Fantomas Melvins Big Band
Millennium Monsterwork
Ipecac
2002
by Nathan Pearce
On the eve of the new millennium, December 31st, 2000, a strange mixture of strange musicians gathered in front of a crowd to celebrate the coming apocalypse. Well . . . the apocalypse was never heard from, but the crowd in the downtown San Francisco club, Slims, was treated to a menagerie of songs and noises.
The Melvins probably need no introduction. They have been around the block a time or two, theyve created some of the most influential material of any band this side of Black Sabbath, and they have never let their ego debilitate their absurd sense of humor. Fantomas, on the other hand, have only recently started down their own strange path. Led by non other than ex-Faith No More front man, Mike Patton, the band has become known for their own strange sense of humor. 2001s magnificent release, The Directors Cut, could be summarized as songs to make out to for the psychotic.
Needless to say, when Fantomas and The Melvins came together as one band, any witnesses on hand were shown what it means to create music without boundaries. Playing songs (or sometimes snippets of songs) from both bands catalogues, the two bands playing simultaneously create a very eclectic, but cohesive, set. Mike Pattons signature vocal grunts, groans, wails, and noises are definitely an album highlight, but the truly amazing thing of this album is the way the two bands work together. I could be wrong, but most of the album sounds very improvised; yet, I cant find one instance of confusion on either bands part. This could be contributed to overdubs or, more likely, experience. Both bands are used to strange behavior and unpredictable live performances.
For fans of Mr. Bungle, Tomahawk, Fantomas, and The Melvins, this album is essential. However, fans of well performed sonic psychosis, this is a highly recommended piece of work.
9/10
www.ipecac.com
Millennium Monsterwork
Ipecac
2002
by Nathan Pearce
On the eve of the new millennium, December 31st, 2000, a strange mixture of strange musicians gathered in front of a crowd to celebrate the coming apocalypse. Well . . . the apocalypse was never heard from, but the crowd in the downtown San Francisco club, Slims, was treated to a menagerie of songs and noises.
The Melvins probably need no introduction. They have been around the block a time or two, theyve created some of the most influential material of any band this side of Black Sabbath, and they have never let their ego debilitate their absurd sense of humor. Fantomas, on the other hand, have only recently started down their own strange path. Led by non other than ex-Faith No More front man, Mike Patton, the band has become known for their own strange sense of humor. 2001s magnificent release, The Directors Cut, could be summarized as songs to make out to for the psychotic.
Needless to say, when Fantomas and The Melvins came together as one band, any witnesses on hand were shown what it means to create music without boundaries. Playing songs (or sometimes snippets of songs) from both bands catalogues, the two bands playing simultaneously create a very eclectic, but cohesive, set. Mike Pattons signature vocal grunts, groans, wails, and noises are definitely an album highlight, but the truly amazing thing of this album is the way the two bands work together. I could be wrong, but most of the album sounds very improvised; yet, I cant find one instance of confusion on either bands part. This could be contributed to overdubs or, more likely, experience. Both bands are used to strange behavior and unpredictable live performances.
For fans of Mr. Bungle, Tomahawk, Fantomas, and The Melvins, this album is essential. However, fans of well performed sonic psychosis, this is a highly recommended piece of work.
9/10
www.ipecac.com
