Login
Makes an impression to think that those born in the year of release of the album prior to "Sol Invictus" are today, in practice, older ... so they put Mike Patton and cronies to reassemble the files just enough to work new music. But, obviously (and thankfully!) To Faith No More long break has done well ... and a first signal is that, for the first time since 1992, the band did not change training from one disk to another . Then there is the music.
Who follows them from late eighties heard them define the different ways: alternative metal, rap metal, funk metal, experimental metal ... well, with metal adjectives dystonic, indicating an inherently rebellious spirit to the conventions of a genre; and rules / stereotypes that are imposed by accession to it.
So, from the very beginning (when there was Patton on vocals), the point was that you could not fit them. They liked to metalheads, even without being thrash, glam or classic. Liked to metalheads not without being rap, wave, pop or alternative. And everyone - especially at the beginning - they felt a little 'guilty nell'apprezzarli because it constituted a strange spot in their diets music, stuff that was hard to justify ("We care a lot" or "Introduce yourself" included in a collection of thrash and speed were not uncommon to see, in the second half of the eighties: they were guilty pleasures no small feat).
Time, history and talent, in the end, were gentlemen, making Faith No More a sort of cult band that transcends the basic rule (and penalizing) of that status: the relative obscurity and lack of fame / exposure. Cult mainstream? Maybe. And chapeau.
So how has this "Sol Invictus", the seventh round in the band's studio with headquarters in San Francisco? Be ', in the words of a famous advertising eighties ... "It looks good." Indeed, great.
Patton, Bordin, Gould, Bottum and Hudson have made Bingo and returned proud, confident, arrogant enough, but especially in great shape, assembling 10 tracks (for a total of less than 40 minutes duration) rivangano the splendor of the golden age more commercially successful of the FNM and combine them with the instinct she own band, which tends to offset, to the surprise and subversion of expectations. But be careful: this is not "The real thing pt. II "- indeed, perhaps the only song that really could be closer to the mood of the album is the single" Motherfucker "... for the rest, however, we face a band that distills, refines and amplifies (strong than thirty years' experience) its historical strengths - above all, the unpredictability.
The great thing about this album, apart from giving the pleasant sensation of finding a great band - which also could hypothetically make do with the occasional reunion show (Patton, above all, no shortage of commitments and projects to follow) - is joining the 'accessibility of the episodes most commercial of the FNM to the study, research and construction of a multi-faceted sound universe, faceted, never banal. A drive that was not easy to handle, especially after so many years, and was in danger of sinking into a jumble of self attempts.
With an album ... so we can be genuinely happy for the next 17 years abundant.
TRACKLIST
Sol Invictus
Superhero
Sunny side up
Separation anxiety
Cone of Shame
Rise of the fall
Black Friday
Motherfucker
Matador
From the dead
