“I mean, Kill the Lights, it’s pretty depressing sometimes, I think.”
—Brian Girgus, Skyscraper, Summer 1999
”Girl you’re a king”
After six unsparing tracks, Kill the Lights theoretically could have ended in any number of ways: perhaps with a short ending piece to ease the listener back into a more emotionally stable place, or even something with a bit of uplift to offer a sliver of hope at the close of such a draining song cycle. What lowercase went with, of course, was an exorcism even longer and more violent than the one that came just before it (“Rare Anger”); one so idiosyncratic and genuinely messed up that it can even be a little bit frightening.