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I've been a bit obsessed with Matt Farley and the world of Motern Media ever since I first read about him in early 2014. Not with Farley as a real person, exactly -- I've never even met him -- but with what he stands for: unrelenting, yet ever-cheerful, creativity. He may not ever make a fortune in the music business; he may never be world famous. But it seems like he sings what he wants to sing, and makes the movies he wants to make, and is generally a very content man who's very appreciative of the opportunities he has.
As an amateur musician myself who makes music purely for the fun of it, I admire the heck out of that. Indeed, I registered the "NoneMaySay.com" domain about 15 years ago in honor of Florence Foster Jenkins, a famously poor singer who is purported to have said "Some may say I couldn't sing, but none may say I didn't sing." I strive to live by that philosophy, and I don't think Farley -- who I believe does have tremendous talent and ability -- will take offense if I say that he seems to exemplify Jenkins' outlook. So over time, I've written a few songs about Farley (which are gathered over to the right), as part of an ongoing concept album tentatively titled "I'm Not Matt Farley ... But He Is." Details about each song, including lyrics, are on the individual song SoundCloud pages. Other Farley-inspired songs are on their way. In the meantime, Farley declared June 3, 2015, to be the first World Motern Day. As part of that celebration, I decided to write about what I consider to be five best Motern Media albums. These are not necessarily the most representative Motern Media albums; however, I believe they represent some of Farley's most accomplished long-form musical work. |
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The Best Motern Media Complete Albums
Most articles about Matt Farley and his Motern Media bands focus on Matt’s astounding productivity: over 17,000 songs in fifteen or so years is pretty darn impressive (and he’s still going strong). As a result, those articles tend to highlight his super-sized “theme” albums, like People Who Like These Songs Are Correct (79 songs about celebrities) or Here’s the Office Supplies Album I’ve Been Telling You About (92 songs about, unsurprisingly, office supplies).
To be sure, there are lots of lyrical and musical gems on these albums. The so-banal-they’re-hilarious lyrics of “A Song About My Toes” (off of the 91 song This is the Body Parts Album) consistently cracks me up. The gritty “Exterminator Song” (from Jobs Songs) sounds like a Mellancamp-ian parable of middle-American despair. And even recognizing the fundamental joke, “It’s Elderly Day (Let’s Hear It For Old People)” (from These are Great! Holiday Songs!), is both invigorating and uplifting.
But there are less captivating tracks on these albums as well (which is only to be expected, given that Farley generally writes these 90-track opuses in a couple of days at most). As a result, I rarely feel the urge to put on one of these “theme” albums and just listen to it all the way through. They’re more suited for skimming; I’ll read the song titles for something that looks intriguing, and dip in when I have a moment.
However, listeners who focus only on the overflowing “theme” albums miss an important part of Farley’s output: his albums that actually work as albums. These are albums that are shorter and more focused, and that I truly enjoy listening to in their entirety. Albums that from the first note to the last demonstrate Farley’s substantial musical and lyrical talent.
What follows is my list of my five favorite Motern Media albums, arranged chronologically. There are many great songs scattered elsewhere. But on these albums, pretty much every track is worthwhile.
To be sure, there are lots of lyrical and musical gems on these albums. The so-banal-they’re-hilarious lyrics of “A Song About My Toes” (off of the 91 song This is the Body Parts Album) consistently cracks me up. The gritty “Exterminator Song” (from Jobs Songs) sounds like a Mellancamp-ian parable of middle-American despair. And even recognizing the fundamental joke, “It’s Elderly Day (Let’s Hear It For Old People)” (from These are Great! Holiday Songs!), is both invigorating and uplifting.
But there are less captivating tracks on these albums as well (which is only to be expected, given that Farley generally writes these 90-track opuses in a couple of days at most). As a result, I rarely feel the urge to put on one of these “theme” albums and just listen to it all the way through. They’re more suited for skimming; I’ll read the song titles for something that looks intriguing, and dip in when I have a moment.
However, listeners who focus only on the overflowing “theme” albums miss an important part of Farley’s output: his albums that actually work as albums. These are albums that are shorter and more focused, and that I truly enjoy listening to in their entirety. Albums that from the first note to the last demonstrate Farley’s substantial musical and lyrical talent.
What follows is my list of my five favorite Motern Media albums, arranged chronologically. There are many great songs scattered elsewhere. But on these albums, pretty much every track is worthwhile.
The Spoiled Chefs - Songs About Food (2004) (with Kevin McGee)
A song cycle entirely about food sounds like one of Motern Media's novelty collections. And indeed, Farley has several such albums, including the 92-song Food Song Central: A Lot Of Songs About Food, or the 89-song followup We Are Running Out of Food to Sing Songs About.
But the Spoiled Chef’s Songs About Food is something altogether different. Each of the twelve songs (not counting an included alternate-take demo) feels like a finished (if not necessarily 100% polished) track, rather than a hastily-assembled sketch. The stylistic breadth of the music is impressive: from the fun and innocent ‘50s rock of “Chocolate Ice Cream” to the ‘70s sing-along stadium anthem of “Frozen Pizza” to the surrealistic, minimalist absurdism of “Pig Products,” there’s not a clunker in the bunch. “A Chef’s Love Song” is a tender crooner ballad, while “Things in a Kitchen” takes the basic formula from Billy Joel’s “We Didn’t Start the Fire” and proves that anything can sound dramatic when sung to suitably insistent musical backing. And “Who Put Coffee in My Mountain Dew” is just so darn catchy.
Sure, the lyrics are generally pretty silly, but they’re also quite amusing. “Filet Mignon” covers the dilemma of a restaurant regular who’s debating how best to handle a meal that hasn’t been cooked to his satisfaction (is sending it back just going to make things worse?). Meanwhile, the aforementioned “Frozen Pizza” makes antisocial misanthropy downright tuneful.
The highlight of Songs About Food pops up right in the middle: “Picnic” is an absolutely gorgeous tune about about a simple picnic with someone you care about. The lyrics don’t strain to be unduly poetic: they simply recount, in direct, heartfelt fashion, what the ideal day out would be like. Singer McGee does an exceptional job conveying emotion here, and the song exemplifies one of the things that Motern Media music does best: it’s not unduly complex, not pretentious, but takes an element of everyday life and makes it special.
A song cycle entirely about food sounds like one of Motern Media's novelty collections. And indeed, Farley has several such albums, including the 92-song Food Song Central: A Lot Of Songs About Food, or the 89-song followup We Are Running Out of Food to Sing Songs About.
But the Spoiled Chef’s Songs About Food is something altogether different. Each of the twelve songs (not counting an included alternate-take demo) feels like a finished (if not necessarily 100% polished) track, rather than a hastily-assembled sketch. The stylistic breadth of the music is impressive: from the fun and innocent ‘50s rock of “Chocolate Ice Cream” to the ‘70s sing-along stadium anthem of “Frozen Pizza” to the surrealistic, minimalist absurdism of “Pig Products,” there’s not a clunker in the bunch. “A Chef’s Love Song” is a tender crooner ballad, while “Things in a Kitchen” takes the basic formula from Billy Joel’s “We Didn’t Start the Fire” and proves that anything can sound dramatic when sung to suitably insistent musical backing. And “Who Put Coffee in My Mountain Dew” is just so darn catchy.
Sure, the lyrics are generally pretty silly, but they’re also quite amusing. “Filet Mignon” covers the dilemma of a restaurant regular who’s debating how best to handle a meal that hasn’t been cooked to his satisfaction (is sending it back just going to make things worse?). Meanwhile, the aforementioned “Frozen Pizza” makes antisocial misanthropy downright tuneful.
The highlight of Songs About Food pops up right in the middle: “Picnic” is an absolutely gorgeous tune about about a simple picnic with someone you care about. The lyrics don’t strain to be unduly poetic: they simply recount, in direct, heartfelt fashion, what the ideal day out would be like. Singer McGee does an exceptional job conveying emotion here, and the song exemplifies one of the things that Motern Media music does best: it’s not unduly complex, not pretentious, but takes an element of everyday life and makes it special.
Manchvegas Outlaw Society - Monsters, Marriage & Murder in Manchvegas (2009)
In addition to music, Farley and Motern Media make movies, including Monsters, Marriage & Murder in Manchvegas (2009). The movie is a fun (and very low-budget) riff on monster movies, an innocent tale of three childlike young adults in their twenties whose lives are still centered around their childhood club (the “Manchvegas Outlaw Society” or “MOS”) and who do odd jobs to make money and just hang out together. During the course of the movie, they find themselves trying to solve a series of nefarious murders while, in an almost completely separate plot strand, some local “bigfoot” like creatures are also up to no good. It’s all absolutely goofy and quite endearing.
One thing that MOS-member Marshall (played by Farley himself) does is make little pop ditties. They’re sprinkled throughout the movie, and are collected on this album, alongside other similar songs that didn’t make it into, but are inspired by, the film. And what a joy these eighteen brief songs (totaling 28 minutes) are: uniformly fun, bouncy, and catchy, they not only make a great soundtrack, but could serve as a template for any enterprising college theater troupe that wanted to do a musical stage adaptation for the film.
Moreover, the songs really capture the hazy, sun-filled idealization of living just to be with your friends (while solving crimes on the side, of course). The titles of “Spring Fun,” Summer Fun,” “Fall Fun,” and “Winter Fun” (along with “Basketball Fun”) pretty much speak for themselves, and live up to their titles. There are also a couple of songs about the aforementioned woodland monsters (“The Legend of the Gospercaps” and “Mutant Jamboree”). I’m particularly fond of several tracks that address the growing relationship between MOS-members Marshall and Jenny, including “Catchin’ A Killer (By Fakin’ an Engagement)" and “She Used To Be My Friend (Now She’s My Girlfriend).” “Going Out On Dates (Isn’t So Bad!)” is especially stuffed with great lines, including my personal favorite: “I don’t play as much Basketball / As I did when I was a bachelor / But now when we play football / I’m not so afraid to tackle her / ‘cause she’s my girlfriend.”
Basically, if you’re looking for a burst of poppy, happy sunshine, this album has got you covered.
In addition to music, Farley and Motern Media make movies, including Monsters, Marriage & Murder in Manchvegas (2009). The movie is a fun (and very low-budget) riff on monster movies, an innocent tale of three childlike young adults in their twenties whose lives are still centered around their childhood club (the “Manchvegas Outlaw Society” or “MOS”) and who do odd jobs to make money and just hang out together. During the course of the movie, they find themselves trying to solve a series of nefarious murders while, in an almost completely separate plot strand, some local “bigfoot” like creatures are also up to no good. It’s all absolutely goofy and quite endearing.
One thing that MOS-member Marshall (played by Farley himself) does is make little pop ditties. They’re sprinkled throughout the movie, and are collected on this album, alongside other similar songs that didn’t make it into, but are inspired by, the film. And what a joy these eighteen brief songs (totaling 28 minutes) are: uniformly fun, bouncy, and catchy, they not only make a great soundtrack, but could serve as a template for any enterprising college theater troupe that wanted to do a musical stage adaptation for the film.
Moreover, the songs really capture the hazy, sun-filled idealization of living just to be with your friends (while solving crimes on the side, of course). The titles of “Spring Fun,” Summer Fun,” “Fall Fun,” and “Winter Fun” (along with “Basketball Fun”) pretty much speak for themselves, and live up to their titles. There are also a couple of songs about the aforementioned woodland monsters (“The Legend of the Gospercaps” and “Mutant Jamboree”). I’m particularly fond of several tracks that address the growing relationship between MOS-members Marshall and Jenny, including “Catchin’ A Killer (By Fakin’ an Engagement)" and “She Used To Be My Friend (Now She’s My Girlfriend).” “Going Out On Dates (Isn’t So Bad!)” is especially stuffed with great lines, including my personal favorite: “I don’t play as much Basketball / As I did when I was a bachelor / But now when we play football / I’m not so afraid to tackle her / ‘cause she’s my girlfriend.”
Basically, if you’re looking for a burst of poppy, happy sunshine, this album has got you covered.
Those Crazy College Kids - Selections from College is Fun! and Wild Times on Campus (both 2010)
This is a bit of a cheat on my part. Each of these two albums is divided into two distinct parts: the first 14 songs on Wild Times on Campus and the first 12 on College is Fun! are hilarious reflections on college life generally (“The Freshman Fifteen,” “My Classmates are Idiots,” “You Can Worry About that Term Paper Later”). The remaining 20 or so songs on each album switch over to the Motern Media “novelty” paradigm, and consist of paeans to how attractive and/or fun the women are on various college campuses (“Carleton College Girls are Beautiful,” “The Girls at Florida State are Great,” “Harvard Girls Love to Party Wicked Hard,” and so on). If you combine the first halves of the two albums and disregard the second halves, you’re left with an a snarky, sarcastic, and very entertaining 26-song concept album encapsulating the collegiate experience.
And what a strange album it is; it’s a real outlier in the Motern Media musical repertoire. On his podcast, Farley has proudly proclaimed himself to be an “uptight” individual: he doesn’t ever curse (he even spelled out “hell” on his podcast rather than saying the word) and avoids drugs. Yet his college songs are absolutely steeped in alcohol (“Beer Pong,” “Drunk During Class,” “The Keg Stand Song”) and, especially, sex. “Late Night Booty Text,” among others, explicitly references sex toys; “College Girls Are Easy” similarly references oral sex; and the title of “College Girls Like to Dabble in Lesbianism” speaks for itself. It’s a bit jarring hearing Farley, generally so squeaky-clean, sing about such topics.
But such risqué topics are justified, and perhaps even required, by the “college” subject matter. In any event, Farley consistently handles them with good humor and silliness. Indeed, that’s what makes the college albums so entertaining: each song is like a mini standup comedy routine set to music. And while the music occasionally descends to being merely serviceable, several tracks stand out musically as well as lyrically. “The Only Clean Toilets on Campus are at the Library” not only captures a truism that I remember well from my own college days, but has an epic 70s feel that I suspect Meat Loaf could sing the heck out of if he ever decided to do a Motern Media cover album. Meanwhile, “The Head Nod (And Other Greetings on a College Campus)” is both an outstanding primer on college greeting etiquette and also a vocal multi-tracked marvel filled with catchy repetitions and refrains. I suspect the youth of America would adjust to college life much quicker if forward-thinking universities simply included these tracks in their orientations packets.
(Note: Although the two college albums are dated 2010, at least one song - “The Head Nod” - dates to 2004 at the latest, based on its inclusion in an earlier Motern Media compilation album. I don’t know whether other songs, especially the ones referencing sex and drinking, are of a similarly older vintage; it could certainly explain why they are so lyrically distinct from Farley’s more recent work. But whether old or new, they’re well worth a listen.)
This is a bit of a cheat on my part. Each of these two albums is divided into two distinct parts: the first 14 songs on Wild Times on Campus and the first 12 on College is Fun! are hilarious reflections on college life generally (“The Freshman Fifteen,” “My Classmates are Idiots,” “You Can Worry About that Term Paper Later”). The remaining 20 or so songs on each album switch over to the Motern Media “novelty” paradigm, and consist of paeans to how attractive and/or fun the women are on various college campuses (“Carleton College Girls are Beautiful,” “The Girls at Florida State are Great,” “Harvard Girls Love to Party Wicked Hard,” and so on). If you combine the first halves of the two albums and disregard the second halves, you’re left with an a snarky, sarcastic, and very entertaining 26-song concept album encapsulating the collegiate experience.
And what a strange album it is; it’s a real outlier in the Motern Media musical repertoire. On his podcast, Farley has proudly proclaimed himself to be an “uptight” individual: he doesn’t ever curse (he even spelled out “hell” on his podcast rather than saying the word) and avoids drugs. Yet his college songs are absolutely steeped in alcohol (“Beer Pong,” “Drunk During Class,” “The Keg Stand Song”) and, especially, sex. “Late Night Booty Text,” among others, explicitly references sex toys; “College Girls Are Easy” similarly references oral sex; and the title of “College Girls Like to Dabble in Lesbianism” speaks for itself. It’s a bit jarring hearing Farley, generally so squeaky-clean, sing about such topics.
But such risqué topics are justified, and perhaps even required, by the “college” subject matter. In any event, Farley consistently handles them with good humor and silliness. Indeed, that’s what makes the college albums so entertaining: each song is like a mini standup comedy routine set to music. And while the music occasionally descends to being merely serviceable, several tracks stand out musically as well as lyrically. “The Only Clean Toilets on Campus are at the Library” not only captures a truism that I remember well from my own college days, but has an epic 70s feel that I suspect Meat Loaf could sing the heck out of if he ever decided to do a Motern Media cover album. Meanwhile, “The Head Nod (And Other Greetings on a College Campus)” is both an outstanding primer on college greeting etiquette and also a vocal multi-tracked marvel filled with catchy repetitions and refrains. I suspect the youth of America would adjust to college life much quicker if forward-thinking universities simply included these tracks in their orientations packets.
(Note: Although the two college albums are dated 2010, at least one song - “The Head Nod” - dates to 2004 at the latest, based on its inclusion in an earlier Motern Media compilation album. I don’t know whether other songs, especially the ones referencing sex and drinking, are of a similarly older vintage; it could certainly explain why they are so lyrically distinct from Farley’s more recent work. But whether old or new, they’re well worth a listen.)
Moes Haven - Stromboli’s Alarm Clock (2010) (with Tom Scalzo)
Stromboli’s Alarm Clock is not only one of Motern Media’s best albums, but a truly fine album by any measure. Farley and Scalzo purposefully took a bit more time on this album than they historically have for Moes Haven albums, or than Farley generally does for any of his Motern Media productions, and the extra attention to detail really pays off. On the surface level, the production stands out: of all of Motern Media’s albums, this one probably sounds the most “professional.”
But as nice as that may be, it’s of secondary importance. What’s truly impressive is the uniformly high quality of the songwriting and performances. The album starts off on an upbeat bang with “Postcards and Memories,” a track that shows off some impressive guitar riffing by Scalzo, a great overall poppy vibe with 50s overtones, and some really clever lyrics sung from the perspective of an unapologetic cad. (“I promised you I’d send you a postcard but I never said I’d remember your name”; “I promised you a life filled with no regrets / I didn’t know how much work that would take.”) That song sets the tone for the album as a whole: Stromboli’s Alarm Clock is filled with off-kilter lyrics and unusual little stories, all set to toe-tapping bursts of some of the best tunes Motern Media has ever released.
Highlights abound, including “Our Troubles May Be Over,” a song that has a Dylanesque feel to its wordplay and rhythms, and “The Clarity of Passion,” a very funny story, set to a 50s rock beat, of frustrated romancing at the drive-in (although oddly, it’s a bit unclear if the singer is a teen or retiree). “My Goldfish Dead,” a funky, energetic, surrealistic lament about, appropriately enough, a dead goldfish, is a wonderfully weird track, and among Motern Media’s most popular songs (as of this writing, it is the lead track on Farley’s self-selected, 300-song Official Motern Media Playlist on Spotify).
But as far as I’m concerned, “Be Young With Me” is not only the high point of Stromboli’s Alarm Clock, but possibly of Motern Media’s output as a whole. A song that’s simultaneously propulsive, mournful, and at times quite beautiful, this is also among Farley’s most compelling and sensitive vocal performances. The lyrics are a wonder, capturing perfectly the moment at which a disaffected youth graduates from merely being shiftless into mindless destruction. All of this, in under two minutes. On an album already filled with strong tracks, “Be Young With Me” seals Stromboli’s Alarm Clock’s status as a classic.
Stromboli’s Alarm Clock is not only one of Motern Media’s best albums, but a truly fine album by any measure. Farley and Scalzo purposefully took a bit more time on this album than they historically have for Moes Haven albums, or than Farley generally does for any of his Motern Media productions, and the extra attention to detail really pays off. On the surface level, the production stands out: of all of Motern Media’s albums, this one probably sounds the most “professional.”
But as nice as that may be, it’s of secondary importance. What’s truly impressive is the uniformly high quality of the songwriting and performances. The album starts off on an upbeat bang with “Postcards and Memories,” a track that shows off some impressive guitar riffing by Scalzo, a great overall poppy vibe with 50s overtones, and some really clever lyrics sung from the perspective of an unapologetic cad. (“I promised you I’d send you a postcard but I never said I’d remember your name”; “I promised you a life filled with no regrets / I didn’t know how much work that would take.”) That song sets the tone for the album as a whole: Stromboli’s Alarm Clock is filled with off-kilter lyrics and unusual little stories, all set to toe-tapping bursts of some of the best tunes Motern Media has ever released.
Highlights abound, including “Our Troubles May Be Over,” a song that has a Dylanesque feel to its wordplay and rhythms, and “The Clarity of Passion,” a very funny story, set to a 50s rock beat, of frustrated romancing at the drive-in (although oddly, it’s a bit unclear if the singer is a teen or retiree). “My Goldfish Dead,” a funky, energetic, surrealistic lament about, appropriately enough, a dead goldfish, is a wonderfully weird track, and among Motern Media’s most popular songs (as of this writing, it is the lead track on Farley’s self-selected, 300-song Official Motern Media Playlist on Spotify).
But as far as I’m concerned, “Be Young With Me” is not only the high point of Stromboli’s Alarm Clock, but possibly of Motern Media’s output as a whole. A song that’s simultaneously propulsive, mournful, and at times quite beautiful, this is also among Farley’s most compelling and sensitive vocal performances. The lyrics are a wonder, capturing perfectly the moment at which a disaffected youth graduates from merely being shiftless into mindless destruction. All of this, in under two minutes. On an album already filled with strong tracks, “Be Young With Me” seals Stromboli’s Alarm Clock’s status as a classic.
The Toilet Bowl Cleaners - Mature Love Songs (2014)
Part of what I enjoy so much about Mature Love Songs is how it so fully encapsulates the magic that makes the entire wacky world of Motern Media so much fun. As illustrated above, Farley records under dozens of different band “identities,” and each band performs songs on a different, specific given theme. The Toilet Bowl Cleaners sing Farley’s very entertaining, if also very juvenile, songs about poop. Lots of songs about poop. Ten whole albums worth, including Celebrities Fart and Poop (Just Like You and Me); Holiday Poop, Puke & Pee Songs; and You Thought We Ran Out of Poop Song Ideas. You Were Wrong.
In case you’re wondering, that’s 190 songs about poop.
But as if that weren’t impressive enough (and yes, to be honest, I do consider it impressive), Farley gets even more outlandish. Even though all Motern Media artists are, in fact, Farley (or Farley with rotating musical accomplices), he’s created a whole self-contained world where various “performers” feud with each other, or with Farley himself (as CEO of Motern Media), over artistic differences and petty squabbles. Bands leave and rejoin Motern Media, or call Farley out as a hack, and just generally live their lives, all within the fervid world of Farley’s imagination (and prodigious output).
As part of this world-building, along comes Mature Love Songs. Instead of an eleventh album about poop, The Toilet Bowl Cleaners have apparently decided to write a 100% earnest, melodic album of straightforward love tunes. Maybe somewhere within the expansive world of Motern Media lore there’s a specific “story” behind this album. Maybe Farley just thought the contrast between the band’s previous output and this one is intrinsically funny. But whatever the reason, the album absolutely works, both as a high-concept joke and as an album in its own right. The vocals are frequently overdramatic (in the usual Farley style); the lyrics often (intentionally) jokey. But there is a genuineness to the album as well. Even though I know Mature Love Songs is mainly a big put-on, it nonetheless has a legitimately sweet feel to it, and several of the songs really do (or at least could, with minor adjustments) work well as love songs.
My personal favorite is “Electricity Between You and Me,” which, as far as I can tell, Farley actually plays straight, and which has a hopeful romantic intensity to it that pulls me in every time. The ultra-upbeat, purposefully simplistic “Love on a Saturday” is a pretty close second, however. It shares a fundamental strength not just with all of the albums and songs mentioned above, but also with Motern Media’s output as a whole, including Farley’s music, movies, and podcasts.
Specifically, it always puts a big smile on my face. Which is a noble accomplishment indeed. Thanks, Matt, for everything you do!
Part of what I enjoy so much about Mature Love Songs is how it so fully encapsulates the magic that makes the entire wacky world of Motern Media so much fun. As illustrated above, Farley records under dozens of different band “identities,” and each band performs songs on a different, specific given theme. The Toilet Bowl Cleaners sing Farley’s very entertaining, if also very juvenile, songs about poop. Lots of songs about poop. Ten whole albums worth, including Celebrities Fart and Poop (Just Like You and Me); Holiday Poop, Puke & Pee Songs; and You Thought We Ran Out of Poop Song Ideas. You Were Wrong.
In case you’re wondering, that’s 190 songs about poop.
But as if that weren’t impressive enough (and yes, to be honest, I do consider it impressive), Farley gets even more outlandish. Even though all Motern Media artists are, in fact, Farley (or Farley with rotating musical accomplices), he’s created a whole self-contained world where various “performers” feud with each other, or with Farley himself (as CEO of Motern Media), over artistic differences and petty squabbles. Bands leave and rejoin Motern Media, or call Farley out as a hack, and just generally live their lives, all within the fervid world of Farley’s imagination (and prodigious output).
As part of this world-building, along comes Mature Love Songs. Instead of an eleventh album about poop, The Toilet Bowl Cleaners have apparently decided to write a 100% earnest, melodic album of straightforward love tunes. Maybe somewhere within the expansive world of Motern Media lore there’s a specific “story” behind this album. Maybe Farley just thought the contrast between the band’s previous output and this one is intrinsically funny. But whatever the reason, the album absolutely works, both as a high-concept joke and as an album in its own right. The vocals are frequently overdramatic (in the usual Farley style); the lyrics often (intentionally) jokey. But there is a genuineness to the album as well. Even though I know Mature Love Songs is mainly a big put-on, it nonetheless has a legitimately sweet feel to it, and several of the songs really do (or at least could, with minor adjustments) work well as love songs.
My personal favorite is “Electricity Between You and Me,” which, as far as I can tell, Farley actually plays straight, and which has a hopeful romantic intensity to it that pulls me in every time. The ultra-upbeat, purposefully simplistic “Love on a Saturday” is a pretty close second, however. It shares a fundamental strength not just with all of the albums and songs mentioned above, but also with Motern Media’s output as a whole, including Farley’s music, movies, and podcasts.
Specifically, it always puts a big smile on my face. Which is a noble accomplishment indeed. Thanks, Matt, for everything you do!