Faith No More has released a new video for their track ‘Separation Anxiety’, from their 2015 release Sol Invictus (Ipecac/Reclamation). You can watch the video at this link or below:
In Ghost Cult’s review of Sol Invictus we remarked that ” ‘Separation Anxiety’ is the heaviest track on Sol Invictus and certainly if you are the type of person that pines for the first three FNM albums, this is the song that will resonate with you the most.”
The band has put the wrap on a huge year with the new album, several international tours, and festival appearances such as Aftershock fest.
August 4th, 2015 was a special day in Boston, MA history and not because of the freakishly sized hail and multiple thunder storms. This night was the return of the legendary Faith No More. The Blue Hills Bank Pavilion was packed in tight with fans (some still damp from the storms) ready to have memorable sing-a-longs with Mike Patton and company. Before they were to hit the stage, the crowd was warmed up by opening act, Refused.
Refused, by Meg Loyal Photography
Never having a chance to listen to them previously, I made sure I was right on time to catch the entire set from Refused. The lead vocalist, Dennis Lyxzen, was entertaining to watch as he danced around the stage and was literally oozing charisma. There were a few occasions where he even jumped down into the crowd, walking among the rows of seats filled with fans, and high-fiving everyone. As for the set list, they played three tracks from their latest release, Freedom (Epitaph Records), and then mixing in older material as well. One of the bigger pops of the set came during ‘The Deadly Rhythm’ when the band hit the interlude and busted out the intro section of Slayer’s ‘Raining Blood’. Overall, Refused did a great job in getting the Boston crowd pumped up and ready for Faith No More.
Faith No More, by Meg Loyal Photography
After what seemed like hours waiting for the set to start, Faith No More was on stage and delivering hit after hit. The stage was completely white outside of the large array of plotted flower arrangements all over the stage. The set list was stacked from the opener, ‘The Real Thing’, down to the closing encore tracks, ‘Motherfucker’ and ‘Just A Man’. Given that this tour was to promote the latest album, Sol Invictus (Reclamation Records), it did not surprise me that a majority of the tracks would come from this album. Some favorite new tracks played include ‘Separation Anxiety’, ‘Superhero’, and ‘Matador’. Since barring the recent show this spring, Faith No More had not been in Boston in a handful or two of years, it was imperative that the rowdy fans got to hear some old classics. ‘Be Aggressive’, ‘Midlife Crisis’, ‘Evidence’, ‘Epic’, ‘Ashes to Ashes’, and of course their cover of ‘Easy’ were some of the highlights of the set. During the last song of the evening, ‘Just A Man’, Mike Patton crowd surfed into the seated audience while still belting out the lyrics flawlessly. Certainly a first in my concert going experiences. After the encore ended, most fans stayed for a few extra minutes trying to work a second encore out of the band, but security unfortunately ended this quickly.
Faith No More, by Meg Loyal Photography
Overall this was everything I had hoped for and more for my first time seeing Faith No More after listening to their music for the better part of fifteen years. The openers, Refused, got everyone worked up and ready to go. Faith No More’s live presence, the set list, sound, really everything, was downright flawless. I could go on about how I really wanted a different song here and there, but I consider myself beyond fortunate to see this band play live since when I started listening to them, they had already broken up. It was an absolute pleasure watching this band live and I was not let down as these guys still bring it!
The Melvins are out on the road with another leg of their “Hold It In Tour”. Supporting their album Hold It In (Ipecac) from last fall, mainstays Buzz Osborne and Dale Crover are joined by JD Pinkus from Butthole Surfers. Not only did they play a set of songs from their collaborative album together, they played some choice classic Melvins material (‘Night Goat’, ‘Hag Me’, ‘The Bit’, ‘Anaconda’, ‘Sweet Willy Rollbar’), they also played some covers ranging from the Surfers to Pop-O-Pies. Joined by their label mates Le Butcherettes, who are fresh from their tour supporting Faith No More, it was a night of musical and mental twists and turns. Captured here by Melina Dellamargio of Melina D Photography at Club Congress in Tuscon, AZ The Melvins continue to surprise and delight after 30 plus years in the business.
It isn’t every day that Faith No More comes to play a show in New England or anywhere else. Nor is it every week, month or year. In fact it’s more like every couple of decades, so when they scheduled a date on their tour in support of the new album, Sol Invictus, on Monday, May 11, at The Orpheum in Boston, I knew it would be one of the most anticipated shows of the year and would sell out in a matter of hours, which of course it did.
Many of us traveling from the western part of the state to get to this show were treated to some stupendous traffic on the Mass Pike because one of those Bolt buses literally exploded on the highway. Even still you probably didn’t miss the opening act, Le Butcherettes, who played an extremely long set of something like an hour and fifteen minutes. Honestly, they were pretty good, but I couldn’t help but feel sorry for any band opening up this show. Most people were crammed into the lobby area like fish in a can, downing some sort of alcoholic swill instead of watching them. All they wanted to see was the band that has been absent for a generation. I’m not sure if the singer was acting out as part of her stage act or if it was along the lines of “hey pay attention,” but about 5 songs in she ferociously ripped off her candy apple red high heels and chucked them up into the balcony.
Faith No More, by Hillarie Jason Photography
Faith No More started the set as they have for each show on this tour. With the stage and band members resembling something like a Buddhist slumber party version of A Clockwork Orange or maybe your Aunt Dotties funeral; everything wrapped in white socks or painted white and cheerful sprays of flowers lining the front and back of the stage; the band said hello with the song ‘Motherfucker’.
The set, which included at least one track from every studio album, was top to bottom flawless. Both the old and new songs were fresh and vibrant. They played like a band that had never stopped touring together and seemed even more cohesive than when I saw them in ‘97. The energy was palpable and the crowd responded in turn, but since The Orpheum is a very old seated theater without the standard “pit” it was more of a stand in your seat and scream your head off kind of show. Although, when I went up into the balcony, I could literally feel it bouncing up and down quite dramatically. It was pretty terrifying and I found myself checking to make sure I knew the location of the closest exit to run to in the event of it collapsing.
Faith No More, by Hillarie Jason Photography
They had some fun with the crowd during the song ‘Midlife Crisis.’ Stopping mid-song just before the third chorus and letting the crowd fill in the words, Mike Patton then asked, “You proud of yourselves now?” Much to my amusement and the bewilderment of everyone in the theater, they continued the song after a brief pause to the tune of the Boz Scaggs’ song ‘Lowdown.’ And yes, I have had ‘Lowdown’ in my head since the show. Thanks for that.
Faith No More, by Hillarie Jason Photography
Banter between songs was kept at a minimum other than a quick joke from Roddy Bottum regarding the age of The Orpheum as well as Mike Patton singling out one “hippy dude” about what he thought of Le Butcherettes. Though I had to laugh when Patton announced it was their last song (which it wasn’t) and the crowd erupted into a sea of boos to which he responded, “Boo my ass mother fuckers. Enjoy it. Shut the fuck up!” Enjoy it, we did.
Welcome back, Faith No More. You have been missed.
Reactivated Bay Area musical chameleons Faith No More have announced their first new album in 18 years will be titled Sol Invictus, released on Mike Patton’s own imprint Reclamation Records/Ipecac on May 19th. Easily one of the most-anticipated albums of not just 2015, but the last few years, Sol Invictus will be the first full album of new music from the band since 1997s acclaimed Album of The Year, released just before the band went on hiatus. Bassist Bill Gould comments:
“What I can say is that I think through our experience as musicians over the years, I think what we’re doing reflects where we’ve gone since we made our last record as Faith No More. I think this kicks things up a notch,” explained Bill Gould in a recent Rolling Stone interview. “And I think there’s parts that are very powerful and there’s parts that have a lot of “space.” Everything we do, with our chemistry, the way we play; it’s always going to sound like us. It’s just what we do, that makes us feel good. “
Sol Invictus was produced by Gould and recorded in the band’s Oakland, Calif. studio.
The Bay Area band recently announced their first North American tour since 2010, with all dates sold out upon on-sale. Faith No More travels to Japan and Australia in February.
Faith No More tour dates:
February 17 Tokyo, Japan Studio Coast
February 18 Tokyo, Japan Studio Coast
February 21 Adelaide, Australia Soundwave Festival
February 22 Melbourne, Australia Soundwave Festival
February 28 Sydney, Australia Soundwave Festival
March 1 Brisbane, Australia Soundwave Festival
March 3 Auckland, New Zealand WestFest
April 15 Vancouver, BC PNE Forum
April 16 Seattle, WA Paramount Theater
April 17 Portland, OR Keller Auditorium
April 19 San Francisco, CA Warfield
April 20 San Francisco, CA Warfield
April 23 Los Angeles, CA The Wiltern
April 24 Los Angeles, CA The Wiltern
April 25 Santa Ana, CA The Observatory
May 7 Chicago, IL Concord Music Hall
May 8 Detroit, MI The Fillmore
May 9 Toronto, ON Sony Centre for the Performing Arts
May 11 Boston, MA Orpheum Theatre
May 13 New York, NY Webster Hall
May 14 New York, NY Webster Hall
May 15 Philadelphia, PA Electric Factory
May 29 Nurburgring, Germany Grune Holle Festival
May 31 Munich, Germany Rockavaria Festival
June 2 Milan, Italy Sonisphere
June 4 Vienna, Austria Vienna Rocks Festival
June 5 Hradec Kralove, Czech Republic Rock For People Festival
The Melvins new album starts off with a rather ominous question: “What was that shit you sold me?”, from the song the ‘Bride of Crankenstein’. Indeed, it is the question every fan of the long running act can ask freely. Those who love their music heavy, heady, obtuse and downright confounding for over over 30 years can attest that every new album from this band brings different flavors to table. They have never made the same album, or song twice. Buzz Osborne and his first officer on the Federation Starship Melvins NCC 1701-X, Dale Crover have influenced many more bands than admit it. They have evolved from the creative outliers of a budding scene (Seattle, in the 80s), into the elder statesmen of sorts for bands of their ilk. No wonder Hold It In comes from Ipecac Records, a label full of like-minded, talented crazies. Joining Buzz and Dale for this outing are Paul Leary and JD Pinkus from Butthole Surfers. The pairs of musicians are a match in every conceivable way chemistry-wise, creating some unsettling and special tunes.
As you would imagine when these guys get together to create, things get weird, and in a good way. Odd riffs, whimsical songcraft and brave arrangements dot the tracks. From the dismal heaviness and driving riffage of ‘Bride…’, to the bright garage pop of ‘You Can Make Me Wait’, the trippy-proggy ‘Barcelonian Horseshoe Pit’, to the twangy stomp of ‘I Get Along (Hollow Moon)’; the inventiveness of each band is heard. It is definitely a sound and a feel of a Melvins album, with contributions from Paul and JD. You can discern a “Paul riff” here and “a Buzz lick” there and imagine the energy in the room when these four came together. Some of the touchstones here are sick amounts of feed-backing amp fuzz, phantom interludes, a few amazeballs solos traded, Floyd-ian space-rock tone-poems, and a rhythm section like a terrifying monstrous beast at times. All the propensity for weird-assed lyrics, and bizarro vocal deliveries (including ungodly shrieks from JD) all come to the fore as well. A little bit of something for everyone.
When it aims to be heavy, this is one of the heavier albums the band has put out of late, which says a lot considering the Big Business collaborations. ‘Onions Make The Milk Taste Bad’ and ‘Sesame Street Meat’ (two of the better titles this year) are gnarly as hell; true rockers. Another great cut, ‘Piss Pistoferson’ reeks of glam rock greatness, way down to the production value. They are getting their classic Kiss jones out, and frankly a Kiss song hasn’t been this good since 1991 anyway. The angular album closer ‘House of Gasoline’ sounds like it was more fun than should be legally allowed to have when it was birthed. A jam among jams.
The only shame is Leary’s distaste for the road means this lineup will only tour as a trio with Buzz, Dale and JD. Still, in reference to the opening line of the album, whatever shit they were sold, I want to buy some right now and I suspect you will too.
The Melvins have announced their new album Hold It In, to be released this fall on Ipecac. The first new album from the group since 2010’s The Bride Screams Murder features a new configuration of the band. Buzz Osborne and Dale Crover are joined now by famed Butthole SurfersPaul Leary and JD Pinkus. Hold it in was recorded between Los Angeles, where Buzz resides and Austin TX.
In an upcoming recent interview conducted with Ghost Cult, Buzz remarked that the yet to be announced Melvins project would be “like nothing anyone has ever heard from us”.
In a further quote from the press release Buzz chimes in further:
“Hold It In is a refreshing piece of fiction in a boring world of fact and bullsh*t,” said Osborne. “Paul is one of the best guitar players I have ever heard and Pinkus has an outside the box type of approach to both guitar and bass that you just have to let it ride. I can’t believe this actually happened. I’m thrilled.”
“It’s very rare you get a chance to work with three folks from the ‘Break A Wish’ foundation, all at the same time,” said Pinkus. “I believe they’ll remember their experience with me forever (or until they finally all lose their fight with S.I.D.S).”
The Melvins kick off a round of U.S. tour dates on Oct. 15 in Sacramento at Assembly, which also includes a performance at this year’s Voodoo Experience in New Orleans. Osborne, Crover and Pinkus will be the touring roster for this run of dates.
October 15 Sacramento, CA Assembly
October 17 Bellingham, WA Wild Buffalo House of Music
October 18 Seattle, WA The Showbox
October 19 Portland, OR Roseland Theater
October 21 San Francisco, CA Great American Music Hall
October 22 San Luis Obispo, CA SLO Brewing
October 23 Los Angeles, CA The Troubadour
October 24 San Diego, CA The Casbah
October 25 Phoenix, AZ The Crescent Ballroom
October 26 Albuquerque, NM The Launchpad
October 28 Dallas, TX Trees
October 29 Austin, TX Mohawk
October 30 Houston, TX Warehouse Live – Studio
October 31 New Orleans, LA Voodoo Fest
November 1 Pensacola, FL Vinyl Music Hall
November 2 Gainesville, FL The Wooly
November 3 Jacksonville, FL Jack Rabbit’s
November 4 Orlando, FL The Social
November 5 Ft. Lauderdale, FL The Culture Room
November 6 Tampa, FL Orpheum Theater
November 8 Atlanta, GA The Loft at Center Stage
November 9 Birmingham, AL Zydeco
Tickets are on sale this Friday, Aug. 1 at 10 am local time.
Osborne is currently touring in support of his debut acoustic album, This Machine Kills Artists, performing shows this week in Tucson (July 30 at Club Congress) and Palm Springs (July 31 at Pappy & Harriet’s) before heading to Australia and Europe for an additional six weeks of dates. Crover temporarily joins OFF! for the band’s August tour.
Buzz Osborne, the enigmatic front man of The Melvins and legendary upsetter of the norm continues to excite and explore new ground with his first acoustic album- This Machine Kills Artists (Ipecac). As a fixture in the underground avant-garde music scene for 30 years, his resume is filled with classic albums and critical acclaim. Buzz is following his muse wherever it takes him these days after spending a lifetime crafting heavy and experimental music, and it was time for a change. Due out on June 3rd, Buzz explores the softer side of his spirit with no electric guitars or effects, and just good old six-string skills and his wry lyrical story-telling. We have heard the entire album and it promises to be something beyond just a “for fans” release. Check out this stream of ‘Dark Brown Teeth’ and look out for Buzz on his solo acoustic tour soon.
05/17 Pomona, CA – Scion Rock Fest 06/10 San Diego, CA – The Casbah 06/11 Echo Park, CA – The Echo 06/12 Santa Ana, CA – The Observatory 06/13 Fresno, CA – Strummer’s 06/14 Sacramento, CA – Assembly 06/15 San Francisco, CA – Great American Music Hall 06/17 Eugene, OR – Wow Hall 06/18 Portland, OR – Hawthorne Theatre 06/20 Seattle, WA – Neumo’s 06/21 Bellingham, WA – The Shakedown 06/22 Spokane, WA – The Hop 06/23 Missoula, MT – The Palace 06/24 Billings, MT – The Railyard 06/26 Fargo, ND – The Aquarium 06/27 Minneapolis, MN – Grumpy’s 06/28 Milwaukee, WI – Shank Hall 06/30 Grand Rapids, MI – The Pyramid Scheme 07/01 Columbus, OH – A&R Music Bar 07/02 Detroit, MI – Small’s 07/03 Cleveland, OH – The Grog Shop 07/05 Syracuse, NY – The Westcott Theater 07/06 South Burlington, VT – Higher Ground 07/07 Portland, ME – Portland City Music Hall 07/09 Dover, NH – Dover Brickhouse 07/10 Allston, MA – Brighton Music Hall 07/11 Pawtucket, RI – The Met 07/12 Hamden, CT – The Ballroom at The Outerspace 07/13 New York, NY – Santos Party House 07/14 Brooklyn, NY – The Wick 07/15 Philadelphia, PA – Underground Arts 07/17 Baltimore, MD – Ottobar 07/18 Charlottesville, VA – The Southern 07/19 Charlotte, NC – Visulite Theater 07/20 Carrboro, NC – Cat’s Cradle 07/22 Atlanta, GA – The Basement 07/23 Birmingham, AL – The Bottle Tree 07/25 New Orleans, LA – One Eyed Jack’s 07/26 Houston, TX – Warehouse Live 07/27 Austin, TX – Red 7 07/28 Sam Antonio, TX – Limelight 07/30 Tucson, AZ – Club Congress 07/31 Pioneertown, CA – Pappy and Harriet’s
Ten years into its uncompromising career Toby Driver has led Kayo Dot boldly through albums of intense complexity, raw aggression mixed with a delicate fragility which only heightens their ability to carve menacing abstract compositions that challenge attention span yet contain moments of jaw dropping high quality.
Urgent brass accompanied by tense fretwork and Driver’s deranged ranting makes discordant parts of ‘Vision Adjustment to Another Wavelength’ a harrowing cacophonous experience. The music is wantonly complex and overtly technical yet it is its ability to through curveball each time which makes you press on. The sweet flute playing of Daniel Meads gives the aforementioned number an elegance and grace many purveyors of extremity sorely lack.
Driver’s death grunt over opener ‘The Black Stone’ feels far too intense for the music it accompanies yet Kayo Dot’s arrangements flow very naturally for the most part. No mean feat considering the ninety plus minutes of chaos this meticulously crafted leviathan drags you through while referencing everyone from Gorguts to Talk Talk.
The sheer unpredictability of it all is a joy to revel in. With songs averaging a minimum of eight minutes, this is a dense and challenging journey into art-house macabre but there are moments of transcendent beauty like ‘The Second Operation (Lunar Water)’ which shatter that mould.
Desolate saxophone accompanies angelic voices and the eerie narrative of Driver. Shifting from crushing technicality to blissful indie rock within a blink of an eye isn’t easy. Recalling the hazy jazz escapades of latter day Radiohead before ‘Floodgate’ pummels your brain with Keith Abrams visceral blasts and layer upon layer of vocal histrionics.
Always eclectic Kayo Dot succeeds in seamlessly blending the terrifying with the tranquil in a manner which almost defies description. The free jazz technicality prog rock ambience, fragile tenderness and vehement blasts of impenetrable art noise all flow throughout this often magnificent double album. There are moments of utter pretentiousness but it’s this resistance to conform which marks Kayo Dot out as a true maverick act who have finally produced a defining statement of their art.