“It was a beautiful Southern wedding,” says Moore of his July nuptials in Tennessee, his bride’s home turf.“There had been rain for two weeks before the wedding, and the day of the wedding …As they prepare for their season opener in Chicago on Wednesday (the team’s home opener, against the Columbus Blue Jackets, is Saturday at Madison Square Garden), a few of the Rangers reveal the unexpected ways they spent their summer vacations exploring their off-the-ice passions.

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For his third record, he proved himself an accomplished composer capable of showy arrangements in the vein of Elmer Bernstein and John Barry, and illustrated that he formerly contributed more to Mr. Who: Just Mike Studio Albums: turned out to be more like a demented satire of popular radio than a project with potential of receiving airplay.

He was left devastated when his wife of 11 years passed away suddenly 14 months ago.

His second album featured sparse arrangements of cello, guitar, percussion, and sax performed by Erik Friedlander, Marc Ribot, William Winant, and John Zorn.

Of course it wouldn't be a Mike Patton record if it didn't have a strange concept (in this case, food and recipes) and vocal squelches.

Let's look at page one of his resume: SOLO PROJECTSMike Patton (no pseudonym): Strangely enough, while using his plain ol' birth name, Patton was at his most indulgent and least rewarding while experimenting with tape loops and avant garde noise.

His first album was recorded on a four track in hotel rooms using overdubs of his voice.

Dead Cross sees him unite with Dave Lombardo once again, having worked with him for a number of years as part of avant-garde metal supergroup Fantômas.

It seems as though Mike Patton won't rest until he's put his vocal stamp on every type of music known to man.

The group’s tortuous evolution inspired a generation of metalheads with omnivorous listening habits. But it wasn’t like we could go to a concert every night and get our minds blown. Play with a saxophone player and a drummer, see what happens. BLVR: You’ve played with a lot of musicians who are learned, though. I think that one of the things that really cracked my head open was starting to improvise, after I met John Zorn. And when you come from a band- and song-based background, it’s like, How do you improvise? ” He’s like, “The way you, like, hum each other a riff and then you jam it out for a while, and then you record it.” That’s normal for me. BLVR: The live show I saw sounded almost exactly like the record. That’s the funny thing, and I think the thing that is very easy to misconstrue. “Wow, you guys just go up there and improvise.” And my response is always, “Wow, if we could improvise that well, it’d save me a hell of a lot of time and energy.” But no, it’s very well-constructed extreme elements. BLVR: And when you say “scripted”— MP: With music like Fantômas, you kind of have to write it down, because it changes so quickly. So in most cases, if I’m writing words, I’ll do a baby-talk version first to see if those sounds work. MP: The idea, at least in rock or pop culture, that the singer is on some pedestal in Speaker’s Corner—I’ve just never subscribed to that. BLVR: You’ve done some voice work for films and video games. MP: I did a lot of voice-overs for this movie a few years ago, and they said, “How do you want to do it? Which is completely the opposite of how it works normally, especially now, where the music, unfortunately, is one of the last things that they think about. I’m working on this film now where I’m really feeling good about working with the director. BLVR: Do you ever think about synesthesia when you work? Like, if I were really strapped and I couldn’t find any other reference point, if someone said, “Blue,” I’d go, “OK, I think I can do blue.” I think that if you’re doing music for film, then you’re tapping into that stream somehow, at least in your own mind. And if that’s not synchronized, it’s super frustrating. Because I feel like even if maybe I don’t like a particular record, it was a step in the process and I must have learned something from it. If you’d asked me that ten years ago, I’d have gone, “Oh, this record sucks and that’s bullshit,” but it all had to happen. If you have the time and energy to find it, there’s people doing great things, whether in a basement like this or even some arena.

Because of his work with FNM, Patton is sometimes cited as a founder of the rap-rock surge of the 2000s, a credit that incited his feud with the genre’s other progenitor, Anthony Kiedis of the Red Hot Chili Peppers. And this is what I love about small-town bands or musicians. I mean, that’s literally the way that I thought: Well, what do I do if I don’t know what I’m doing? Things are happening so fast that you have to always be thinking, What’s coming next? I think it comes from early band days where we’d have all the music written and I’d know I had a studio date the next day, so I’d put on a few pots of coffee and just try and write everything at that moment. So, in a sense, the lyrics are a bit of an afterthought—it’s music first. Then I’ll try and find words that fit those sounds. ” And I just walked into the room—they had a giant freakin’ movie screen in front of me and a microphone—and they would play me the scene once, so I could understand, more or less, what was happening. The music is thought of as—it’s almost like when they’re doing the typeface for the credits. It’s called BLVR: Often in films it will already be so clear from the scene what emotion they’re trying to evoke, and then they try to evoke the same emotion in the music, creating this head-bashing sentimentality. BLVR: Is the Faith No More reunion still happening? We’re also maybe a little too conscious for our own good. BLVR: From what I’ve read in the past, you seem to have a bleak view of contemporary music. I guess I’m not really so sensitive to musical climates. BLVR: But you run a label, so in some ways you must be engaged.

She completed the look with ankle-strap heels and a leather clutch.