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Everyone’s most anticipated album of the fall is here!..and by “everyone” I mean me. If you’ve listened to the lead single “The United States of Eurasia” then you’ll know that there is bit of a Queen influence in this album. Beyond that though there seems to be an endless amount of pomp and piano codas. Hardly a bad thing. The album is a quite a change from what you’d expect from Muse…especially when you get to “Exogenesis”. In a way I’m contradicting myself because “Exogenesis” parts 1-3 are standard Muse tracks, bombastic guitar pitch shifts with soaring falsetto vocals, but the band married them to classical pianos and a full orchestra to give them even more of a sense of urgency and power. This space rock song is split in to three parts, or movements (for you classical music snobs), entitled “Overture”, “Cross Pollination” and “Redemption” spanning 13 minutes in total telling the story of mankind leaving the destructive planet we’ve created for ourselves, and going to populate somewhere else in the universe.
In prog rock we trust!
Highlights : “United States of Eurasia (+ Collateral Damage)”, “Exogenesis: Symphony, Pt. 1 – Pt. 3″
This album is set for release tomorrow (Sept. 15) here in the United States.
Over the last, oh, I don’t know, twenty years or so, a trend has emerged whereby rock and roll songwriters get to do film and TV scores. The first big example that comes to mind is Oingo Boingo’s Danny Elfman, who first became hugely successful scoring Tim Burton’s movies. Mark Mothersbaugh of Devo became similarly attached to Wes Anderson, Jonny Greenwood from Radiohead recently scored There Will Be Blood, Stewart Copeland and Andy Summers of The Police have both done some scoring, and hell, even Toto and Queen had some success with Dune and Flash Gordon, respectively. But the one who made the transition with probably the least amount of mainstream success is Jon Brion (one might be able to make a case for Mike Viola, or somebody else, but I’m making a case for Jon Brion, so there).
(feel free to listen to the songs from this week’s column via the above music player)
After reeling from another kickass episode of “Lost” last week I let the TV lag and spill into “Life on Mars“. The show opened with a long montage set to Lou Reed’s “Satellite of Love“. That song and Michael Impeiroli’s badass stache were almost enough to keep my interest. I avoided temptation. I just can’t add another TV show to my dvr. Mind you I will make an exception for whenThe Duel 2 comes on MTV in April. Hearing the song reminded me of a conversation I had recently. Not counting Stillwater’s “Feverdog” or Steel Dragon’s “Stand Up (and shout)” I asked someone to come up with a list of songs that they discovered through the power of the movies. Personally for me Lou Reed’s “Perfect Day“, as heard in Trainspotting, is a perfect example of a song I was unaware of till it was featured in a film. I ran out and bought that album immediately after seeing the movie and was pretty floored by its quirky charms. I’d like to say the same thing occurred after I watched St Elmo’s Fire and heard “Man in Motion“…but, as you people know, that album is not as awe inspiring. Hell of a theme song though. With a click glance at my DVD collection I give you:
My top 5 song discoveries through film (eat it, Facebook!)
5. Almost Famous: Thunderclap Newman “Something in the Air“. The easy answer is “Tiny Dancer”, but I’ve always liked this song better. Pete Townshend played bass on this one hit wonder led by a Who roadie. Who knew!? (No pun intended. Seriously)
4.Boogie Nights: Night Ranger - “Sister Christian.” Boogie Nights was so chock full of music that it required two discs. This was a new song to me. Thank you, PT Anderson. He took the cue from Tarantino and tried to fill his soundtrack with as many lost gems as possible. On the flip side I noticed the soundtrack to The Girl Next Door might be the laziest soundtrack ever. Here are some highlights:
All great songs. All have appeared in countless movies already. You are a lazy man Mr. Wolfgang Amadeus. Nope, I’m not making that name up. You made a mix tape of your favorite songs from movies. Shame on you, Wolfgang. Can I have your job please?WhatThe Girl Next Door lacked in musical creativity it made up for with its underrated humor and a semi clad Kim Bauer.
3.Napoleon Dynamite: When in Rome - “The Promise”. If I happen across this movie and it’s close to the end I’ll leave it on and embrace this song and imagine playing tether ball and drawing leigers for my own Deb.
2.Trainspotting: Lou Reed – “Perfect Day.”
1. Donnie Darko: Echo and the Bunnymen – “The Killing Moon”. I was hip enough to see this film opening night, but not hip enough to have known this amazing song. It was instant love. Since then Richard Kelly released a director’s cut which removed “The Killing Moon” from the opening and replaced it with “Never Tear Us Apart” By INXS. If that wasn’t proof positive that Richard Kelly is a loose cannon who can’t be trusted, go rent Southland Tales. What a mess of a film. Justin Timberlake lip syncing The Killers on the Santa Monica Pier? Yeah, let’s green light that bad boy. Even after that bloodbath of a film turd I’m still looking forward to his next film, The Box, simply because The Arcade Fire will be providing the original score and bombastic and preachy is exactly how I take my scores. Thank you, Win Butler.
Let’s get something straight: You are not funny or insightful. I hate to rain on your parade as this fad seems to be catching speed with every waking breath, but I don’t want to know these factoids about you. I’m sure it feels great to finally let all of your Facebook “friends” know that you were born with both male and female genitalia…but I’m eating breakfast over here!
Come on. There has to be a better venue to share this. Try joining the cast of The Real World Brooklyn! Even odder, your friend chooses to sandwich her own personal bombshell in between 10) I LOVE coffee and 12) I need caffeine all the time. Really? I’d call you lazy for doubling up on a subject matter but then you go and outdo yourself with “13) lucky thirteen” and it becomes apparent. You are just not that into yourself. Don’t you realize this is the most narcissistic posting on the most narcissistic website? Embrace it or please stop. Preferably the latter. When I say embrace it, mind you I mean try hard and really give me something. Trying hard does NOT mean moving on to “Memories: leave one note about me” or “MY First Born,” or Ten Things about me…using one word.” This needs to stop. I’m ready to take the steps to end this. No, not by de-friending people, or by moving back to MySpace, where at least there were countless myspace whores (I miss you dearly Tila) to water this stuff down. (more…)
Over the last, oh, I don’t know, twenty years or so, a trend has emerged whereby rock and roll songwriters get to do film and TV scores. The first big example that comes to mind is Oingo Boingo’s Danny Elfman, who first became hugely successful scoring Tim Burton’s movies. Mark Mothersbaugh of Devo became similarly attached to Wes Anderson, Jonny Greenwood from Radiohead recently scored There Will Be Blood, Stewart Copeland and Andy Summers of The Police have both done some scoring, and hell, even Toto and Queen had some success with Dune and Flash Gordon, respectively. But the one who made the transition with probably the least amount of mainstream success is Jon Brion (one might be able to make a case for Mike Viola, or somebody else, but I’m making a case for Jon Brion, so there).