Mit Gas Import
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Rock and Roll super group, Tomahawk, birthed from pure aural gold their second CD, to be handed down to earthbound mortals like a jewel from the heavens. The band, in order of famousness is composed of Mike Patton, John Stanier, Duane Dennison (their Michael Nesmith-like leader) and Kevin Rutmanis. These sensitive deities were assisted in forging this generous gift to humanity (it was produced, in vulgar terms) by the Roman warrior, Joe Barresi. Centurion Barresi has worked with lesser "artist's" such as Pennywise, Queens of the Stoneage, Led Zeppelin and the Melvins.
About the Artist
Tomahawk are a four piece rock and roll supergroup. Unlike other supergroups like, say, Audioslave, they don't have anyone REALLY famous in them. In order of celebrity, the band is composed of:
Mike Patton - vocals (Faith No More, Fantomas, Mr Bungle) John Stainer - drums (Helmet) Duane Dennison - guitars and Mike Nesmith-like leadership (Jesus Lizard, Hank Williams III) Kevin Rutmanis - bass (Melvins, The Cows)
Tomahawk was founded by Denison and Patton in early 2000. After 10 years of touring and recording with The Jesus Lizard, Denison was living in Nashville, Tennessee where his skill and versatility had landed him a job as lead guitarist with Hank Williams III. After witnessing a Mr Bungle show in Nashville, Denison was introduced to Patton, whose list of lead vocal jobs includes bands from Mr Bungle to the late Faith No More and an estimated kabillion others inbetween. The two professed an interest in each other's work and soon tapes were being exchanged in the mail.....
The dynamic duo soon realized that in order to achieve their rock vision, others were needed. Denison enlisted John Stanier, an old friend whose swing and power on the drums he'd long admired. Stanier, aka DJ Big Bad John, quickly accepted the offer and soon tapes were exchanged in the mail...
Not to be outdone, Patton enlisted bassist (and former halfway house employee) Kevin Rutmanis, whose low frequency rumblings had powered the Cows and Melvins across vast stretches of space and time. With the lineup now complete, rehearsals were expeditiously carried out.
Tomahawk released their self-titled debut album in Autumn 2001 on Ipecac, the label part owned by Mike. The kids loved it, so did journalists. Cool! Buoyed by success, the band headed out on the road, firstly in the States where they toured with the likes of Tool. Then to Europe, where they played a number of continental festivals followed by a tour of the UK. The UK tour was memorable for the appearance of a little chap at Tomahawk's London Astoria show.
Not ones to rest on their laurels, Tomahawk wrote a new set of songs and went into the studio again. This time they were aided and abeted by the Roman warrior, Joe Barresi. The work is entitled "Mit Gas" and it will be released, again through Ipecac, in May 2003.
Top Customer Reviews
mike patton is as ever the most vocally versatile man on the planet. a strangely magnetic album from a supergroup of intense talent.
mit gas is a work of genius.
roll on their third album.
I suppose you could call Tomahawk a supergroup, if you wanted to. Four indie-rock giants (Melvins/Cows bassist Kevin Rutmanis, ex-Jesus Lizard gutarist Duane Denison, former Helmet drummer John Stanier and the godlike Patton) simply having some fun together. No hassle, no pressure. It shows. It's effortlessly, impressively huge.
This is Tomahawk's second album. It is breathtaking at times. Opener 'Birdsong' starts like an alternative theme for 'The Texas Chainsaw Massacre', all Texas heat and an almost palpable air of menace, with the sound of small birds tweeting before the drums begin a relentless skittering, and Rutmanis' bass oozes out a droning riff. Minutes later, the song explodes into colour, and we're off on a perverse ride into Patton County.
Elsewhere, there's clever, angular punk-rock on the likes of 'Rape This Day' and 'Mayday', and tape-loop ambient frighteners like 'Harlem Clowns', but the standout track is surely 'Capt. Midnight', wherein Patton lulls us into a dark world over skittling drum & bass and lonely tremolo guitar, before unleashing a juggernaut of a chorus.
The whole album has a creepy cinematic feeling, one of late-night backroads deep inside America, where the shadows are full of people up to no good, and cars are filled with lonely, weird, desperate people. Possibly with a body in the trunk.
Investigate this album.
As a siren wails somewhere in the distance, the misleadingly chirpy sound of a dawn chorus marks opener 'Birdsong', setting the tone for the entire album with Kevin Rutmanis' menacing bass-line and John Stanier's powerhouse drumming - before Patton takes over with a vocal that sounds suspiciously like he's strangling himself. Obviously, this is awesome, and the rest of the album is similarly jaw-dropping: a veritable smorgasbord of sonic delights, which includes the majestic 'Rape This Day', the gleefully twisted 'Harelip', the heart-felt, Spanish-sung 'Desastre Natural' (which may or not be about the break-up of Patton's marriage) and the explosive drum 'n' bass-meets-punk-metal centrepiece of 'Capt. Midnight'.
The best thing about Mit Gas, however, is the fact that you can actually visualise the whole array of facial expressions Patton was making as he recorded this and in this sense Tomahawk have succeeded in creating a truly cinematic record. Roll on album number three!
The answer is unquestionably yes. Moving on a step from their excellent self-titled debut, Tomahawk have made a bold, innovative, subversive, mind-boggling follow-up that weaves itself into your subconscience, never letting you go.
The opening track "Birdsong" defines a band who have rid themselves from all conventional definition. And surely that was the point? We all know (or at least we should) how much of a genius Mr Chameleon voice Patton is, but not nearly enough people know of the talents of Denison. Tomahawk is his baby, and to Jesus Lizard fans this will become apparent on the likes of "You can't win", "Capt.Midnight" and "Harelip" all featuring his trademark dirty, swirling guitar sounds.Add to this a thumping Rutmanis bassline (or dirty funk in "Harelip") here and there, drum and bass-esque drumming from Stanier (on "Mayday") and schizophrenic vocals/keys from Patton and you have a challenging, off-kilter, stunning beast of an album that surely can not be bettered this year.
My advice? Buy it now. Any self-respecting rock fan would.
Most Recent Customer Reviews
Not their best set of tunes, because there three duff ones (Desastre Natural, Harlem Clowns and Aktion 13FH), but Harelip, Rape this day, You can't win (bossanova heavy metal? Read morePublished 12 months ago by Rob Price
Brilliant, a sublime sonic assault, all songs delivering at least one moment of expansive musical creaftsmanship. Read morePublished on 14 July 2014 by Mr M J Rutter
I liked him since Faith No More days. All of Tomahawks albums are worth it. Long delivery ( cd comes from states) but perfect condition. I do recommend.Published on 11 April 2014 by Tomasz Bardega
Far from being 'yet another' Mike Patton record, 'Mit Gas' is an album of brutal genius. As much a product of its other members as of its infamous vocalist, there is a stripped... Read morePublished on 12 Feb. 2009 by The Pamphleteer
Listen, Im gonna make this brief, this is one of the great punk/rock albums. I dont really need to say more. Im not going to go into who is involved with this band. Read morePublished on 26 Oct. 2005 by R. Olliver
Yet more generic metally stylings from Mike Patton & friends. Patton consistently fulfills about one tenth of his potential, and it annoys me because the guy responsible (in part... Read morePublished on 1 Jun. 2004 by Mr. Mark Wilkinson
After the spilt of Faith No More (after Album of The Year) it seemed that Patton was content just to scream, with his left-of-centre projects Fantômas and Mr. Bungle. Read morePublished on 27 July 2003