A leading Austrian newspaper and a French website have both given Faith No More’s new album Sol Invictus rave reviews.
Faith No More show their old strength on Sol Invictus
The review states that Faith No More have lived up to the promise shown by the singles Motherfucker and Superhero. “Musical diversity is again written in capital letters by Faith No More”.
It adds: “A central theme running through is the unmistakable voice of Patton that stretches through the 10 songs of the strong album. From the threatening, deep whisper on which he opens Sol Invictus to the manic screaming fits at the end of Separation Anxiety or Superhero as far as the almost already hypnotizing speech-singing of the musically brilliantly constructed Motherfucker…”
“Fans of the unusual band will enjoy Sol Invictus with considerable security. But all those whom Faith No More has passed by until now should listen to this new varied work at all costs. Just by attempting to leave restrict itself and stay in one musical drawer, the San Francisco band appeal to the broadest possible audience.”
French cultural site Clair & Obscur is, if anything, even more emphatic in its praise for the Faith No More comeback album. It awards it 10/10 and declares at the outset: “The wait has not been in vain because Sol Invictus is already brewing as a successful return.”
Here is the review:
“On this highly-anticipated album, Mike Patton continues to scramble the tracks with his voice which is by turns passionate, enraged and panicked. It offers us a panorama of diverse possibilities, enriched over the passing of the years by the many projects and collaborations, always more improbable, of one or the other of the group. Consequently, it creates a world filled with truculent characters. Thus, besides nasal nonchalance force-fed with solemnity and hope (From the Dead), one finds the gravity of a character from a Shakespearean tragedy (Matador). Then we have the torment of a soul gripped in fear (Separation Anxiety) but also the grief drowned in bourbon of a barfly (Cone of Shame) as well as the delusions of a rapper (Motherfucker), all of which challenge us.
“But equally it would be unrealistic to ascribe a vocal style to every song. A track never presents only one type of voice. the charismatic singer/songwriter declining predictability and even more banality. He always seek to surprise us (did they not sing Surprise! You’re Dead in 1989). Rise of the Fall testifies to this as a falsetto is successfully followed by a growl. In light of this versatility, Mike involves his companions in territory both serene (From the Dead whose refrain could almost see the band return to centre stage) and animated (Superhero with its insistent guitars and haunted piano).
“In addition, the demons of American musical heritage seem to permeate the the sonic fabric (a forlorn harmonica here, the folk music of the Appalachians there, a spiritual from the cotton fields further on, or else the original blues). Even if the five Americans want to explore various horizons and unsettle the listener, they nevertheless retain a ferocious appetite for catchy choruses whether in the form of words (Rise of the Fall) or onomatopoeia (Cone of Shame), which will contribute to making the audience actors in their live performances.
“With a new album skilfully dressed with haunted, playful and unbridled moods, we can thus keep faith in Faith No More which has lost nothing in its music that transcends barriers. This is an iconic group which the world of music can continue to count on with a smile. 10/10”