The day has arrived. Faith No More‘s first single since 1998 and first new music since 1997 is now available to buy in independent record shops in the USA and Canada.
The 7-inch limited-edition single Motherfucker comes complete with a B-side remix from J. G. Thirlwell and is available at some of these participating stores.
— Ewoud Leijs (@Snopper) November 28, 2014
Some lucky fans have already picked up copies (see above) but some unscrupulous shops are selling the record on Amazon and eBay for up to $80 which goes totally against the spirit of Record Store Day.
Let us know if you have got your copy.
I’ve been looking for this for a long and time and, as he often goes, Mark Montague has delivered – audio of Faith No More‘s performance at the iconic Slane Castle, Ireland in May, 1992.
It was my first outdoor concert, my first Faith No More concert and only my second ever concert (ahem – Extreme , Point Depot 1991) and one of the greatest days of my life: Faith No More playing with Guns’ N’Roses – my two favourite bands – Kilkenny’s My Little Funhouse in support; a rare scorching Irish summer’s day; just days after my 18th birthday and travelling there and back on a hired bus with a bunch of my home town’s most experienced headbangers, party people and drinkers.
The Real Thing
Land of Sunshine
We Care a Lot
Surprise! You’re Dead!
Woodpecker from Mars
Here’s a short report from Irish state broadcaster RTE which gives a flavour of the day.
As I previously recounted here, this was the band’s third Irish gig. They have played six Irish dates in all, most recently in 2009, and are well overdue a return in 2015.
The countdown to Friday’s Record Store Day limited-edition release of Faith No More’s comeback single Motherfucker continues with the band’s Reclamation Recording‘s site going live.
The site is not fully active but the splash page includes a link to listen to the song on Spotify. It’s not there yet but should come soon.
The song is released on vinyl on 28 November and digitally on 9 December.
The new Faith No More single Motherfucker has been released from captivity into the world, set free as a menacing yet understated, contemporary yet idiosyncratic, fulfilling yet frustrating, low-tempo yet snarling, contemplative yet playful, profane yet beatific statement of intent.
Tellingly, Roddy (how good is it to see and hear the creative force back up front and central chez FNM?) twice mentions accountability and only having to answer to themselves as key themes in the song.
The first verse can be explicitly interpreted as an indictment of mass over-consumption: humans as geese force-fed to produce foie gras. The final lines suggest an escape from this cage but only after embracing a nemesis; by getting the motherfucker on the phone.
Alternatively the lyrics could be self-referential. The band, under the previous record industry paradigm, were force fed to produce. They were products of their own MTV-fueled epic success.
The second stanza can be seen as the band’s return. They are setting aside their scruples, picking at their bloody scabs and getting immunised against being once again exposed.
But distemper (or maybe “this temper” or mood) – a disease of wolves among other animals – has taken hold: their balance disturbed. Whether fitful with illness or mood, they have been spurred to action. “We took the second sip from a cup we made of bones“.
But the first time was not real – a ruse, a trick. In fact, the truth is their youth (Faith No More version 1.0?) was a gilded cage: “a carpet laid of stones“.
And perhaps the final leap of faith in this interpretation: the “motherfucker” is a recalcitrant band member. The recalcitrant band member who symbolically turns up late in the track.
The song itself fits. It is not want the music industry produces: it wouldn’t score 65% plus on HitPredictor. It is not the balls-out rocker or Mike Patton vocal masterclass that some fans wanted and expected.
It is a goodbye and a hello from motherfuckers we used to know.
The media frenzy in the wake of Faith No More’s streaming of Motherfucker has largely receded but here’s a selection of some reviews that we didn’t include first time round.
Comment is largely confined to the niche musical media and blogs while some mainstream media – looking at you Kerrang – have not mentioned the song at all.
A typically schizophrenic jumble of genres ‘Motherfucker’ features all those classic FNM hallmarks: Patton’s giddy vocal acrobatics, The Real Thing -era raps, a thunderous rhythm section and those sweeping, theatrical choruses which defined their later work. It also happens to be really, really good.
Motherfucker is as instantly compelling as some of FNM’s ’90s classics. The song is tightly wound, coiled around starched guitar strings and clockwork drum rolls. Motherfucker builds on the “greatest” voice in music, frontman Mike Patton, but refrains from breaking out until its huge outro. Patton shouts “Get the motherfucker on the phone” over a quality guitar solo.
“Motherf**ker” fits in nicely with the group’s pre-millennial output, as well as Patton’s diverse post-FNM career. It’s a sweeping, cinematic song in which a sinister piano collides with militant snare drums, while Patton’s distinctive vocals careen from spoken word raps to wounded howls to threatening whispers, repeating the phrase “get the mother**ker on the phone!” so often that you might actually remove your headphones and call the “motherf**ker” in your life.
There could be few more petrifying voices to hear sneering from down the other end of the blower than that of one Mike Patton; and so, as Faith No More return with Motherfucker – “a song about accountability”, that is as momentous (being the first all-new number from the Californians in circa seventeen years, and all) as it is aurally monumental – those of a more tremorous disposition would do well to find a nearby sofa to hide behind. “Get the motherfucker on the phone” Patton chants, his vocal layered in such a way so as to lend it far greater authority, before he perhaps sardonically notifies: “Hello, motherfucker/ My lover, you saw it coming/ Goodbye, motherfucker/ My lover, you had it coming.” All the while, stadium-dismaying guitars trill, Mike Bordin’s drums thunder, and authoritarian bass lines thrum. But most importantly, this “ode to pomp and style” hears a sublime equilibrium between carnivalesque burlesque and classic, brooding alt. rock brutality struck with irreproachable aplomb once more. In short, we still care. Rather a lot, in fact…
So many bands return after a long hiatus only to disappoint, they’ve changed or they’ve moved on from their sound, it’s just not the same. Not Faith No More. Earlier in the year we heard the first live performance of the first new FNM music in 18 years and now we have an official release of their brand new track “Motherfucker”. And…..the track does not in any way disappoint, it’s the gravelly, dark and epic FNM that we love.
Faith No More continues to make a pre-order impression in the Amazon chart, rising to a new peak of 73 today.
The song is also at 111 in the Amazon UK chart.