You have to hand it to Faith No More frontman, Mike Patton, for continuously reinventing himself. Take for example, an artist from his era, Axl Rose, who is “working” on the new Guns and Roses album, Chinese Democracy (and has been for the past seven years). Instead of fading into obscurity, Patton has not abandoned his talent, and has realized that adaptation is essential to survival. He’s changed with the times, working with newer artists - respectable ones at that - rather than trying to flog a dead horse with another Faith No More record. He teamed with Dan The Automator a few years back for Lovage: Music To Make Love To Your Old Lady By, as well as the pioneering NYC DJ troupe for General Patton Vs. The X-Ecutioners.

    Known for his out-of-this-world vocal style, Patton could be looked at as rock’s counterpart to Rhazel (who appears on this LP). His latest project, Peeping Tom, is described by Patton as his approach to a “pop” record, but when it comes down to it, this is anything but. A closer, more accurate classification could be his version of the “trip-hop” record ? a long dead artform from the mid-nineties. But this isn’t exactly Portishead, it’s closer in concept to Gorillaz - that is - forgotten-yet-respected rock vocalist reinvents himself with star-studded cast of influential and equally talented artists and producers. 

    Mike employs stars of the downtempo era for several tracks on the LP, such as Dan The Automator, who provides a Dr. Octagon-esque backdrop for “Mojo”, with vocal scratch effects from Rhazel, as Patton passionately sings about drug and alcohol addiction. Dr. Octagon himself also appears on the LP, as Kool Keith finally recaptures the Octagon style (not even wearing the stethoscope and mask), over eerie production from Jel and Odd Nosdam, with Patton crooning an equally sinister hook.  Massive Attack returns on “Kill The DJ”, while Amon Tobin chimes in for the reassuring “Don’t Even Trip”. Here, Patton laments with “Epic” like passion: “I know that assholes grow on trees / but I’m here to trim the leaves / I’m afraid / that you’re still my friend / And your just a piece of shit, but I can overlook it today / because you’re still my friend!” 

    Crown jewels on the LP include the creepy “Neighborhood Spaceman”, another Jel and Odd Nosdam collaboration, and the excellent “Sucker” with Norah Jones – who defies all expectations here, with her explicit, sultry, and infectious hook.   

     What’s great about this LP is that while several different producers are used, a truly unified sound is created. Patton has a definite vision here, and doesn’t hold back with his vocal exercises. Peep this.