Faith No More’s release of Sol Invictus is getting a lot more attention in the media in Germany and Austria than in the UK and Ireland.

Die Zeit

A thematic clutch of reviews from the German broadsheet which asks what Faith No More and Conchita Wurst have in common? The answer as best I can translate is that “divas need to be heard”. 

Rolling Stone Germany

A 4.5/5 review from the German issue of Rolling Stone. They say:

“The title song not just gently leads into the album, but what comes after that will take your breath away: Mike Bordin’s driving drums on “Superhero”, Jon Hudson riffs, the nonsense-shouty song “Sunny Side Up”, the funny ideas of keyboardist Roddy Bottum, the fearsome “Separation Anxiety”, the ominous chanting of “Motherfucker”, the folky guitar in “From the dead”, which isn’t a joke. You can not understand this band. Faith No More overwhelm with their loud/quiet/quick/slowly-hard/soft dynamic and control it better than any other heavy metal band as they do so brilliantly and at the same time so playfully.”

Süddeutsche Zeitung

Germany’s biggest-selling quality newspaper Süddeutsche Zeitung published a lengthy feature on Faith No More to mark the release of Sol Invictus in the country. The article is well-researched but the tone is clear that FNM’s comebacks like all comebacks is money motivated. Indeed, the article is headlined: “Lucrative reminiscing”. The article has nice things to say about Sol Invictus but says it cannot match their very great moments on The Real Thing and Angel Dust.


Austrian state broadcaster ORF has also published an in-depth feature headlined “Headbanging in the piano bar”. And they state:

“What follows then, is a furious rollercoaster ride of musical feelings and an amalgam of styles – from metal, punk and funk on alleged nursery rhyme melodies to easy-listening notes. As before, Faith No More cannot be limited to one style and still interweave skilfully their influences from Frank Sinatra to Slayer. Here they succeed to build tension within individual songs – sometimes almost unbearable. “Cone of Shame” is a typical example of how a song first appears with a casual guitar part to a downright ecstatic noise orgy at the end.”