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6 King for a day 1 giugno 2006 uno, nessuno...centomila patton! Firecracker “Firecracker” è il promettente film di Steve Balderson che sta facendo incetta di premi in giro per il mondo (ha vinto diversi premi al Raindance 2004, al Fantasporto 2005 e al Vision Fest 2005) e che ha Mike Patton come uno dei principali elementi del cast. Mike partecipa a questo film in un doppio ruolo: un alcolizzato di nome David e il proprietario di un circo itinerante di nome Frank. Il film è attualmente in fase di distribuzione, quindi a breve dovrebbe essere immesso sul mercato (speriamo anche quello italiano). “Firecracker” è una tragedia classica basata su eventi attuali. Il cast oltre a Mike Patton include: Karen Black, Susan Traylor, Kathleen Wilhoite, Jane Wiedlin, The Enigma, Katzen, Cathy Berry, George “the Giant”, Paul Sizemore, Pleasant Gehman, Selene Luna, Amy Kelly, Brooke Balderson, e Jak Kendall. http://mikepatton.altervista.org/firecracker.htm Kaada Uno dei tanti progetti di Mike vede l’ex Faith no More accanto al giovane autore di colonne sonore cinematografiche Kaada. Da quasto originale sodalizio nasce Romance, un disco impegnativo ma bello, che contiene musica complessa, celebrare, ma al contempo diretta e spontanea. Il magma di suoni d’ambiente e la voce inconfondibile di Patton creano scenari incerti, sospesi e onirici. E’ un disco da assimilare, chiaro, ma contiene un pugno di perle rare che sarebbe ingiusto non cogliere. Inoltre, dietro Romances si comprende chiaramente che c’è un ‘disegno’ artistico complesso e affascinante, a partire dall’artwork raffinato (con una cover mai così rappresentativa della sostanza contenuta nel disco) passando per l’approccio compositivo (assimilabile maggiormente a quello delle colonne sonore che a quello dei tanti dischi ‘di genere’). E’ inoltre un disco profondamente europeo, questo Romances, che omaggia la cultura francese già a partire dai titoli, ma che è ulteriormente legato alla cultura musicale del vecchio continente per via di un approccio classico ma comunque istintivo. Dai la-la-la dell’ inquietante invocazione iniziale, passando per la messianica e bellissima Pitié pour mes larmes e per le atmosfere decadenti e kafkiane di L’Absent o per la weilliana Viens le gazons sont verts, tutta la materia musicale di Romances risulta affascinare per i tanti rimandi ad altre arti, al cinema in primis, ma anche a tanta letteratura. Peeping Tom Years in the making, PEEPING TOM, noise rock renaissance man Mike Patton’s most accessible work since his days in Faith No More, is finally a reality. The 11-track opus, featuring a lengthy and incongruous cast of guest performers, is set for a May 30 release on Patton’s own Ipecac Recordings label. In keeping with the landmark 1960 psychological horror film that inspired its name, PEEPING TOM had its genesis as a modus operandi devoid of physical intimacy. Patton would write songs with a wishlist of theoretical collaborators in mind, then hope for a reply in the form of a finished track. “It’s an exotic way of working for someone accustomed to a band environment,” Patton says. “It was charming, really. None of the usual Animal House stuff. Instead of swapping spit and underwear, we were swapping files.” Lack of face-to-face interaction did not keep long-distance collaborators from turning in exceptional performances: Norah Jones’ lascivious “Sucker,” Kool Keith’s “Getaway” and Massive Attack’s “Kill The DJ” are intense and passionate as anything a live band environment could have produced-despite the fact that Patton has still never met Jones or Keith. “Plenty of people on the record are still complete strangers to me,” he says. The initial PEEPING TOM offering also includes contributions from Amon Tobin, Bebel Gilberto, DubTrio, Kid Koala, Dale Crover, Rahzel and several of Patton’s Bay Area running buddies, such as Dan “the Automator” Nakamura, and Jel, Odd Nosdam and Dose One of hip hop collective anticon. The end result is an utterly unique multi-genre/multi-artist departure from Patton’s more recent noisy output-one that would ultimately have to be classified as a pop record, alas a Mike Patton pop record, but a pop record nonetheless. The band will make their worldwide live debut on the Conan O’Brien show on May 26th. From the Ipecac website. Ipecac Just what the world needs... another damn label! In this era of mind-numbing musical mediocrity, sagging sales, major label mega-mergers and indie label burnout, why the hell would anyone do something crazy like start a label?! Like the medicine it’s named after, Ipecac Recordings is here to purge you of the drek that’s been rotting in your tummies. Ipecac Recordings is the brainchild of Greg Werckman (former label manager for the legendary punk label, Alternative Tentacles, employee for Mercury Records for a record 15 minutes, currently operating Pick-A-Winner Management) and Mike Patton (former Faith No More frontman, currently of Mr. Bungle and Fantômas). Werckman and Patton have been scheming for years (in between video games) about starting their very own label, waiting for just the right moment to unleash their master plan. Ipecac Recordings is not about to make music biz history and execute a revolution (although one is surely needed) or bore you by waxing poetic about their original musical philosophies. But if we have to adhere to a “mission statement,” how about the notion of being an honest, artist friendly label run on a shoe string with no outrageous promotional or production costs. This label will be a home to Mike Patton’s eclectic musical collaborations as well as a place where bands we admire will have the freedom to release music they might not be able to, or want to, release on other labels. Fantomas and Ipecac Recordings. Responsible for one of the most eclectic catalogs of recent memory, Fantômas return with Suspended Animation, a thirty-track set that both celebrates the art of cartoon composition and the many reasons to behold the fourth month of our calendar, April (with one piece for each day of the month). Who knew that April is subtitled “national humor and anxiety month”? Who knew that the dreaded April 15 was actually titled “That Sucks Day” or that April 24 marks the beginning of National Karaoke Week? Leave it to the creative minds behind Fantômas to enlighten us to the many forgotten holidays throughout April. Tomahawk and Ipecac Recordings. The band, in order of famousness is composed of Mike Patton, John Stanier, Duane Denison (their Michael Nesmith-like leader) and Kevin Rutmanis. These sensitive deities were assisted in forging this generous gift to humanity (it was produced, in vulgar terms) by the Roman warrior, Joe Barresi. Centurion Barresi has worked with lesser “artistes” such as Pennywise, Queens of the Stoneage, Led Zepellin and the Melvins. From the Ipecac website.
King for a day parental advisory explicit lyrics!! Biography Trevor Dunn: bass Danny Heifetz: percussion Clinton “Bär” McKinnon: tenor sax, clarinet, keyboards Mike Patton: vocals Trey Spruance: guitar, keyboards Mr. Bungle was formed in 1985 in Eureka, California. The original line-up included Trevor Dunn on bass, Mike Patton on vocals, Trey Spruance on guitar, and Jed Watts on drums. The band took its name from two short films which appeared in early episodes of the “The Pee Wee Herman Show,” in which an ill-mannered, un-hygienic puppet clown demonstrated how good grade-school kids should not behave (only later did band members learn, through Faith No More bassist Bill Gould, that the porn flick “Sharon’s Sex Party” also stars a character named Mr. Bungle). Mr. Bungle’s first demo tape, “The Raging Wrath of the Easter Bunny,” was recorded in 1986. It featured a low-fi, fast, death metal style that also managed to incorporate the sounds of bongos, a trainwhistle, a saxophone, and a kazoo. In the next year at least two versions of a tape called “Bowel of Chiley” were recorded and distributed by Mr. Bungle, mainly to local radio stations. One of these was reproduced and sold without the band’s permission (on tape in 1991 and on CD in 1997), creating one of the more popular Mr. Bungle bootlegs, the erroneously-titled “Bowl of Chiley”. The music of “Bowel of Chiley” was radically different than that of “The Raging Wrath of the Easter Bunny,” mixing the sounds of ska, swing, and funk. By this time drummer Jed Watts had been replaced by Hans Wagner, and the band’s new sound required the employment of Scott Fritz & Theo Lengyel as horn players. In 1988 Fritz was out, Luke Miller was in, and Mr. Bungle released “Goddammit I Love America!” Similar to “Bowel of Chiley” (described by band members as “a Fishbone rip-off”), but with a tighter sound, two of the seven tracks on “Goddammit I Love America!” would find their way onto Mr. Bungle’s first major label release. 1989’s “OU818” was the band’s final demo tape before finding themselves with a major label record contract. It was also the first to feature drummer Danny Heifetz & tenor sax player Clinton “Bär” McKinnon, and contains tracks that make up half of Bungle’s first major label release. Combining songs from earlier demos with new ones, it was a little lighter on the ska, and had a heavier overall sound than the two previous releases. Having established a strong following in Northern California, and with the hiring of vocalist Mike Patton by popular Reprise rock group Faith No More, Mr. Bungle was signed by Warner Bros. Records. Their first album, produced by John Zorn and titled “Mr. Bungle,” was released August 13, 1991. There were several new songs on it, but the sound was much the same as that of “OU818,” commonly described as “funk metal” by music critics. The album sold well, and Mr. Bungle toured North America successfully to support it. A multitude of side-projects and artwork delays contributed to the the four-year gap between the self-titled album and the release of “Disco Volante” in October of 1995. It was made up almost entirely of new songs, and musical styles combining jazz, techno, tango, and death metal, to name a few, set it apart from all previous efforts. Tours (featuring guest percussionist William Winant) of North America, Europe, and a wildly popular tour of Australia followed its release. They were finally wrapped up with two shows in San Francisco in November of 1996. Mr. Bungle’s latest album, “California,” was released on July 13, 1999. Theo Lengyel does not appear on it, and is not expected to be involved in any future Mr. Bungle projects (management cites “creative differences” as the reason for his departure). A supporting tour of North America began in Santa Cruz, California on July 12, however, a conflict between Mr. Bungle’s record company & past distributors prevented “California” from being available overseas (other than as an import) for several months. Overseas touring was put on hold long enough to allow three consecutive North American tours in support of “California” to take place, including an opening spot at Sno-Core 2000. The band finally made it’s way to Australia in March of 2000 and Europe in August & September of 2000 before taking a break from touring & recording to focus on the other things going on in its members’ lives for awhile. At the same time, ideas for new Bungle songs are being shared. And while you try to survive the latest four-year wait until a new Mr. Bungle album, you may find some of the band members’ side-projects entertaining. For information on Virgil Shaw & The Killer Views (with Danny Heifetz), visit Virgil Shaw’s Website. Trey Spruance’s Secret Chiefs 3 has several websites devoted to it, including Trey’s own WEB of MI- MICRY, and SecretChiefs3.com by Corey Morton. The Selected Discography of Trevor Dunn has audio samples and contact information to help you acquire some of the many recordings featuring Mr. Dunn. Bär McKinnon and Danny Heifetz appear on the latest Barefoot Hockey Goalie album. The adventures of Mike Patton & his Fantômas cohorts are always chronicled at Caca Volante and the Ipecac Recordings website. Tutte le informazioni sono tratte dal sito www.bunglefever.com The Central Florida Future:nov.2,1995 7 1 giugno 2006
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