Faith No More - "Sol Invictus"

After seventeen years, I finally dig a little into Faith No More's catalogue. Perhaps there's a reason I never got into them during my formative years. Maybe getting the big picture (from "Epic" to Sol Invictus) was needed to place this badboy in proper retrospect. To prepare, I took the liberty of heading over to unlimited editions and grabbing a few of their most notable albums per Sputnik. What stood out to me were Angel Dust, which was guaranteed to be their classic, and my personal favorite Album of the Year. Although very different, the two create the broad palette in which Faith No More tend to splatter. Although the production in modern age has become an asset, it doesn't seem the dudes have relied on this tool as a crutch. In fact, the main issue with most of their tracks are their simplicity. But then again, this is also the album's main point of intrigue. Album title opener is solid. It's everything you'd expect from Faith No More in the melody department and fits perfectly in their catalogue. Runner up is "Superhero," previously released prior to the album and it's a solid chunk of rock fusion with its "leader of men" chant owning supreme. "Sunny Side Up," although very childish in nature, accomplishes a middle of the path execution on its chorus delivery. The Tool riffage on "Separation Anxiety" is cute but is complemented by really lazy drum work. Which is another point - what's this guy's deal? He's practically asleep back there on every track. Some of these tunes need a bang, a two step, a double tap, a clack-clack, SOMETHING! This isn't Delirium Cordia and even then, Dave Lombardo laid it to waste.  The tunnel whispers and epic chorus of "Cone of Shame" display Patton's peak and the closing showcases where Greg from Dillinger learned any and all of his singing skills and melodic style. The "Rise of the Fall" showcase childish hymns during the chorus the shrill outro that mirrors a western theme brings to mind some of Mr. Bungle's California strengths. This could've very easily have been found on a Gorillaz record. Tons of BTBAM's polka-driven elements are primarily picked apart from FNM's arsenal. I won't waste the finish on any reader deserving the full experience, and will leave the rest to the surprise of the first and second listens. I would recommend anyone to take an active interest in this album and perhaps even rekindle an interest in arguably one of the strongest acts of the 90's. PS. first single "Motherfucker" was a terrible pick and it's amazing that this would have been first pick. Since Patton runs the label, I don't know why he would've authorized that decision. Maybe I don't understand it. But hey, it's only been four listens since I got the album last night.

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