Down the rabbit hole
Elfman’s eccentric style has no intention of slowing down ever since the release of his solo album Big Mess back in 2021. While there is a serious change of mood and tones in his latest album, Bigger. Messier., compared to Big Mess, both share the commonality of disorganization and struggling to adopt a full concept. Bigger. Messier. suggests a wider array of new sounds, all of which may not mesh well with one another. Elfman’s 23-track lineup, compiled heavily of remixes, varies itself from remix to remix, some feeling neglected more than others. Most tracks bring a gothic electronic chaos meshed with an Elfman flare of oddball tones and mixing. While some of these collaborations of older and newer artists form a glitchy jumble of metal horror tones work, others are left to the abyss and have no place in Elfman’s catalog.
A daunting number of tracks and remixes places Bigger. Messier. in the category of albums that are one-time listens, not only due to its length but its repetitive lyrics. Remixing the same lyrics can only go so far when playing a consistently ever-changing album such as Bigger. Messier. “Happy” deviates from this notion, as its sound is highly varied from remix to remix and doesn’t rely on social commentating lyrics, but a spiral frenzy of electronic cuts and club sounds. “Happy (Boy Harsher Remix)” stood above the others as it shifts away from heavy production on other remixes and strips it down to a rather ’80s synth dance beat that works well with the gothic vocals on Elfman’s voice to change the pace of the album.
Elfman attempts to highlight the strengths of his features, as the guest artists mainly influence the remix sound from track to track, sometimes failing in the process, and other times cohesively combining his sound with others. “We Belong (Squarepusher Remix)”, “Insects” and “In Time (HEALTH Remix)”, all shift sounds and distinctively define the remix by pushing the featured artists tones to the center. Machine girls chaotic cuts and noisy glitch bass don’t hold back, neither does Squarepusher’s funky synths or HEALTH’s dark atmospheric electronic tone.
While Danny can do justice in highlighting artists he can also ignore them completely. “True” may kick off with a dirty mechanical instrumental in the beginning, but layers it with bland lyricism that becomes utterly repetitive. “Kick Me” is as experimental as it is annoying, demonstrating that no one would guess Iggy Pop is featured had they not looked prior. “Native Intelligence (Ghostemane Natural Selection Remix)” is a generic club sound saturated in fast high hats that remove any style from both Trent Reznor and Ghostemane. The Ghostemane remix being the most disappointing as there could have been a sinister sound highlighted throughout the remix.
Bigger. Messier. is Danny Elfman commentating on pandemic social issues, tied together with a string of genres, shifting and weaving throughout. One second electronic glitch production rips through headphones, the next Elfman is speaking German for three minutes. It’s unpredictable and confusing, sometimes hitting the right amount of oddball. Deciphering Elfman’s wickedness can be as interesting as it is unenjoyable, demonstrating a project that really is a madhouse.
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