On the day that Faith No More’s Sol Invictus was released for streaming with selected partners, the torrent of reviews has become a deluge.
This reads like a very positive review of the album but somewhat perversely only affords a 6.5/10 score:
“Ultimately though, there’s more here that will shock than will appease. You’ll notice that, seeping up between the cracks in the pavement, we also get a variety of atmospheric effects which daub the album with strong, stylized strokes. For example, “Cone Of Shame” is the biggest step into the warped mind of Patton’s recent body of extreme music and is heavily-embedded with minor keys. Then, “Rise Of The Fall” plays with depth of field; layered deep and recorded both in your face and way at the back of the room. Bursting with a folky shtick it employs arcane instrumentation – possibly, castanets and accordion with what sounds like a dampened or plastic-stringed guitar. There’s also “Matador” to engage with, which pulls through elements akin to the dark work of Steven Wilson.
“As expectation has raged out of control for this album, Sol Invictus was always going to disappoint on some level. No, it isn’t the masterpiece so many dreamed it would be but, then again, it does what Bill Gould promised it would – it “kicks things up a notch”. Of course, if Patton manages to mimic this degree of mania in a live setting, then all will be forgiven. The jury remains out on whether they can rediscover their mojo, but if they are to do it by warping perceptions then they’re making all the right noises; just perhaps not in what many will perceive to be the right order.”
The pop culture site offers a considered 4/5 review:
“But it’s the deep cuts that offer the most satisfaction, of which the aggressive Separation Anxiety is a prime example: the rhythm section forms a tightly knotted churn with Patton careening from ghostly whispers to demented screams with graceful ease.
The band delve into their 70’s soul influence with the funk inflected breakfast ode Sunny Side Up, but its silky groove proves deceptive when it makes a transition to guitarist Jon Hudson’s jack hammer riffing and Patton’s unholy howl.”
“Sol Invictus is an album that rewards repeat listens. Once the knotted arrangements have time to settle into your musical subconscious, you’ll hum and bang your head in equal measure.”
The Atlanta site awarded the album 8/10 and states:
“Sol Invictus is a solid, creative effort from one of alt-rock’s most relentless, restless experimenters. And for those who’ve followed the band from the beginning, it’s more than good enough.”
And another positive review:
“Matador” is an ambient track that really showcases the many vocal styles of singer Mike Patton. The track goes from somber verses into big singable choruses in an instant. The album ends on an oddly upbeat note with “From the Dead.” A track that is unexpected but really drives the album home.
“Sol Invictus” almost feels like a soundtrack. It’s soaked with imagery, and it seems that the band has captured something special. “Sol Invictus” is an excellent return for fans of the band.”
A 9/10 review:
” When you compare it to past works it just does not feel like the same band and to me that is what makes this band so unique and different, but yet so brilliant. Sol Invictus definitely nails it in the closing line “Welcome home, my friend”. Faith No More is back and this is such a unique comeback record from a band that changed the industry by changing itself cd to cd. This is going to be one of 2015’s best albums.”
The excellent Manchester Rocks also falls under the Sol Invictus spell in its review and use the G word:
“This is not the Faith No More that brought us The Real Thing back in 1989 with the MTV smashing single Epic, but then they haven’t been that band since the massively influential, distinctly uncommercial Angel Dust in 1992. So if you’re expecting instant hooky, pop metal for immediate aural gratification then you’ll be disappointed. This, people, is a grower.”
“It’s infectious stuff. The more cynical would call this a comeback album or will be looking for a ‘return to form’. But that would imply they’d lost their form in the first place. Nope. This is a Faith No More album – a schizoid musical journey through a melding of musical styles that lesser bands would struggle to pull off convincingly. Genius? I think so.”
And finally one from Switzerland from Pirateradio that has to be seen to be believed:
“It would be worth it, to discover the new Faith No More album, frozen and mummified 2000 years later, with a thousand Europapark spectacles on it, and to be played on pure gold. What is presented here is simply phenomenal
This album is King for a Day and Fool for a Lifetime forever. No words can be found to say how Faith No More are born to kick System of a Down’s arse while at the same time pissing on the Billboard Charts from above. A long-haired Irishman would say “Un-fuckin-believable.” (At least anymore) words fail us.”