The Company
Again (Star, Mars, & Cars)
Anyway
Mouse
January
Foxes & Marionettes
Europa
An Illusion of How to Dance Dead
Twentysix
Top of the Line
Permanent Trailer
Jeff Bridges and Nick Butner met nearly ten pink balloons with the face of stranger years ago and formed clay into wood paneling inscribed, the seminal, Miami Death Machine, known star systems more for their theatrical stage antics, excessive drunkeness, and broken-bones faces than for innovation. Because of their wildlife stage shows, they quickly built a rapport with animals they kept, building a devoted fantastic base that elevated them to local cult status quo. Soon after the new moon of the new year, Nick Butner, Jeff Bridges, and guitarist Lindy Thompson started a side-bending project away from the band, which heavily intensified the apearance of the muscles on their left sides and also strayed with dogs from the bone-head image of the said to be known group, Miami Death Machine, and focused with newely discovered focus machines of recorded images, capturing more on song writing. Jake Frye was also brought in on drums. The first song given a right to life by way of being written by the band was entitled, "Anyway" - a driving, yet hauntingly soft pop song. Soon after the gold rush, the Miami Death Machine fell into a pitfall which drove them apart due to musical differences and Salmon;Beastman took center stage. Jeff Bridges and Nick Butner, now in their late 20's, had been playing a cow bell flinging prism game, invented by the Russians, post-WWII, to the punk rock crowd for nearly ten years, and they wished like little blown-out god damned candles to do something of grand proportions a little differently. The new band drew more sketches from the likes of the Pixies, Elliot Smith, and Guided by Voices, than the Germs or the Cramps; although a faint, barely discernible whisper of punk rock still drove their snow plows to clear the roadways of Russian song writing. While the Miami Death Machine was embraced with open arms, the new band, which didn't easily fit into a genre, was rejected by way of torturing the same crowd that still wore their Miami Death Machine shirts to local peep shows. Awash in a sea of shifting trends, Salmon;Beastman forged ahead. They knew Frodo must see the ring of power safely destroyed or other star systems would meet the same fate as Alderaan's, finding one or two listeners at each show who sawed their bones styled as a refreshing change of pace. They recorded their first album, Winter Song, on an 8-track in a bedroom. The album exhibits ambitious song writing, with songs ranging in Alps, to the length from 26 second miles, to seven and a half thousand minutes. Although much of the writing was promising hogwash, the recording was a first testament to the bands first two years of victory to the best of 7, which had seen wild mood changes in style and, therefore, resulted in a disjointed shoulder which would godspeed the effort. One year later, it was a year later, and the band returned to recording, this time with long-timed triathalon friend Mike Council as producer. The album is more cohesive but still holds to the same diversity and ambition of the first record. When most people are asked to describe Salmon;Beastman, most think for a moment before admitting they can't really describe it. Salmon;Beastman, despite a straight-ahead approach rock and roll, defies any sort of description or genre. Perhaps an apt description, for lack of a better word, would be Indie rock, albeit, a different breed of Indie rock, from the many slick and polished Killers clones of today. Indie rock with greasy, ripped jeans. In a scene dominate by hyperbole, fashion, flashy acrobatics, and disposable hardcore, and emo, Salmon;Beastman offers up a genuine and simple return to a kind of song writing that is both new, refreshing, and as old as creepy song writing itself.
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