Tomahawk - Anonymous (Dig)
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Free Music Notes for Anonymous (Dig)
Free Music Review: World Music from Tomahawk
Hit: 4 Stars
A pretty interesting listen right through, a bit atmosperic in parts, a bit 'world dance' style (similar in a couple of tracks to Transglobal Underground etc...) but still quite unique. Mike Patton's voice shines on it as usual fitting in well to a variety of sounds but the playing is also great from the Tomahawk guys.
Completely different to the past Tomahawk stuff but I'd almost say it's my favorite - but impossible to really compare. A good thing.
Best tracks for me tracks 2 and 10 but it's pretty consistent.
Free Music Review: still good
Hit: 4 Stars
im listening to it now in november and i bought it the day it came out. i think it's some of patton's most focused work ever, even though the other member's apparently contributed as much input if not more than patton.Free Music Review: maybe i should give it 5 stars
Hit: 4 Stars
whatever everything, this is a very pretty, well produced album. i like it. everybody else wrote everything else.Free Music Review: Though Patton does continually try...
Hit: 3 Stars
I'm already waiting for the dozens of drooling Patton-worshippers to call this "magnificent" "enthralling" "majestic"...yeah, whatever. Pretty much everything that Patton has done after Bungle's California has been a self-indulgent sub-par experiment. I completely understand that a musician has the right to make the kind of music he/she wants, but nothing Mike Patton has made in the last 8 years as been anything more than just "interesting". This, Tomahawk's third release, sees more of patton's crooning and wailing with little-to-no redeeming musical value. Too bad too, because the idea behind Anonymous is not only original, but cool as hell. Too bad its prolly the cheesiest and most pretentious thing Patton has recorded to date. I put this album on and I swear it was over in 10 minutes and I couldnt tell which song I liked because they were all short and silly as hell. Hearing Patton "mimic" Native American chants was so laughable I cant even begin to explain. I'm not a patton-worshipper, but I will say this: Faith No More and Mr. Bungle were the two finest things he was EVER involved in. PERIOD. I'm also not one of those, "Oh Mr. Bungle pleez get back together". Yeah, I liked the band a lot, and still do. I guess I had just hoped that Mike Patton would do better than the banal Peeping Tom album, or the sleep-inducing Patton and Kaada, or the....yeah, you get me. Bottom line, if you think everything Patton touches turns to gold, then well, you already have this dont you? I'm just trying to point out that past musical acheivements does not warrant further praises for these souless "experiments". I will take the negative rating my review gets as point proven, my little patton-fiends. Of course, this is just personal tastes so please sample the album and decide for yourself. I think the first two Tomahawk albums were better. Maybe conventionalism in music would make Patton's music enjoyable again. We'll never know.
END REVIEW
Free Music Review: Thrilling in some respects; weak in others. But definitely different.
Hit: 3 Stars
Tomahawk, for all their unconventional time signatures, freak-show-barker lyrics and avante-garde credentials, could accurately be categorized, not too long ago, as a more-or-less straightforward rock band.
With "Anonymous," the band veer off that conventional trajectory, and, for the most part, they succeed admirably. They have created an album that, in some parts, is minimalist and evocative, in songs such as "Cradle Song" and "Antelope Ceremony"; and that, in other parts, lets loose with a primeval exuberance ("Mescal Rite," "Sun Dance") that gives me the urge to slip into a loincloth and stomp about in the desert sand.
"Anonymous" gets three stars instead of five for two reasons, the most obvious being that bass player Kevin Rutmanis parted ways with the band before this album was recorded. His absence -- and the apparent absence of a suitable replacement -- gives some songs a sense of being incomplete.
In the second place, the album, in some parts, doesn't seem to quite believe its own conceit: that a modern rock band of white guys can create original songs that not only capture the "spirit" of traditional American Indian songs but also use those tribal chants as their foundations. "Omaha Dance," for example falls back on by-now-cliche analogue electronic beats and cheesy lyrics about walking against the wind, swimming against the current, and other such new age crap. "Crow Dance" uses vocal samples Mike Patton apparently used on his collaboration with hip-hop turntablists the X-ecutioners.
These moments do not detract from the album's overall earnestness (particularly Patton's infectious enthusiasm for the material and Duane Denison's immaculate guitar tone). But some moments just can't seem to help coming across as the art-rock equivalent of shaking a mall-bought rainstick and hanging a dreamcatcher from the rearview of one's Honda Civic.