Tomahawk, Oddfellows

Andrew Parks

By Andrew Parks

on 01.28.13 in Reviews


The closest Mike Patton’s been to a new Faith No More record

Of all the side projects and solo pursuits Mike Patton has indulged in over the past decade, Tomahawk’s fourth album is the closest he’s ever come to releasing another Faith No More record. Not espresso-huffing covers of Italian pop songs (Mondo Cane), or a sparring session with world-renowned turntablists (General Patton vs. The X-Ecutioners), or a faithful nod to Native American music (Tomahawk’s last album, Anonymous) — a Faith No More record. Meaning: 13 songs that are experimental and enjoyable. Or as guitarist Duane Denison recently told SPIN, “This is not [a] sausage party in the church basement…No, this is meant to be played in huge clubs with alcohol and drugs and dancing girls and all those good things.” Amen. Having bassist Trevor Dunn back at Patton’s side (see also: Mr. Bungle, Fantômas) certainly doesn’t hurt matters, especially when the Hulk-smash beats of Battles drummer John Stanier are in the cleanup hitter position. True to Denison’s promise, this record’s all about the riffs and meaty hooks, however, from the ghostly apparitions and full-bodied choruses of “Stone Letter” and “White Hats/Black Hats” to the knuckle-dragging dynamics of “Choke Neck” and “I.O.U.” If you think Patton lost the plot somewhere around WTF duets of Peeping Tom — Norah Jones, Kool Keith and Massive Attack on one album? Sure! — Oddfellows is the record where Patton redeems himself and reminds us what he’s always been: one hell of a frontman.