{"id":30085,"date":"2015-05-19T00:00:22","date_gmt":"2015-05-19T00:00:22","guid":{"rendered":"http:\/\/www.metalforcesmagazine.com\/site\/?p=30085"},"modified":"2015-05-30T17:22:23","modified_gmt":"2015-05-30T17:22:23","slug":"album-review-faith-no-more-sol-invictus","status":"publish","type":"post","link":"https:\/\/www.metalforcesmagazine.com\/site\/album-review-faith-no-more-sol-invictus\/","title":{"rendered":"FAITH NO MORE – Sol Invictus (2015) | Album \/ EP Reviews @ Metal Forces Magazine"},"content":{"rendered":"

FAITH NO MORE
Sol Invictus<\/strong><\/span>
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\nReclamation \/ Ipecac (2015)<\/span>
Rating: 10\/10<\/strong><\/span><\/p>\n

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It\u2019s so long ago since clunking, cult anthem \u2018We Care A Lot\u2019 fizzed through my teenage ears and opened my soul to the curious entity that is Faith No More. Back in 1985 they were somewhat a confused, lo-fi \u201cindie\u201d act, while two years later with 1987\u2019s Introduce Yourself<\/em> they beefed things up, but maintained that air of befuddlement via Roddy Bottum\u2019s keys, Jim Martin\u2019s crunching metallic guitar and Chuck Mosley\u2019s nasal whine.<\/p>\n

However, in 1989 Faith No More changed my life quite literally. The Real Thing<\/em> emerged when no-one was looking \u2013 with Mosley replaced by king brat Mike Patton (Mr. Bungle), the band went on the rampage with a kaleidoscopic nightmare fusing elements of funk, rap, extreme metal, soul and progressive rock, and yet within this Technicolor mire existed a handful of massive hits which became a soundtrack to a generation. The \u201cmetal\u201d genre would never be the same again as styles began to shift dramatically, and with the likes of \u2018Epic\u2019, \u2018From Out Of Nowhere\u2019 and \u2018Falling To Pieces\u2019 Faith No More attracted a fan-base of hip hoppin\u2019 hipsters who\u2019ve never looked back.<\/p>\n

Of course, 1992\u2019s Angel Dust<\/em> was another life changer \u2013 for me anyway \u2013 the band somehow transforming into an in-joke ridden, poisonous and polluted monstrosity. The \u201chits\u201d were still there, but this time coated in oil, laced with seediness and bloated with congealed pus. Patton\u2019s voice was now a menacing and sarcastic growl, the guitars were thicker and heavier and the band were now injecting country \u2018n\u2019 western twangs alongside industrialised mayhem. For me, The Real Thing<\/em> and Angel Dust<\/em> were defining moments, not just for the band but for that era.<\/p>\n

What followed was a brace of erratic yet still enigmatic albums; namely 1995\u2019s King For A Day… Fool For A Lifetime<\/em> (the band now bereft of Jim Martin and boasting the talents of Trey Spruance of Mr. Bungle) and 1997\u2019s Album Of The Year<\/em> (Spruance out, Jon Hudson in) which proved to be the final chapter in a career best described as \u201cunusual\u201d.<\/p>\n

Patton of course continued to explore and exploit his vocal talents via a myriad of projects and no-one expected the band to reform. But now, 30 years after that quirky debut, Faith No More has returned. Sol Invictus<\/em> boasts the same line-up as the previous outing and brings with it ten tracks and a rather short running time at a shade under 40 minutes. Would it be enough to quench the thirst of eager, excited fans?<\/p>\n

Well, it\u2019s fair to say that you never know what you\u2019re gonna get with Faith No More so in a sense it\u2019s a band so hard to criticize, but as a fan whose been there from day one and been so affected by The Real Thing<\/em> and Angel Dust<\/em> I still expect to hear those distinctive Roddy Bottum keyboards, that clunky guitar chug, Bill Gould\u2019s thudding bass, Mike Bordin\u2019s hammering drum and Mike Patton\u2019s demented vocal schizophrenics. Sol Invictus<\/em> brings such qualities to the table.<\/p>\n

Patton will always be that unhinged frontman growling, yapping, crooning and spasmodically wailing through each wayward anthem, but since the mid-90s there\u2019s always been that tendency for Faith No More to start sounding in patches like one of Patton\u2019s side projects \u2013 think Tomahawk, Mr. Bungle, Peeping Tom.<\/p>\n

I\u2019ve missed Jim Martin\u2019s metallic clank all too much, still finding myself hung up by Hudson\u2019s charge, and yet Faith No More boasts a sound that just grows on you like a suffocating mould. Such is the dark intricacies of everything they do that it will no doubt take even more than the 30 or so listens I\u2019ve experienced to truly appreciate the content.<\/p>\n

The title track comes trickling out almost in underwhelming fashion; a simple drum plod and sullen piano lead cavorts with Patton\u2019s dark, brooding narration \u2013 the track being a prime example of how Faith No More has once again given way to Patton\u2019s Mr. Bungle, because this sounds like something wrenched from Mr. B\u2019s 1999 California<\/em> platter. As an opener I expected more; it builds almost tepidly without reaching a sonic climax, but then again it\u2019s also the band at their most subtle. However, with \u2018Superhero\u2019 we are treated to those characteristics I spoke of earlier; the juddering bass and drum in deadly tandem, Bottum\u2019s plush keyboards and a cool, itchy riff leading us to Patton\u2019s mocking smirks and derisive yelps.<\/p>\n

By the time we reach the cries of \u201cLeader of men, leader of men\u201d<\/em> we know that the Faith No More we\u2019ve come to know and love is still there, lurking somewhere in the shadows of its own murky existence. But this is a band who refuses to rest on its laurels; one moment happy to give the fans a gorgeous melody to chew on but the next eager to remain elusive and inaccessible. \u2018Superhero\u2019 is very much a \u201csingle\u201d \u2013 not quite reaching the sugary highs of, say, \u2018From Out of Nowhere\u2019 or \u2018A Small Victory\u2019, but still harbouring those deft and dark qualities we expect from this devious monster.<\/p>\n

For those seeking greater frills then \u2018Sunny Side Up\u2019 is probably the most instant of all the tracks on offer. It introduces itself in the same way \u2018Evidence\u2019 did in 1995; a cool, dark trickling essence of noir with Patton\u2019s deep, almost whispering prowess. But where Faith No More rule above all else is with those unexpected chorus hooks, and this one just hits you in the face \u2013 anthemic, summery and just devastatingly brilliant. Bordin\u2019s drum is persistent in its hammering, the bass thuds and rams, and there\u2019s that airy feel to the guitar, and yet all the while as Bottum tinkles away there\u2019s that scent of unease. Faith No More are complete masters of vomiting out these so-called \u201chits\u201d and effortlessly building them upon a foundation of seediness and menace. <\/p>\n

Next up is \u2018Separation Anxiety\u2019. The band clearly not wanting us listening folk to become too comfortable, they churn out another brooding, slow-building composition of menace and suspense. The track is built upon that rattling bass and prodding drum as Patton\u2019s whispers lead us into the mire \u2013 again I\u2019m reminded more of Patton\u2019s side projects rather than Faith No More at its most glorious. There\u2019s a distinct lack of accessibility here; the track is bereft of a chorus and trundles along like some surrealistic gurgle, hinting at Angel Dust<\/em>\u2019s thornier escapades as the guitar starts to grate on the matter.<\/p>\n

Upon the first few listens, \u2018Separation Anxiety\u2019 may appear as the weak link of the album, but to those brought up upon Angel Dust<\/em>\u2019s derisive melodies then one will feel comfortable placing this heap of metallic tumult alongside the likes of \u2018Malpractice\u2019.<\/p>\n

\u2018Cone Of Shame\u2019 is next on the agenda; beginning with a guitar twang reminiscent of Ennio Morricone, it\u2019s another brooding soundtrack featuring a marching drum and Patton\u2019s ominous tone. Again, with those first few listens fans may argue that it\u2019s Faith No More at its most elusive; the finger clicks and Patton\u2019s croons more suitable to lacing a David Lynch (Twin Peaks<\/em>, Wild At Heart<\/em>, Blue Velvet<\/em>) film while hinting at the narrative ooze of Angel Dust<\/em>\u2019s \u2018RV\u2019. When the meat is put on the bone I\u2019m crying out for something nastier in the guitar, but it\u2019s still a threatening chunk of seething rock that builds nicely into catchy melody; again Bordin is the master of being that hammering backdrop.<\/p>\n

\u2018Rise Of The Fall\u2019 begins in typical Faith No More fashion to some extent; that jabbing rhythm turns quickly however into a casual reggae-waltz of stark percussive tap. It\u2019s one of those typical Faith No More subtleties at first, but builds into Mr. Bungle at its most bulbous; from Patton\u2019s snarling yaps to the main rhythm which then reverts back to that delicate traipse.<\/p>\n

\u2018Black Friday\u2019, however, is pure gold; arguably one of Faith No More\u2019s catchiest ever songs with its well-grooved bass and punky bubblegum riff. I haven\u2019t a clue as to why I\u2019m reminded of US indie rockers Yeah Yeah Yeahs, but maybe it\u2019s just in that devious, dark yet beautifully catchy nature; Faith No More dragging the listener into a somewhat post-punk tango where the encroaching shadows can only add to the Gothic atmosphere. Patton is at his most versatile here, and again many will point to Mr. Bungle as the vocal master flits from the usual recognisable rasps to darker whispers and nasal quips.<\/p>\n

Either way, it\u2019s a deliciously infectious tune featuring a nifty, raging guitar and solid bass prod before \u2018Motherfucker\u2019 crawls out from beneath its rock like an insistent anthem that digs deep into the brain like a parasite we\u2019re quite happy to live with. The marching drum, the backbone of bass and Patton\u2019s narration are all killer ingredients leading us to that soaring, mocking chorus. As a track it pretty much sums up the addictive schizophrenic nature of a band that so effortlessly can churn out seemingly commercial songs but with such a coating of the irrational.<\/p>\n

\u2018Matador\u2019 begins with more unsettling whispers, but by this point we\u2019re suddenly aware that Faith No More has with Sol Invictus<\/em> created something akin to an opera, echoing the majesty of Mr. Bungle\u2019s 1995 inaccessible Disco Volante<\/em> merged with the murkier, suave nuances of King For A Day…<\/em>, and Patton\u2019s equally quizzical Fant\u00f4mas project. As \u2018Matador\u2019 builds there\u2019s that sense of the epic (excuse the pun) while adorned in Gothic drapes; the track judders, thuds and never rests upon a foundation many would be quite happy with. \u201cWe will rise from the killing floor\u201d<\/em>, Patton threatens before asking, \u201cWhat more can we give?\u201d<\/em>, to which we reply in tandem, \u201cFrom the dead!\u201d<\/em>; \u2018From The Dead\u2019 being the final track from an album that feels an hour longer than it actually is.<\/p>\n

You\u2019ll feel like you\u2019ve heard the sunny rhythm of \u2018From The Dead\u2019 before. At its heart there\u2019s something Beatles-esque about its joyous nature, but then again it\u2019s typically Faith No More \u2013 a melody to die for and seemingly harmless harmonies laced by Bordin\u2019s gorgeous drum shuffle. \u201cWe\u2019ve been turning miseries to nursery rhymes\u201d<\/em>, barks Patton, and suddenly we\u2019re at one with the band; a place where we never thought we\u2019d be because the in-jokes were always too scathing. But as Patton serenades with, \u201cBack from the dead, I can see the end… welcome home my friend\u201d<\/em>, I for some unknown reason shed a tear, realising how far the band has come and how much we\u2019ve missed their schizophrenic nature, because for every chink in their armour Faith No More has remained a true enigmatic entity.<\/p>\n

While The Real Thing<\/em> and Angel Dust<\/em> remain embedded in my soul and musical folklore, Sol Invictus<\/em> is a timely reminder as to why Faith No More remains such a titanic and influential force in music. It was Bill Gould who once said, \u201cRock \u2018n\u2019 roll is not wanting to know about anything about anybody else, but having them wanting to know everything about you\u201d<\/em>, and that sums up the album, because Faith No More has remained in a field of its own since its inception and its audience has become something akin to a crowd so eager for a sneak peek into this sideshow of genius. While Faith No More let us get close to unravelling its mysteries, it\u2019s always able to keep us at arm\u2019s length \u2013 mocking all the while as we fall into its trap. For every fault, blemish and dark corner, Sol Invictus<\/em> is true genius.<\/p>\n

Neil Arnold<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

FAITH NO MORESol Invictus Reclamation \/ Ipecac (2015)Rating: 10\/10 It\u2019s so long ago since clunking, cult anthem \u2018We Care A Lot\u2019 fizzed through my teenage ears and opened my soul to the curious entity that is Faith No More. Back in 1985 they were somewhat a confused, lo-fi \u201cindie\u201d act, while two years later with […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[24,2111],"tags":[],"class_list":["post-30085","post","type-post","status-publish","format-standard","hentry","category-album-ep-reviews","category-faith-no-more"],"_links":{"self":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/30085","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/comments?post=30085"}],"version-history":[{"count":5,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/30085\/revisions"}],"predecessor-version":[{"id":30091,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/30085\/revisions\/30091"}],"wp:attachment":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/media?parent=30085"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/categories?post=30085"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/tags?post=30085"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}