New Flesh

"New Flesh" by Current Joys is a raw and introspective exploration of artistic struggle, alienation, and existential dread in the modern world. The song delves into the psyche of a creator, likely a reflection of artist Nick Rattigan's own experiences, who feels both deeply inspired by art and profoundly isolated in their own creative pursuits. The opening references to The Cure and the 1983 film Videodrome are not mere pop culture name-drops; they serve as cultural anchors that ground the song in a specific aesthetic of melancholy and visceral, body-altering horror. The title itself, "New Flesh," is a direct reference to a famous line from Videodrome ("Long live the new flesh!"), suggesting themes of transformation, reinvention, and the often painful merging of media, technology, and personal identity.

The core message revolves around the painful dichotomy of creating art in a world that feels indifferent. The lyric "I tried to write a song I think you'd like / But no one gives a shit about my life" captures the vulnerability and subsequent despair of seeking connection and validation through art, only to be met with perceived apathy. This sentiment resonates with any artist who has questioned the purpose of their work in the face of obscurity. The song becomes an anthem for the solitary creator, battling with feelings of insignificance.

Furthermore, the repeated chant of "It's DIY" (Do It Yourself) acts as a defiant, punk-infused mantra. It’s a declaration of self-reliance and a rejection of the need for external approval. It suggests that the value of creation lies in the act itself, a personal journey undertaken for its own sake, not for fame or recognition. This DIY ethos is central to the identity of bedroom pop and lo-fi artists like Current Joys. The song ultimately presents a complex emotional landscape where despair and determination coexist. It doesn't offer a happy resolution but finds a form of empowerment in acceptance and persistence, committing to the creative path "'til I die."

The song narrates a deeply personal and isolating experience, beginning with the protagonist immersing themselves in specific cultural touchstones that evoke strong emotional reactions. They listen to the melancholic music of The Cure, which brings them to tears, and watch David Cronenberg's visceral film Videodrome, an experience that leaves them feeling mentally unhinged. This sets a scene of someone profoundly affected by art, using it as a lens through which they process their own reality.

Following this immersion in external art, the narrator attempts their own act of creation by trying to write a song. There's a hopeful intention behind it, a desire to create something that a specific person, presumably someone important to them, would appreciate. However, this creative impulse is immediately crushed by a wave of cynicism and perceived indifference from the outside world. The raw and repeated line, "But no one gives a shit about my life," encapsulates a profound sense of alienation and the painful feeling that one's personal struggles and artistic endeavors go unnoticed and unvalued. This refrain highlights the core conflict of the song: the intrinsic need to create versus the crushing weight of feeling invisible.

This internal turmoil manifests in physical and psychological distress. The narrator is plagued by constant nightmares, leading to a state of perpetual sleeplessness. This insomnia becomes a physical symptom of their existential dread and creative anxiety. There's a recurring thought of escape, a desire to leave their current situation, which is voiced repeatedly. Yet, this impulse is always countered by a sense of resignation and a decision to remain. The lyrics suggest an external voice, someone who tells them they are right to stay, reinforcing their inertia. Ultimately, the narrator resolves to stay "right here until I die," a statement that blends defiance with a sense of being trapped.

The song's conclusion is anchored by the repeated, almost chant-like mantra, "It's DIY." This phrase acts as a powerful statement of self-reliance and perhaps a justification for their continued effort despite the lack of external validation. It's an embrace of the do-it-yourself ethos, a declaration that the act of creation is for oneself, regardless of audience or acclaim. This recurring motif provides a flicker of empowerment amidst the overwhelming feelings of hopelessness and becomes the ultimate, albeit somber, resolution to their struggle.

"New Flesh" was written by Nick Rattigan and released in 2013 on the album Wild Heart. At the time, Rattigan was releasing music under the moniker TELE/VISIONS. The album was self-recorded, embodying the "bedroom pop" and lo-fi aesthetic that characterizes the song. Rattigan, who grew up in Henderson, Nevada, was influenced by a wide variety of music. For this particular era of his music, he was heavily inspired by 80s post-punk and new wave bands like The Cure, New Order, and The Psychedelic Furs, as well as the aesthetic of 80s teen movies. An interview revealed that the music for this project was initially conceived as 80s dance music.

The song's title and some of its thematic underpinnings are a direct reference to David Cronenberg's 1983 film Videodrome. Rattigan himself cited the film as an influence on his name change from The Nicholas Project to TELE/VISIONS. This cinematic influence is a recurring theme in Rattigan's work, both with Current Joys and his other band, Surf Curse.

"New Flesh" gained a significant boost in popularity through social media. In March 2016, a short video on the platform Vine by a user named Emma Grier (GIBBERTON) featured the song. This was reportedly her last post before she passed away from cancer, which led to a surge of interest in the song. This viral moment helped bring Current Joys to a much wider audience, solidifying "New Flesh" as one of the project's most popular and defining tracks. Nick Rattigan later officially changed the artist name from TELE/VISIONS to Current Joys in 2016, re-releasing his back catalog, including Wild Heart, under the new name.

"New Flesh" utilizes a relatively simple and direct structure in its rhyme and rhythm, which enhances its raw, unfiltered emotional impact.

Rhyme Scheme:

The song's lyrical structure leans more towards free verse with instances of simple, effective rhymes. It doesn't follow a strict, consistent rhyme scheme like AABB or ABAB. Instead, rhymes appear in couplets to punctuate key emotional moments. For example:

• "I listened to The Cure / and then I cried"
• "I watched Videodrome / and lost my mind" (This is a slant rhyme)
• "I tried to write a song I think you'd like"
• "But no one gives a shit about my life"

This AABB-like structure in the verses gives them a confessional, almost nursery-rhyme simplicity that contrasts with the heavy subject matter. The most powerful phrases, like "No one gives a shit," "'Til I die," and "It's DIY," are repeated as refrains without any rhyming counterpart, making them stand out as stark, isolated declarations.

Rhythm and Meter:

The rhythm of "New Flesh" is driving and insistent, largely dictated by the repetitive musical elements. The song has a relatively fast tempo, around 166 BPM, which creates a sense of urgency and restlessness, mirroring the lyrical themes of anxiety and sleepless nights. The drum machine provides a steady, almost mechanical beat that propels the song forward relentlessly. The lyrical rhythm often feels conversational and direct, with phrases delivered in short, punchy bursts. The repetition of phrases like "I have nightmares" creates a rhythmic, incantatory effect that builds tension. The interplay between the driving musical rhythm and the often despairing lyrical content creates a powerful sense of cognitive dissonance—an upbeat tempo carrying a deeply melancholic message, which is a common characteristic of the post-punk genre.

"New Flesh" employs a range of musical and literary techniques to achieve its raw, emotionally charged atmosphere.

Musical Techniques:

• Lo-Fi Production: The song is characterized by its lo-fi, or "bedroom pop," production. This includes a certain amount of intentional distortion and a lack of studio polish, which creates a sense of intimacy and authenticity, as if the listener is hearing a private, unfiltered expression of the artist's thoughts. The sound is often described as hazy or murky.
• Repetitive Guitar Riff: A simple, repeated guitar melody opens the song and serves as a central motif. This repetition creates a hypnotic, almost obsessive quality, mirroring the protagonist's cyclical thoughts and feelings of being stuck.
• Instrumentation: The arrangement features a prominent, often harshly strummed guitar, a driving bassline, and drum machine-like percussion, specifically from a Roland TR-505. This combination is characteristic of 80s post-punk and new wave, the genres Nick Rattigan was influenced by.
• Vocal Delivery: Rattigan's vocal style is crucial. It's often described as a mumble or a raw, scream-itself-hoarse delivery, conveying a sense of desperation and emotional release. The vocals are not perfectly polished, which adds to the song's feeling of vulnerability and DIY authenticity.

Literary Techniques:

• Repetition: The lyrics rely heavily on repetition, such as "I listened to The Cure," "I watched Videodrome," and the climactic refrains "No one gives a shit" and "'Til I die." This literary device emphasizes the obsessive and overwhelming nature of the protagonist's feelings and their resolve.
• Direct Address & Narrative Voice: The song uses a first-person narrative voice, creating a direct and personal connection with the listener. The line "I tried to write a song I think you'd like" suggests a direct address to a specific person, enhancing the sense of intimacy and personal stakes.
• Allusion: The song's central allusions are to The Cure and the film Videodrome. These cultural references act as a shorthand, quickly establishing a specific mood and set of thematic concerns (melancholy, media saturation, existential horror) for listeners familiar with the works.
• Juxtaposition: There is a stark juxtaposition between the creative impulse ("I tried to write a song") and the cynical reality ("But no one gives a shit"), which forms the emotional core of the song.

"New Flesh" has had a significant cultural impact, particularly within indie and alternative music circles, and has become one of Current Joys' most recognizable songs. Initially released in 2013 on the self-produced album Wild Heart, the song's popularity grew substantially over time, largely fueled by its circulation on social media platforms. A key moment in its rise was its use in a 2016 Vine video by internet personality Emma Grier (GIBBERTON), which was her last post before her death from cancer. This poignant context brought a great deal of attention to the song, introducing it to a much broader audience.

The song's raw emotion and themes of artistic alienation have resonated deeply with a younger generation of listeners, making it a staple on playlists and a frequent feature in user-generated content on platforms like TikTok, often accompanying edits and videos with a melancholic or introspective tone. Its lo-fi, DIY aesthetic and its lyrical content have made it an anthem for the "bedroom pop" scene and for anyone who identifies with the struggle of the solitary creator.

The title's reference to David Cronenberg's 1983 film Videodrome has also cemented its place in a lineage of art that explores the relationship between media, technology, and identity. While it may not have been a mainstream chart-topper, its organic, internet-driven popularity has given it a lasting legacy. It is considered a chief track on its album and a quintessential Current Joys song, perfectly capturing the blend of 80s nostalgia, post-punk energy, and raw, confessional lyricism that defines Nick Rattigan's work.

"New Flesh" is rich with symbolism and metaphors that deepen its themes of alienation and artistic creation.

• Videodrome and The Cure: The explicit references to listening to The Cure and watching Videodrome are symbolic anchors. The Cure represents a deep dive into melancholy and emotional vulnerability, setting the song's somber tone. Videodrome symbolizes a more extreme, visceral form of media consumption that blurs the lines between reality, technology, and the physical self. The film's concept of the "new flesh"—a literal transformation of the human body through broadcast signals—serves as a powerful metaphor for the way art and media can profoundly alter one's perception and very being. It reflects the protagonist's feeling of losing their mind and identity through this intense engagement with art.
• The Song Within the Song: The act of trying to write a song that "you'd like" symbolizes the artist's desire for connection and validation. It represents the hope that creative expression can bridge the gap between the self and the other. The subsequent declaration that "no one gives a shit" transforms this symbol into one of failed connection and creative impotence, highlighting the artist's isolation.
• Nightmares and Insomnia: The recurring nightmares and resulting lack of sleep are metaphors for the relentless nature of the protagonist's anxiety and existential dread. The inability to find peace even in sleep symbolizes a mind that cannot escape its turmoil, constantly grappling with its perceived failures and insignificance.
• "New Flesh": The title itself is the central metaphor. Borrowed from Videodrome, it represents a form of rebirth or transformation. In the context of the song, it can be interpreted in several ways: as the painful process of shedding an old self, the creation of a new artistic identity, or the grim acceptance of a life dedicated to a seemingly thankless creative struggle. It is a reinvention born out of mental anguish and a desire to endure.

"New Flesh" is built around several powerful recurring phrases and musical motifs that are central to its structure and meaning.

• The Opening Guitar Riff: The song begins with a distinct and repetitive four-note guitar melody that serves as its most recognizable musical motif. This riff runs through much of the song, creating a hypnotic and somewhat obsessive atmosphere that mirrors the cyclical and inescapable nature of the protagonist's thoughts.
• "I listened to The Cure / I watched Videodrome": These parallel phrases, repeated at the beginning of the song, establish the cultural and emotional landscape. They are a motif representing the deep influence of external art on the protagonist's psyche, acting as catalysts for their emotional state of crying and losing their mind.
• "I tried to write a song": This recurring line represents the creative impulse, the central action and struggle of the narrator. Its repetition emphasizes the effort and the importance the narrator places on this act of creation.
• "No one gives a shit": This is arguably the most powerful recurring lyrical phrase and the emotional core of the song's conflict. Repeated with raw emphasis, it functions as a despairing refrain that encapsulates the feeling of alienation and the perceived futility of the artistic endeavor.
• "'Til I die": This phrase recurs as a statement of grim resolve. It's a declaration of commitment to their path, whether it's staying in their current state or continuing to create art, despite the emotional cost. Its repetition transforms it from a simple statement into a solemn vow.
• "It's DIY": Repeated as a chant-like chorus, this becomes the song's central mantra and a key thematic statement. It represents the ethos of self-reliance, persistence, and finding value in the creative process itself, independent of external validation. Its repetition builds a sense of defiance and self-empowerment amidst the song's otherwise bleak emotional terrain.