6 of 6 people found the following review helpful
on 13 July 2006
First listen, not fantastically impressive. It pays to perservere though. It's about 2 weeks since I bought it, and little else has accompanied me on my day to day travels; and I still can't get enough of it.
The real beauty is in the detail. All those strange vocal noises from Bungle et al find a very subtle place here within a very accessible whole. This album can be listened to as background, or in churchlike reverence.
A few of the tracks may not have the power of the rest, which initially makes you think of them as weak. Far from being the case. And with such a strong ending, my natural inclination is to automatically press play again. Better still, save yourself the effort and have it on a loop.
And what a gorgeous packaging concept!
God bless you Mike, the world is a better place for you having made this album.
4 of 4 people found the following review helpful
on 31 July 2006
A proper gem of an album. Patton's best stuff since California. His vocals have taken on an early Faith No More guise but benefit from 15 years maturity. The album also benefits from a diverse range of collaborators. All the tunes are standout but my personal favourites are the rockin' Massive Attack collaboration -- "Kill the DJ" (just try and suppress the urge to nod your head!), and the ultra-catchy "Don't Even Trip". Highly highly recommended for Patton fans in particular.
28 of 31 people found the following review helpful
on 18 April 2006
I've waited for this, Patton's return to the mainstream, patiently for 4(? more?) loooooong years now, and it's finally with us. Must be a disappointment then, right?
Wrong! This is Mike's most complete, rounded work since California. The culmination of all his many (excellent)side projects. You can hear the styles all drawn together into one coherent package: Tomahawk, Bungle, Lovage, X-cutioners (Fantomas...not so much) and yes.....Faith No More. Even the nasal style of singing used on the Real Thing makes a welcome return on some tracks! I have always approached a new Patton record with anticipation and more than a littel trepidation, and usually end up feeling frustrated, KNOWING he's capable of more. Don't get me wrong....I respect and appreciate almost everything he's done, but never felt satisfied in the way I feel with this recording. At the end of listening 1st time through, I just sat back and thought WOW! and then grabbed the headphones again.
Although every track is a collaboration with a different artist, the album flows beautifully, and the styles and influences sit together perfectly, complimenting each other. The production values are very high and polished, each track multi-layered and best appreciated through headphones.
I've only listened to the album twice through so far, so will not dissect the album track by track. A brief overview of what I remember from my limited listening:
We're Not Alone - blew me away completely. Most straightforward RAWK on the album, very Real Thing-esque chorus. Fantastic.
Mojo - Angel Dusty? Yeah, I would say so. Great sinister beat too.
Kill the DJ - Very cool, great beats...Massive Attack? Nice one Mike.
I'll write more about individual songs when I've given them a proper listen. The one's listed above are probably the most straight forward, so don't know what that says about me - but hey, sitting here 24hrs after listening to the album they are the ones that stand out in my memory. Sue me!
This is a magnificent album. I'm biased as I love all things Patton, but have never felt compelled to write a review for ANYTHING before, so that should speak volumes.
2 of 2 people found the following review helpful
on 7 July 2006
I have followed Mike Patton through Faith No More, General X, the (fantastic) lovage album, Mr Bungle but was never a fantomas or tomohawk fan - this has more of a mainstream rock theme whilst still being unaccessable to the masses because it's too imaginative, as you listen again and again the infectious riffs, chorus's and brilliant production grow and grow till you appreciate it as one of his best works for years, but more importantly it is good throughout the album - there are no skits or fillers and certain lines stay with you...
If you like his voice and his style of rock/samples/beat box you should like this, yes sometimes the intros are frustrating as when the songs kick in they get 10 times better (we're not alone the best example as one of my favourite and worst songs because the chorus and power of the song is great but interlaced with a falsetto more ballady build up - I can't work out if it is genius or simply for shock value when the guitars and pattons roar kicks in)
If you can, listen to single MOJO, arguably the best track on the album because it is a powerful track with catchy background effects and a flamenco style guitar riff and very listenable - if you like it you should like the album even if not on first listen - if you don't I would be surprised if you liked the rest.
Whenever you buy a patton album, you are never sure what to expect and this is a constant player in my car at the moment and I am looking forward to his next project...
3 of 3 people found the following review helpful
on 1 May 2007
This has to be Patton's most linear work since Faith No More. Its his distorted take on pop and hip-hop, and its a colourful and enjoyable interpretation.
He has enjoyed success off the back of the first single "Mojo" which is the highlight of the album. Patton managed to get Norah Jones to curse on the track "Sucker" which in itself must be applauded, its not unlike his Loveage collaberation with Jennifer Charles.
On the down side, the tracks which feature rappers really don't work.
Overall it manages to be an enjoyable lighthearted effort from patton.
5 of 6 people found the following review helpful
Three or four years ago, ex Faith No More vocalist Mike Patton was asked by a fan why he made such difficult records. His response was something curt like "if you don't want to use your brain you can always listen to the Red Hot Chilli Peppers."
Peeping Tom, the long awaited 10-years-in-the-fiddling album, is the culmination of his long held promise to return to the distinctive singing style that made his former band huge : a rock/rap/hiphop hybrid awash with guests such as Massive Attack, Raphael, Kool Keith, built on beats, sinister guitars, and drowning in tiny lyrical hooks.
Unlike his other records - which can, at best, be described as generally lyrically scant and musically unmelodic - "Peeping Tom" is made of huge choruses, crunching noises, urban beats, lyrical dexterity, and dirty, brilliant sounds. It's not the best record he's made since Faith No More split, but certainly the most accessable and the most obvious. If you were waiting for the next Faith No More record, this is the next best thing.
Opener "Five Seconds" is far from the best song on the album, but then again, is the opening scene in any film the highlight? Designed to unlock a gig frenzy, Patton counts down to doom in all manner of permutations, a lyrical apocalypse thunderstorms in your ears, and images of `Your own personal Stalingrad' and the `I'm just a piece of archeaology in your mind' build a world of barely articulate heartbreak paranoia.
Album highlights are plentiful, but my personal favourite is "Kill The DJ" (with Massive Attack). Whilst Bristol's contigent are barely audible, Patton owns the song with an infectious, mocking lyric that reads like a vile disco made of music you never want to hear : `in every club and every dance floor, behind every front door, in every car and every train, every bar and every plane, on every ghetto blaster between here and Spain... play me.Play Me. PLAY ME!' the song implores, like the barely hidden mission statement of Crazy Frog.
These are songs that, if like me, you hate gardening, make the gardening almost bearable. It's always fun to scream "Our love is like a Starbucks chain... and we're TAKING OVER THIS NEIGHBORHOOD!" whilst armed with a buzzing hedgetrimmer.
"Mojo" and "How U Feelin" (a vicious parody of vaccous self-aggrandising rap) cruise along like some kind of self-loathing limo, if Radiohead had grown up in urban LA. Throw in some lyrical X-files paranoia in "Your Neighborhood Spaceman" and "We're Not Alone" and you have pretty much one of the best albums of the summer.
For a determindedly homespun, do-it-yourself ethic that has made Patton master of his own destiny (and his own record label) for the past decade, "Peeping Tom" has an eye on the main chance and makes one thing clear : not only is he back, but he never went away. Aided with horror movie strings, melodies and stealing from his work with Lovage and the X-ecutioners, "Peeping Tom" is that most frightening of ideas (the rap/rock hybrid) that realises the full potential of the genre in a refreshingly non crap way.
4 of 5 people found the following review helpful
on 1 October 2006
I got the albulm after hearing Mojo on Zane Lowe, and I fall in love with a different track every time. Huge fan of Faith No More, slightly less so of Mr Bungle but not heard much of more recent stuff, due to reading so many mixed reviews-although really should just buy them and make my own mind up. Mike's voice is just amazing, has always sent incredible shivers down my spine, and continues to do the same with this albulm.There is also so much going on in each track, that you notice something different every time you hear it. This is pretty easy listening compared to some of his previous stuff that I have heard, yet it is still innovative and in his own inimitable style. Cool move to get Norah Jones sing naughty swear word! My brother reckons this is as close as we are ever going to get to Faith No More, and he's not wrong! Buy it and enjoy.
3 of 4 people found the following review helpful
To my knowledge, Peeping Tom - Mike Patton's long-awaited pop project - has been five years in the works, so the question is, was it worth the wait? Answer: On the whole, yes. This album features at least 6 tracks of deliciously idiosynchratic 'hip-pop' from the former Faith No More frontman and his various partners-in-rhyme (notably, Dan The Automator, human beatbox maestro, Rahzel, and the mighty Massive Attack) which all feature Patton's distinctive vocals, and will appeal to fans of FNM more so than those of Mr Bungle and Fantomas. On the final song, 'We're Not Alone' - a re-mix of the Dub Trio track - we even get taste of the Patton of yore, as he lets loose those powerful vocal chords over a scintillating, rockin' tune.
And herein lies the album's main strength. Patton is at his best when he's singing - something he has seemed reluctant to do much of up until now. And yet, as is often the case with collaborative efforts, 'Peeping Tom' is a patchy affair, with the latter half of the record sounding somewhat half-baked. Nevertheless, and to his credit, Patton has always done things differently, and here he is offering an alternative take on a stale genre.
5 of 7 people found the following review helpful
on 31 August 2006
Mike Patton has been pretty inconsistent these past couple of years. Let me recap; The period of decline, for me, began with Mit Gas by Tomahawk. It was pretty good and has some brilliant tracks but was no where near as good or consistent as the debut album. Delirium Cordia by Fantomas, the big 75min `soundtrack to a surgery disaster' was hit or miss. I mean, how often was it going to get a listen, really? Patton's collaboration with John Kaada was a bit too esoteric and formless and a bit forgettable. The General Patton & The X-Ecutioners was just crappy. Didn't like that one at all. Then came the big surprise; Suspended Animation by Fantomas. I was really anticipating this one and was excited when I got it because the cover art was so good; done by Yoshimoto Nara. It was possibly the worst one yet; just a recap of the first album but crammed with cartoonish samples. It's was uninspired, too schizophrenic and completely forgettable.
Therefore I was hesitant before getting Peeping Tom. Patton has been working on it for years, compiling respected guest musicians such as Dan The Automator, Kool Keith, Massive Attack, Rahzel, Amon Tobin and Norah Jones amongst others.
Hesitant I was indeed.
Stuck it in the player and I heard beats (as I was expecting with Dan The Automator on board) then Patton's smooth croon slid into the mix over a steady beat. Ahh, could be good this. The chorus to Five Seconds is a schizo Tomahawk-esque blast, with guitars whilst the verses are smooth beat oriented croons. This goes for quite a few tracks. It's not done badly though, as is very easily could have been. Everything seems right, fits and compliments everything else.
The first sketchy moment was the lyrics in the chorus to Mojo; "Now roll it up and smoke it again, now line me up and snort it again, now fix it up and shoot it again, I can't believe I did it again". I hope he's taking the piss. Midlife crisis anyone?
Don't Even Trip is a collaboration with Amon Tobin and is one of my favourites, it's naturally a bit darker than the rest of the songs and has a really catchy chorus. Kook Keith provides his undeniable vocal talents to Getaway and Your Neighborhood Spaceman is a very easy Dan The Automator style trip hop tune even though it's one of the ones he's not on.
The first downfall comes in the form of track six; Kill The DJ, a collaboration with Massive Attack. That's a shame because I was hoping that was going to be one of the best; it's just a bit dull.
The next surprise is Sucker, featuring Norah Jones. It's not an easy ballad as you would expect and Patton has got her singing "There's one born every minute, Sucker, Sucker, So keep it in your pants boy, Sucker, Sucker, What makes you think you're my only lover, the truth kinda hurts don't it mother f***er". Genius!!
We're Not Alone is another favourite. Dale Crover (from the Melvins) provides the drums on most tracks and lays down a nice beat here. It's the simple, steady beats I like best, that's why I like Dan the Automator so much. This track bursts onto a Faith No More style rock chorus and it's catchy as hell. Definitly a good track.
Patton has actually expanded his musicianship too; he plays bass, guitar and keyboards on here as well as singing and beatboxing, who needs a whole band anyway!?
Peeping Tom is very much a pleasant surprise and is by far and away Patton's best release in the last three or four years. The collaborations and the time he's spent on it have given him a new lease of life, and even though most of the album is beat oriented, tracks like We're Not Alone and Five Seconds reassure us that he's not gone over to the dark side and still loves his rock and roll. There are some dubious lyrics scattered throughout, but they're probably tongue in cheek.
Overall, Peeping Tom is pretty consistent, it's varied (as if it wouldn't be), the collaborations are all good bar Massive Attack and most of it you'll be singing for days afterward.
Nice one Mr. P, reassurance that you can still realease some inspired music. I think the fact that it works is due to it's less esoteric and less idiosynchratic nature. It's a record for the people!
on 18 September 2010
Great music, by great musicians.
Mike Patton is the man.
I would love for him to make an album only of slower music. This record has some examples of what I mean.. Awsome!