CD version and nearly thirty-seven on the LP, thanks to an extended intro to the second half of the song on the vinyl edition. (A HiddenTrack on the LP edition, the very creepy “George Bush Cut Up While Talking”, could be considered to extend the piece’s length by another three and a half minutes, depending on one’s stance on hidden tracks).
** EpicRocking extends to a lot of their sister projects, too, although it’s not as extreme with most of them. A Silver Mt. Zion, for example, have yet to have a song exceed twenty minutes, unless you count ''He Has Left Us Alone...'' as only two songs, as the vinyl edition does; furthermore, most of the band’s side projects have quite a few released songs that are under ten minutes in length, unlike Godspeed, who have only three (unless you count the individual movements of ''‘Asunder, Sweet’'' as songs).
* ExcitedShowTitle: Given the exclamation point in their name.
* ExactlyWhatItSaysOnTheTin: The ''Yanqui U.X.O.'' vinyl bonus track, “George Bush Cut Up While Talking”.
* EyeScream: “Every time the baby cries / I stick my fingers in the baby’s eyes / That’s what we do with the baby-o.”
* FadingIntoTheNextSong: This is how the CD version of ''Slow Riot for New Zerø Kanada'' is presented. They’re necessarily split up by a side division on the vinyl. The side divisions of ''‘Asunder, Sweet and Other Distress’'' are also handled this way, although if you weren’t listening for it, you might not even notice the cross-fade. Side one ends with a locked groove on the LP version instead.
* FakeOutFadeOut: All the damn time, but especially “Providence.”
* HiddenTrack:
** The CD of ''F♯ A♯ ∞'' has “J.L.H. Outro”.
** The vinyl of ''Yanqui U.X.O.'' has a very bizarre (and creepy) piece entitled “[[UsefulNotes/GeorgeWBush George Bush]] Cut Up While Talking”, which is ExactlyWhatItSaysOnTheTin.
* InsistentTerminology: While Godspeed and its side projects are almost universally considered PostRock, the band members themselves aren’t too fond of the term. If asked, [[FaceOfTheBand Efrim Menuck]] is most likely to identify with the ethos and aesthetics of PunkRock.
* {{Instrumentals}}: Most songs, though many have [[SpokenWordInMusic spoken word]].
* LastNoteNightmare:
** The fly-like buzzing tone at the end of “East Hastings” is incredibly unnerving.
** The locked groove at the end of the vinyl edition of ''F♯ A♯ ∞''.
* LongTitle:
** ''Lift Your Skinny Fists Like Antennas to Heaven''.
** ''All Lights Fucked on the Hairy Amp Drooling''
* LoudnessWar: Most of their discography averts this trope magnificently (as an example, most of ''Yanqui'' is in the [=DR9-DR13=] range), but ''’Allelujah!'' falls into this trope to a certain extent. At [=DR6=], it’s far from the worst offender out there, but it’s also way less dynamic than their other work, and for music that relies so much on crescendi it really does squash a lot of the depth out of the music. From sister project A Silver Mt. Zion, the only albums to suffer badly are ''13 Blues for Thirteen Moons'' and ''Kollaps Tradixionales'' (perhaps not surprisingly, as these are the two most recent. Both are [=DR8=] (if you exclude the twelve short intro tracks on ''13 Blues''), which isn’t bad for most genres of music, but is pretty bad for PostRock). This isn’t to say the earlier releases of either band are completely immune, as there are still passages that have obviously been flattened out a bit and there’s a bit of clipping on some of the loudest passages, but it’s nothing that ruins the recording and not something casual listeners are likely to notice.
** ''Fuck Off Get Free We Pour Light on Everything'' continues the borderline use of this trope in ASMZ’s recent music, at [=DR7=]. ''‘Asunder, Sweet’'' is also [=DR7=] (although the ranges of individual tracks vary from [=DR5=] to [=DR9=]), but is mastered without much clipping this time.
* LyricalDissonance: “Moya Sings Baby-O,” the first movement in “Antennas to Heaven,” features Mike Moya singing a jaunty, upbeat tune about throwing an infant into a hayloft, feeding it alcohol and stabbing its eyes out. The fact that it appears out of nowhere in the middle of a primarily instrumental symphonic post-rock record makes it even creepier.
* MeaningfulName: ''F♯ A♯ ∞'' looks like gibberish, but the first song on the vinyl starts in the key of F♯, while the second song starts in A♯ and ends with a locked groove (hence the “∞”). This is something of an ArtifactTitle on the CD version because there is no locked groove and there are three songs (although the first two songs start in the same keys).
* MinimalisticCoverArt: All of their albums, but ''LYSFLATH'' and ''Slow Riot'' in particular.
* [[MistakenForTerrorist Mistaken for Terrorists]]: During the 2003 Yanqui U.X.O. Tour in the US, the band stopped for fuel in Ardmore, Oklahoma. The station attendant working that day assumed they were terrorists, and got another customer to call the police. The cops were suspicious of the band due to their possession of anti-government documents and photos of oil rigs, communication towers, etc. After running a background check, all was well and they were released. The band sometimes joke about the incident at shows. An account of the incident also made its way into Creator/MichaelMoore’s book ''Dude, Where’s My Country?''
* MoodWhiplash: “Moya Sings Baby-O,” the movement at the beginning of “Antennas to Heaven,” comes out of nowhere and is a jaunty little guitar song. About abusing an infant. Afterward, the songs shifts back into the expected dark, symphonic number.
** “Storm” starts off with an incredible build-up to an almost heroic, inspiring melody (“Levez Vos Skinny Fists Comme Antennas to Heaven”), only to suddenly shift to something quite foreboding and intimidating (“Il pleut à mourir [+Clatters Like Worry]”), just before collapsing into pure sadness. (“Cancer Towers on Holy Road Hi-Way”)
** “We Drift Like Worried Fire” starts out with the band’s trademark creepiness, suddenly transitions into a gorgeous crescendo, then fades back into creepiness again.
* MusicalPastiche:
** The opening movement of ''‘Asunder, Sweet and Other Distress’'' seems very deliberately reminiscent of Music/BlackSabbath’s style (it bears a particularly strong resemblance to “[[Music/{{Paranoid}} War Pigs]]”). Several reviewers have noted the similarity.
** “Steve Reich” kinda speaks for itself: it’s right there in the title. Same with “J.L.H. Outro”, named after {{blues}} legend John Lee Hooker (although it’s more like a SpaceRock take on his style of blues).
* NewSoundAlbum: The group maintains a largely consistent sound from album to album, but a few albums introduce new characteristics that are not found on older recordings. Note that because the band has a habit of performing material for years before recording it, some of these examples (particularly in the band’s early years) may not represent the band changing its sound so much as they represent the band saving its material for an album of similar content.
** ''Slow Riot for New Zerø Kanada'' lacks the clearly defined movements of the band’s début album ''F♯ A♯ ∞''. The next year’s ''Lift Your Skinny Fists Like Antennas to Heaven'' would continue in the vein of ''F♯ A♯ ∞'' in having named movements that are clearly separate compositions, while the band’s works afterwards would follow in the footsteps of ''Slow Riot'' in having organically evolving pieces that transition from idea to idea and (with the exception of ''‘Asunder, Sweet’'') not naming the individual movements.
** ''Yanqui U.X.O.'' lacks the spoken word samples found on their other albums, and as with ''Slow Riot'', the songs generally transition seamlessly from idea to idea instead of having clearly defined movements. That said, two songs on the CD version are split into two tracks (simply subtitled “Part One” and “Part Two”), while only one is on the vinyl edition. (Specifically, “Motherfucker=Redeemer” is split into two halves both versions because of its length, but “09-15-00”, which is split into two tracks on the CD, is treated as one song by the vinyl packaging).
** ''’Allelujah!'' continues the trend of no samples or clearly defined movements established on ''Yanqui'' for the most part, apart from a brief sample at the start of “Mladic”. It also features an increased use of DroneOfDread; the trope was always present in Godspeed’s work dating back at least to ''F♯ A♯ ∞'', but the two shorter songs on ''’Allelujah!'' consist entirely of this.
** Mostly averted with ''‘Asunder, Sweet’'', despite the material being nine years newer than most of the material on ''’Allelujah!''; the album continues the lack of spoken word samples and increased use of DroneOfDread, but is divided into four movements for ease of navigation as it is comprised of a single forty-minute song. However, as with the band’s two previous albums, the song transitions seamlessly from movement to movement instead of clearly being comprised of multiple songs stitched together, as the band’s first two full-lengths were.
* NotChristianRock: Religion and the religious appear throughout their music, and the band have been known to play concerts in churches. However, they most certainly are not Christian rock. (Not least because several members are Jewish).
* PostRock: One of the better known examples.
* PrecisionFStrike: ''All Lights Fucked on the Hairy Amp Drooling'' and “Motherfucker=Redeemer.”
** ‘“I’m here to pay off my speeding ticket and I’m here to get my fines out of the way and get the fuck to work.” The judge says, “You can’t talk like that in my courtroom; you’re in contempt of court.” Then I said... I told the judge, “If that’s the best you can do, I feel sorry for you.” I said, “Why don’t you just shut your fucking mouth for once and listen?” I said, “I’m not gonna take any shit.” I said, “I’m gonna pay my speeding ticket like I said.” I walked up to the god damn judge and I hand him my 25 dollars and I says, “There’s my money; now I am leaving.” And I left it at that.’
* RevolvingDoorBand: During the time period between ''All Lights'' and ''F♯ A♯ ∞'', which led to recording difficulties.
* {{Sampling}}: Loads of songs, but particularly “Storm,” “Providence,” “Blaise Bailey Finnegan III,” and the hidden track after “Motherfucker=Redeemer” on the vinyl edition of ''Yanqui U.X.O.''
* ScaryMusicianHarmlessMusic: Inverted. The band’s music can be horrifying, but the band themselves are a bunch of polite Canadians.
* ShoutOut:
** “[=BBF3=]” on ''Slow Riot'' features a poem supposedly written by an interviewee (the core of the song is the man’s rambling responses to questions), which is actually mostly made of lyrics taken from [[Music/IronMaiden Iron Maiden’s]] “Virus.”
** The HiddenTrack “J.L.H. Outro” is named after blues musician John Lee Hooker, a clear inspiration on the piece.
** The original name of the movement “She Dreamt She Was a Bulldozer, She Dreamt She Was Alone in an Empty Field” was “Creator/JohnHughes”. The piece can be still found under this name on early bootlegs available on the Internet Archive.
** The band has a song named after minimalist composer Steve Reich, which bears a striking resemblance to his body of work. It has thus far only been performed live; the fact that it is loosely based on his piece “Violin Phase” may be one reason why. It can, however, be heard in the session they recorded for legendary DJ John Peel.
* SiameseTwinSongs: The tracks on ''‘Asunder, Sweet and Other Distress’'' are individual movements of the band’s forty-minute composition “Behemoth”. This is also how many movements in their earlier songs are connected, although they weren’t usually given separate tracks in these cases (the CD of ''Yanqui U.X.O.'' had a couple of track divisions, though nowhere near as many as there were individual segments). Occasional movement changes use FadingIntoTheNextSong instead, and some of the movements on the band’s first two full-lengths just [[FakeOutFadeOut fade out completely]] before the song starts up again with another movement.
* SomethingBlues: Of the “Dead Flag” variety.
* SongStyleShift: Very often.
* SpokenWordInMusic: Around 50% of their songs have this, including all of ''LYSF'' and ''F♯ A♯ ∞''. Most notable would be “The Dead Flag Blues,” whose opening monologue describes a {{Dystopia}} that occurs AfterTheEnd, “Static,” which has a long, rambling, insane sounding rant from a street preacher in it, “[=BBF3=],” built around an interview, and “Motherfucker=Redeemer,” which (on the vinyl version) ends with a chopped-up speech from UsefulNotes/GeorgeWBush. Their usage of this trope has dropped off with time; only one song on ''’Allelujah'' has an example of this, and it does not appear at all on ''‘Asunder, Sweet’'' or the CD version of ''Yanqui U.X.O.'' (it does appear in a hidden track on the vinyl edition, however).
* StargateCity: “East Hastings” is named for the skid road/Downtown Eastside district of Vancouver, known for its high concentration of drug use and being the poorest neighborhood in Canada.
* SubduedSection: Every song has at least one.
* TextlessAlbumCover: ''F♯ A♯ ∞'', ''Lift Your Skinny Fists Like Antennas To Heaven'', ''Yanqui U.X.O.'', ''’Allelujah! Don’t Bend! Ascend!'', ''‘Asunder, Sweet and Other Distress’''. So basically, all of them except ''All Lights Fucked on the Hairy Amp Drooling'' and ''Slow Riot for New Zerø Kanada'' (although the latter is Hebrew text).
* Literature/TheBible: The cover art of ''Slow Riot'' is the Hebrew phrase “[[http://en.wikipedia.org/wiki/Tohu_wa-bohu Tohu vaVohu]],” the state of chaos that the world was in before Creation in the book of Genesis, lifted directly from a Hebrew Bible (including the tonal diacritics for Torah reading). It is variously translated as “without form and void”, “void and waste”, “formless and empty”, and several other frequently seen combinations.
* TitleDrop: “The sun has fallen down, and the billboards are all leering. ''The flags are all dead'' at the top of their poles.”
** “We used to ''sleep'' on the beach.”
** “''Welcome to Arco AM/PM...''” (not ''Barco'', as mislabelled on the album - am/pms are only associated with Arco gas stations. The mislabelling was most likely done for [[WritingAroundTrademarks legal]] [[BlandNameProduct reasons]]).
** “And so I went through that window, and the tower of Hell and the great serpentines of the highest order, and I went through that when I showed you ''chart #3''...” - from the slightly unnerving GoMadFromTheRevelation religious rant that takes place midway into “Static”, titled “Chart #3”.
* TitleTrack: They’ve never had a song titled exactly the same as the album it appeared on, but several songs and movements have been close. ''Lift Your Skinny Fists Like Antennas to Heaven'' has a song entitled “Antennas to Heaven” and movements entitled “Lift Yr. Skinny Fists, Like Antennas to Heaven...” and “[Antennas to Heaven...]”. ''‘Asunder, Sweet and Other Distress’'' has “Asunder, Sweet”.
* UncommonTime: Occasionally. “Dead Metheny” is in 7/8. One segment of “Motherfucker=Redeemer” is a polyrhythm with a guitar part in 5/8 and most of the rest in 6/8. A later segment of the song is also in 7/8.
* VillainSong: “Mladic” appears to be this, as it shares its name with [[http://en.wikipedia.org/wiki/Ratko_Mladic a notorious war criminal]].
* WhamLine: “I open up my wallet. And it’s full of blood.”
** “They don’t sleep anymore on the beach.”
* WildHair: Efrim Menuck.
* WordSaladTitle: ''All Lights Fucked on the Hairy Amp Drooling.'' Also, a lot of their song titles, especially in recent years. This extends to sister projects like A Silver Mt. Zion and Set Fire to Flames as well.
* WordPureeTitle: ''F♯ A♯ ∞'' (Pronounced “F Sharp A Sharp Infinity”). However, there’s a reason for this title, at least on the vinyl edition; see MeaningfulName above.
* WritingAroundTrademarks[=/=]BlandNameProduct: Despite the recording sampled in the song clearly saying “Welcome to Arco AM/PM”, the album liner notes identify the movement name as “‘Welcome to Barco AM/PM...’ [[[UsefulNotes/LosAngeles L.A.X.]]; 5/14/00]”. The reason why probably falls under one of these tropes.