The damn has burst and the Sol Invictus reviews keep pouring in. Here’s our latest round-up
Another review which looks to be universally positive but confounds with a lower score than you would expect, with DIS giving the album 7/10. They say:
“From the gothic piano chords and military drumming of the low-key opening track, through the brooding existentialist metal of ‘Separation Anxiety’, to the acoustic closing gang-ballad, there’s no mistaking that this is a Faith No More album, and a record that no other group of musicians could have made. Despite the length of their hiatus, they still have great chemistry and the quality of this return effort is remarkably high.”
The review also definitively decides any lingering Patton v Kiedis arguments:
“As ever, Patton remains FNM’s big draw and the singer is in typically extraordinary form. His lyrics are a ragtag conveyer belt of leprechauns, superheroes, matadors, motherfuckers, solitary tap-dancers, salad-bar rioters and sunburn victims. On such subjects, he spits, screams, shrills, wails, whines, whispers, croons, coughs, rages and… does he rap? He talks a bit, that’s for sure. It’s hard to believe there was a time when Anthony Kiedis could accuse this gentleman of ripping off his own laboured vocal style. Oh, what vast creative leaps Faith No More made in the years that followed 1989’s The Real Thing, hurtling from punkish death metal one minute to Portuguese bossa nova the next while Kiedis (bless him) stuck doggedly to alternating between amplified funk-rock songs, acoustic funk-rock songs and the occasional funk-rock song that sat mildly between the two. Incidentally, you can accuse Faith No More of opening the doors to Limp Bizkit and Crazy Town all you like but be sure to also crucify Bill Evans for birthing Jamie Cullum and hold Daniel Defoe directly responsible for Jeffrey Archer’s Only Time Will Tell. You plonker.”
Now, where did those three marks go?
Only an idiot would attempt a track-by-track review of an album which works so cohesively as this (see my track-by-track review on the site later today or later this week) but Scene Point Blank have done a good job of it in a glowing review. Here is the overall assessment:
“Now, it’s been almost an entire generation since their last release and for whatever the reason, whatever the astrological alignment, Faith No More have unexpectedly come together once more to give us Sol Invictus – a slow-burning slab of the truly unexpected. Sol Invictus is everything you thought you knew about Faith No More crushed like a frog in a shoebox and thrown against a tree (apologies to Big Dan Teague). Which is to say, even after so many years, the band remains as seemingly unpredictable and uncompromising as they ever were. While every sound, every instrument, every member proves to be invaluable, it really feels that it’s bassist Billy Gould that tethers the whole thing together, keeping the myriad of influences from scattering all over the playground.”
This wonderfully idiosyncratic review gives the album 4.5/5. They say:
“Faith No More‘s Sol Invictus in far too easy cliffnotes shorthand would be a slice of The Real Thing with the general brevity of the songs (not the 2x vinyl) of King For A Day, with plenty of unfamiliar yet familiar textures and pratfall avoiding moments of sheer joy and snark from camp “Rock Band” Patton and Co. Hearing Mike Bordin’s straight up, scarce frills yet so spot on percussion parts on the somewhat desert rock and Tomahawk-esque spaghetti western gangsta thriller “Cone Of Shame” is like putting on your favorite old coat that still is cooler than the new styles. Was it worth the wait? Yes. I’m gonna say absolutely. This is a really great return to alternative nation.”
Are Faith No More prog? Maybe there are elements of prog in there. Here’s the prog Report verdict in any case:
“The album peaks with the closing 3 tracks, the enjoyably vulgar “Motherfucker”, the epic “Matador” and the 60’s sounding swan song “From the Dead.” The vast area that these songs cover show just the expansive range this band can master and produce with ease. Patton’s voice is the weapon that conquers each style and song with precision. He is as enjoyable a singer to listen to as there has ever been in rock.
While at first there might not be a sure fire hit that jumps out at you, this is an album with substance and gives a new audience a chance to discover the brilliance that is Faith No More. And for those of use in a Midlife Crisis, a brand new Faith No More album, might just be what the Dr ordered.”
A 9/10 from this personal site and a lengthy review too:
“”Sol Invictus” became the strong and dynamic album I was hoping for. It’s full of excellent songs, all reflecting the bands trademarks.”