“I originally wrote ‘Happy’ to perform at Coachella 2020,” Elfman said in a statement. “It was written to be an absurd anti-pop song, designed to begin as a very simple pop tune that degrades into something more subversive. The cynical nature of the lyrics echo how I feel about living in a semi-dystopian world turned upside down.”
Music and Lyrics by Danny Elfman Produced by Danny Elfman and Randall Dunn Engineered by Noah Snyder
Vocals, Guitars & Synths by Danny Elfman Drums - Josh Freese Guitars - Nili Brosh Bass - Stu Brooks
Additional Synth design by Randall Dunn
“HAPPY” VIDEO & ARTWORK Directed by Aron Johnson Art Direction by Berit Gwendolyn Gilma 3d Photography: Sarah Sitkin
Orchestrated by Steve Bartek Midi Prep – Marc Mann and Orlando Perez Rosso Copyist – Scott McRae Orchestra - Budapest Scoring Orchestra Orchestra Producer - Bálint Sapszon
Mixed by Randall Dunn at Strange Weather Recording Assisted by Ben Greenberg and Garrett de Block Mastered by Gavin Lurssen Mastering
Executive Produced by Laura Engel Project Produced by Melisa McGregor
Danny Elfman’s Representation - Kraft-Engel Management
Lyrics
I’m so happy— Happy! I’m so happy— Happy! I’m so happy— Happy!
Everything is crumbling (crumbling,crumbling) Everything is crumbling (crumbling,crumbling) Everything is crumbling (crumbling,crumbling)
Choose your Poison - Poison! Choose your Poison - Poison! Choose your Poison - Poison!
Everything is shutting down (shutting down, shutting down) Everything is shutting down (shutting down, shutting down) Everything is shutting down (shutting down, shutting down)
EAT (Eat) - FLY (Fly) - SILENCE (Silence) - JOY (Joy) CAT (Cat) - SEQUENCE (Sequence) - FUTURE (Future) - PUPPY (Mother fucking puppy) MY (My) - OWN (Own) - MOTHER (Mother) - FUCKING (Mother fucking) LIFE - BURNED DOWN LIKE A HOLE IN THE WARM SOFT GROUND
HOUSE - CHILD - HAPPY - FEAR Of my — own — voice Concentrating on flies Fill me up - knock me down Take my hand, in my hand, and my eloquent knife Through my heart — through my heart Straight through my mother — mother fucking
Heart belongs to you - My Heart belongs to you..
Puppy, Puppy, Puppy, Puppy.
Eyes for an eye, eye for an eye — Tickety-tackety, tickety-tackety
Eye for an eye, Tooth for a tooth — It’s never enough, but it’s never the truth Life is a treat so pretty and pink.
Youth is wasted on the mother, Youth is, youth is wasted on the mother, Youth is wasted on the mother fucking, Wasted on the mother fucking youth.
I’m so happy — Happy! I’m so happy — Happy!
Snap chat- Rotting rats- Minecraft- Cheerios Netfiix- Bag of tricks- soothe my soul
My anesthesiologist is fucking my psychiatrist And I feel no pain- cover me with Lidocane I'm so happy everything's so great And the world is an oyster on an appetizer plate.
I'm not a huge fan, but I utterly adore the fact that Elfman has this sort of thing in him. Diversity is something I've been giving a lot of thought to lately when it comes to composers working today, and Danny's got bucket loads. We don't always have to like it, but I love that it's all there.
I was very pleasantly surprised to see it's Stu Brooks on Bass. Great player, I toured with him about 10 years ago. Not at all jealous that he's working with Danny. Not one bit
It's great mish-mash of Elfmanisms - a little bit of NIGHTMARE BEFORE CHRISTMAS, a little bit of Philip Glass-ian minimalism and a little bit of punkish New Wave, Boingo-style. Love the dark, industrial synth beat too.
Epitaph Records is an artist-first indie label founded in Los Angeles by Bad Religion guitarist, Brett Gurewitz. Early releases from a variety of punk heavyweights helped launch the 90s punk explosion. Along the way, Epitaph has grown and evolved creatively while sticking to its mission of helping real artists make great recordings on their own terms.
#dannyelfman #antirecords #epitaph
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Music & Lyrics by Danny Elfman Produced by Danny Elfman Recorded and co-produced by Noah Snyder Mixed by Zakk Cervini Mix Assistant: Nik Trekov Mastered by Joe LaPorta at Sterling Sound
Vocals, Guitars & Synths by Danny Elfman Drums - Josh Freese Guitars - Robin Finck & Nili Brosh Bass - Stu Brooks Percussion and Additional Drums – Sidney Hopson
Orchestration by Steve Bartek and Mikel Hurwitz Choir orchestration by Marc Mann Midi Prep – Orlando Perez Rosso Copyist – Scott McRae
Executive Produced by Laura Engel Project Produced by Melisa McGregor
Danny Elfman’s Representation - Kraft-Engel Management
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“Sorry” - Lyrics by Danny Elfman
I’m So Sorry…
There isn't time – for revolution There isn't time – to evolutionize or hide Those things most precious - Our most precious Things that got erased, corrupted, infiltrated I'm so sorry – I'm so sorry
I’m gonna try, I’m gonna try To get away from your compelling Mist of lies and misconceptions No protection, no escape Where I will never have to see your fucking face You suffocate me
I can’t breathe while you’re alive I can’t breathe while you’re alive You suffocate, you suffocate And I’m so sorry that I didn’t die Or just evaporate into a toxic cloud
It's gonna break – it's gotta break, It's made of glass, it's gonna break And all the hate that you collected And infused into protected piles of shit Glass eyed devotees will flock to your gates your house is on fire- your house is on fire
Pull it forward – pull it back Your eyes are empty, cold and black We gotta break it, we gotta break it We gotta break that fucking jack whip on a broken hip – my life is a joke if I can't even breathe .
Sorry you exist because you suck the fucking air out of my lungs I am not afraid to die – still alive, still alive And I won't let you bury me
Love that he is releasing some new songs! Very Oingo Boingoish, so I think it's great! Guess this may be the closest we come to getting any new Oingo Boingo material.
It's more Boingo than Oingo Boingo -- both of these are a natural continuation of the Red Hot Chilli Peppers/Ninch Inch Nails-type sound that defined their last album in '94 (the children's chorus in "Sorry" brings the children's chorus in "Insanity" to mind). Only darker. Personally, I wish he went back to his funkier and cleaner New Wave roots a bit more, rather than being all grungey and metally and fussy, but I'm just thankful we're getting new rock songs from him. Would be awesome if these singles amounted to a whole allbum at some point.
Absolutely love it, thanks for posting this Jason. Looks like Danny is planning to release new singles on the 11th of every month this year, so plenty for an album. Looking forward to the next one.
So I know I wasn’t gonna post for a bit but Danny Elfman just released a new track “Sorry”, and as Holly Sedillos is singing on it, I gave it a few listens.
Thus, a mental spiral of questions started to draw me in. How did he come up with something so unusual? How did he get the energy to make such vibrant music at a time like this? How does this song work so damn well?! The answers only spawned more questions. Clearly, Danny is really good at communicating ANGER, so how does he do it in a way that makes us all so damn HAPPY when we hear it? Were I able to make music that so clearly expressed MY anger, I feel it would merely provoke despair in the listener - a cruel use of music.
So the lesson here is - and I’ve harped on about this before - Paradox. A great artist can show us two opposing ideas simultaneously, making them resonate together, helping us understand our love of life - its unlikely, clattering, painful, repetitive, unique yet sensual joys. And I’ve never been so happy to hear someone screaming “I’m sorry you exist because you suck the fucking air out of my lungs”
It's more Boingo than Oingo Boingo -- both of these are a natural continuation of the Red Hot Chilli Peppers/Ninch Inch Nails-type sound that defined their last album in '94 (the children's chorus in "Sorry" brings the children's chorus in "Insanity" to mind). Only darker.
I thought the same thing. I love that Boingo album.
Epitaph Records is an artist-first indie label founded in Los Angeles by Bad Religion guitarist, Brett Gurewitz. Early releases from a variety of punk heavyweights helped launch the 90s punk explosion. Along the way, Epitaph has grown and evolved creatively while sticking to its mission of helping real artists make great recordings on their own terms.
#dannyelfman? #antirecords? #epitaph?
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Music & Lyrics by Danny Elfman Produced by Danny Elfman Recorded by Noah Snyder Additional Engineering: Nick Rives & Matt Tuggle Mixed by Zakk Cervini Mix Assistant: Nik Trekov Mastered by Joe LaPorta at Sterling Sound
Vocals, Guitars & Synths by Danny Elfman Drums - Josh Freese Guitars - Nili Brosh Bass - Stu Brooks Percussion – Sidney Hopson Strings – Lyris Quartet
String Orchestration by Steve Bartek Orchestration Assistant - Marc Mann Midi Prep – Orlando Perez Rosso
Executive Produced by Laura Engel Project Produced by Melisa McGregor
Danny Elfman’s Representation - Kraft-Engel Management
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"Love In The Time Of Covid" - Lyrics by Danny Elfman
Living a life in a nutshell – Living a life in a nutshell Stay inside and you’ll do well – break any rules and they might tell
World outside is humming -- The mountain goats are sunning This shit ain’t no fun, open the door and run….
Now nobody likes you, what a shame Now nobody likes you, now nobody likes you… Ooh, she likes me – ooh, she likes me, messages excite me Ooh she likes me….
Love in the time of Covid (x4)
Keeping it, keeping it all inside (x3) I want to see you, I want to see you Without your clothes, without your skin Without your skin – Without your skin Sinning, sinning, sinning - Zoom me at midnight
I want to see you – without your clothes, without your skin I want to see you – without your skin without your skin
Living a life in a nutshell, staying inside is a tough sell Sniffing around for some intel - if I run out of buds it’ll be hell Outside birds are singing - church bells are ringing I’m filling up with feeling - open the door and run
Now nobody likes me (Nobody likes you) (x4)
Ooh, she likes me - her videos excite me, Under the virtual moonlight, we got a date at midnight
Love in the time of Covid (x4)
Watching the cat, watching the cat, Bouncing off the walls (I feel like that) - let’s make a rendezvous It’s almost like having you in the room, I want to have sex (too soon) - I can almost feel you Starting to spin, staring to spin Looking up, looking out, looking in I’d give the world just to touch your skin.
Director - Petros Papahadjopoulos DP - Meeno Peluce 3D CREATURE FX - Joe Pascale Production Company - Louder Than Bombs Make Up & Hair - Lizbeth Williamson Assistant - Damian Lang Edit/After Effects - Petros Papahadjopoulos Creative Contributor: Berit Gwendolyn Gilma
Epitaph Records is an artist-first indie label founded in Los Angeles by Bad Religion guitarist, Brett Gurewitz. Early releases from a variety of punk heavyweights helped launch the 90s punk explosion. Along the way, Epitaph has grown and evolved creatively while sticking to its mission of helping real artists make great recordings on their own terms.
#dannyelfman? #antirecords? #epitaph?
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Music & Lyrics by Danny Elfman Produced by Danny Elfman Recorded by Noah Snyder Additional Engineering - Nick Rives & Matt Tuggle Mixed by Pete Rutcho Mastered by Joe LaPorta at Sterling Sound
Vocals, Guitars & Synths by Danny Elfman Drums - Josh Freese Bass - Stu Brooks Guitar – Warren Fitzgerald Percussion - Sidney Hopson and Joe Martone Strings – The Lyris Quartet
String Orchestration by Steve Bartek Assistant Orchestrator - Marc Mann Midi Prep - Orlando Perez Rosso Technical Assistant - Giacomo Lamparelli
Executive Producer - Laura Engel Project Producer - Melisa McGregor
Danny Elfman’s Representation - Kraft-Engel Management
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"Kick Me" - Lyrics by Danny Elfman
Kick me I‘m a celebrity, kick me I‘m a celebrity (X2) Losers not invited, losers not invited Kick me I‘m a celebrity, kick me I‘m a celebrity (X2) Losers not invited, losers not invited
Look now everybody can see, look now everybody can see Love me, love me
Kick me, I‘m an arrogant, prick me I‘m an arrogant (X2) I‘m a selfish asshole, I‘m a selfish asshole
Kick me I‘m a royalty, kick me I‘m a royalty (X2) Poverty disgusts me, poverty disgusts me But I‘m such a likable guy, but I‘m such a likable guy Love me, love me
I‘m a lovely guy, I‘m a lovely guy, kick it, kick it So I know you‘re there I do appreciate you as I would a chair So I can sit and you and you will see How much that you depend on me I, love it when you, love it when you, really love it when you Treat me like a scumbag, treat me like a scumbag
Fuck me I‘m a billionaire, fuck me I‘m a billionaire (X2) I love the attention, I love the attention Kick me I‘m a celebrity, kick me I‘m a celebrity (X2) Losers not invited, losers not invited I‘m such a sensitive guy, I‘m such a sensitive guy Love me, love me
Kick it, kick it, kit it, kit it Love me, love me, love me, love me, love me Kick it, kick it, kick it, kick it, kick it, kick it, kick it Love me, love me, love me, love me, love
I love Elfman and Boingo but these are some of the worst songs I've ever heard. It just sounds like angry rantings from someone who ain't dealing with lockdown very well to me. There's no hook or melody line for me to grasp onto whatsoever. It's just too abrasive and off-putting. Happy for those who can get something from these though.
I like the guts and energy in this project. To be fair, it's only really "Happy" that I've thoroughly enjoyed so far, but I think this will work pretty well in unison when the whole album comes together at some point. In any case, it's a thousand times more exciting than any blockbuster or superhero score.
Producer: Danny Elfman Engineer: Noah Snyder Engineer: Nick Rives Engineer: Matt Tuggle Mixer: Joel Hamilton Mixer: Francisco Botero Music Publisher: Morte Pharmaceutical Music (BMI) Composer Lyricist: Danny Elfman
After releasing a series of singles over the past few months, Danny Elfman is announcing his first solo album in thirty-seven years today, titled Big Mess.
Clocking in at 18 tracks, the sprawling, ambitious double album finds the Grammy and Emmy Award-winning composer breaking bold new ground as both a writer and a performer, drawing on a dystopian palette of distorted electric guitars, industrial synthesizers and orchestra in an effort to exorcise the demons brought about by four years of creeping fascism and civil rot. He is joined on the album by drummer Josh Freese (Devo, Wheezer, The Vandals), bassist Stu Brooks (Dub Trio, Lady Gaga, Lauryn Hill), and guitarists Robin Finck (Nine Inch Nails, Guns N' Roses) and Nili Brosh (Tony MacAlpine, Paul Gilbert).
Big Mess was almost entirely created spontaneously during quarantine in 2020. It began as an experiment Elfman had been considering which combined aggressive rock band and orchestral strings in a way that had not been heavily explored. "Once I began writing," he explained, "It was like opening a Pandora's box and I found I couldn't stop. None of it was planned. I had no idea how many songs I would write but from the start it quickly became a 2-sided project with heavily contrasting and even conflicting tones."
The songs on Big Mess combine both harmonically complex arrangements and simple high energy driving music with biting, acerbic wit as they reckon with the chaos and confusion of the modern world. "2020 was an intense year, to say the very least," Elfman says. And while the anger, frustration, and isolation of it all is palpable in his delivery, Big Mess is about more than simply blowing off steam. In making the space to truly sit with his emotions and write without limitations, Elfman achieved a kind of artistic liberation on the record that had been eluding him for decades, rediscovering his voice and reinventing himself all at once in the process.
Elfman isn't shy about using that voice to share his mind, either. Big Mess is an often explicitly political record- "Choose Your Side", "Serious Ground" and "Sorry" all anchor themselves in the political intensity of our times. Even a reworked Oingo Boingo song, "Insects", transforms itself into a meditation on the greed and sickness of the American ruling class-but Big Mess is also a deeply personal work, with songs like the droning "In Time", the haunting "We Belong", and feverish "Everybody Loves You" revealing more of Danny Elfman than we've heard at any stage of his remarkably eclectic career.
"I knew from the start that this wasn't going to be a neat, easy-to-categorize record," says Elfman. "It was always destined to be this crazy cacophony, because that's who I am. The Big Mess is me."
The album artwork was also created by Sarah Sitkin from a series of 3-D body scans and designed and art directed by Berit Gwendolyn Gilma.
Elfman is also releasing a stunning, limited edition Big Mess box set this fall. This collector's edition contains the full album along with unreleased remixes and alternate versions of songs. Additionally, the package will include collectable artwork, a unique USB with video content and bonus material, and an exclusive artbook featuring Sarah Sitkin's original creations and never before seen photos and ephemera. More details and information to come.
1. Sorry 2. True 3. In Time 4. Everybody Loves You 5. Dance With the Lemurs 6. Serious Ground 7. Choose Your Side 8. We Belong 9. Happy 10. Just a Human 11. Devil Take Away 12. Love in the Time of Covid 13. Native Intelligence 14. Better Times 15. Cruel Compensation 16. Kick Me 17. Get Over It 18. Insects
