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What is it about that spectrum of the human experience do you find the most interesting? There's a great interview you did with Consequence of Sound earlier this year, and you spoke very well about a subject most musicians don't talk about, about how there are dual realities within the human psyche - absolute truth, perceived truth and normative truth. You know, not censoring yourself and speaking honestly. I'm saying "censored" by a desire to create an image that you would like to project. When I say "uncensored," I'm not talking about censors, as in vulgarity. And not to stay away from those things for the sake of staying away from those things, but just to be uncensored. On your website bio, there was an interesting quote from you regarding the writing of Thank You, Happy Birthday about "fear based writing." To what were you referring?Īnd, so, the struggle is to not write or cater to those sounds, but to write as a communicator - that naked honesty. It's all very tastefully and very beautifully stylized. It's not just his vocal delivery, but the instrumentation, the dynamics, the songwriting. He's able to take on many different characters but hold the same tone. At the same time, he pulls this monotone, almost screaming delivery that is also incredibly melodic and complex. Matt Shultz: Just that Frank Black has really found - I don't know where he was pulling from or if he was pulling from anything - an amazing delivery that's unique to himself. Westword: What about the vocals in Pixies songs did you - or do you - find inspirational? In advance of tonight's show, we spoke with the thoughtful and poetic Shultz about the influence of the Pixies, his early attempts to be a drummer and more. After making a name for itself across the pond, the band returned stateside for the release of it's second album, 2011's Thank You, Happy Birthday, which contained the hit "Shake Me Down." The group returns to Denver in support of its latest album, Melophobia, released last month. With Gregory Ackerman on bass, Andrew Jones (of Rey Fresco) on percussion, and the Fedronic brothers (of More Fatter) on brass, "Cool God" carries the listener from start to finish.In 2007, Cage the Elephant moved to London, where its label was located, to try out its fortunes there. The arrangement behind this song is full, lively, unexpected, and gets you singing along, tapping your foot, or both. JFK, and tell him how // you knew his killer, but mistook him for a good man?" Jabbing at the belief that God sees the past, present and future all as one, unlike how we view time in a linear manner (past then present then future), these lyrics question God's morality and/or ability to remove himself from his work, just as most do when they clock out at 5 pm after a long day of button mashing. At 2:54, the beefed-up doubled vocal line boosts the listener right out of the instrumental section into my favorite lyrics of the song: "Do you ever take breaks and burn one down // with Mr. I believe the strongest part and my favorite part of the song comes in the ending section before the final chorus. I'm in no way hating on Catholic beliefs, I'm simply satirizing them in a way that I believe makes a fun and interesting listen for all listeners of all faiths (except maybe evangelical christians, not the best sense of humor). There I developed my own spiritual philosophy and seemed to drift away from my traditional Catholic upbringing.
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I grew up going to Catholic school K-12 and then left that universe for the non-denominational mecca that is Berkeley, CA for college. The song is a conversation between me and God, poking fun at several tenets of Catholic faith: afterlife, repentance, and creation among others. "So this track, "Cool God", is the first single off an album I'm releasing this coming February, and its one of my personal favorites off the whole album.
Cage the elephant come a little closer meaning mac#
It has a Mac Demarco, Twin Peaks, The Districts sound to it which I absolutely love. This song is so easy going and tells such a great story.