Since we’re all adults, I’ll spare you the long intro. You know why you’re here. Be warned that this reviewer’s opinions are colored by 23 years of Faith No More fandom, as well as witnessing the band’s recent performance at Chicago’s Concord Hall, which included several Sol Invictus tracks and provided some valuable insight.

Sol Invictus kicks off with foreboding piano work by Roddy Bottum, followed by some gorgeous Mike Patton crooning. After that, those two things happen again, and then…the song ends. At 2.5 minutes, “Sol invictus” is the aborted first half of a good Faith No More song. What the hell?

Track two, “Superhero,” bears the most resemblance to the band we know and love. Mike Bordin beats the shit out of his drums, Roddy Bottum tickles the ivories with class, and guitarist Jon Hudson does his best Jim Martin impression. The FNM of yesteryear would’ve demoted it to b-side status at best, but it’s one of the few instances on Invictus where the band gets their blood up.

“Rise Of The Fall” contains a brief moment of tribal pounding reminiscent of Chuck Mosely-era FNM, while still making room for the accordion and finger-snapping required of any Patton-related album. A lot of this record is drenched in the ’70s mafioso/Danger 5 shtick that has become Patton’s thing over the years, occasionally feeling like one of his many solo projects. On the bright side, Bottum has updated his sound by trading the ’80s-style synths for more vintage instruments, particularly grand piano.

“Black Friday” pits jangly 60’s-style acoustic guitar against rock riffs, creating a dynamic that works well despite containing possibly the worst lyrics of Patton’s career. “Separation Anxiety” is built on a grinding, circular riff unlike anything in the FNM back catalog, building tension until it explodes, at which point Hudson actually wakes up and plays some goddamn guitar. And if the Chicago gig is any indication, “Motherfucker” has replaced “Epic” as the most insipidly catchy sing along in the set list.

The real issue is that Faith No More circa 2015 suffers from a lack of energy, both heaviness and songwriting-wise. Mike Bordin is a secret weapon of fearsome power, yet the material rarely gives him a chance to cut loose. Patton can still sing anything — ANYTHING! — but spends a lot of time doing spoken word, making funny noises, and generally sounding bored. And don’t get me started on Jon Hudson, possibly the most passive and uninteresting guitarist to have ever lived. He spends a good chunk of Invictus doing literally nothing, and the contributions he does make are hardly exceptional. The fact that FNM chose him to replace iconic guitarists like Martin and Trey Spruance suggests that the guitar is simply not important to them.

The album’s muted production is also somewhat to blame, placing Patton and Bottum up front while drums and guitars sit waaaay in the back. Even Billy Gould’s signature bass grind has been sanded down to a more subtle tone. These songs sounded absolutely massive onstage in Chicago, and it’s a shame that the band couldn’t capture that energy on record.

Members of FNM have spoken proudly of making this album in-house, without the aid of record labels, producers, or even recording engineers. Sadly, those unsavory characters are sometimes necessary. Back in the day, there’d be no way in hell Sol Invictus would be released without someone, at some level, exerting quality control to keep this project focused. And that doesn’t necessarily mean “commercial” — after all, the major label machine helped spawn Angel Dust as well as the entire Mr. Bungle discography. But there are times where an outside opinion can be valuable, and I suspect this is one of them.

In the absence of focused songwriting and an assertive guitar presence, Sol Invictus plays like a mix tape of FNM‘s more aimless novelties, the “RV”‘s and “Edge Of The World”s, with all the replay value you’d expect from that. A lot of Album Of The Year left me hanging in similar fashion. And while Faith No More on a bad day is still better than most bands at their absolute best, it’s certainly a letdown after all these years.


Rating: 2.0/5.0
DR: 8 | Format Reviewed: 192 kbps mp3
Label: Reclamation Recordings
Websites: Websites: FaithNoMoreOfficial | Facebook.com/FaithNoMore
Release Dates: EU: 2015.05.15 | NA: 05.18.2015

 

Written By: Al Kikuras

Faith No More 02A new Faith No More album is like getting in a New York City cab in SoHo, saying “Take me to Chinatown,” and getting a Crazy Taxi-style ride hitting Harlem, Hell’s Kitchen, and every curb in between. A journey taking us where they want us to go, rather than where we want them to. Because of this, they’ve managed to fragment their following with each release, shedding fans like so many dead skin cells (I even have a friend that doesn’t like anything past The Real Thing). Trolls still cry out for the return of Jim Martin, despite the fact that he hated Angel Dust, his last album with the band and what many feel is their greatest achievement. In the wake of the monster guitar work of Trey Spruance on King For A Day…, Jon Hudson’s more restrained style on Album of the Year has been bemoaned by many, and there are even some idiots who think there’s no Faith No More without Chuck Mosley. Despite the ease with which they could’ve made a “Part 2” of any of their albums, Faith No More were never a band to rest on their laurels, instead always challenging not just themselves, but the listeners. After a 17-year hiatus, can they again segregate and cull the masses?

At a tidy 40 minutes, the shortest album of their post-Mosley career, Sol Invictus still offers ample opportunity for both the cynics and faithful to nitpick. The opening title track is a punch to the face in its subtlety. Those fool enough to expect them to come out swinging with another “Get Out,” “Collision,” or “Land Of Sunshine” take it right on the chin as Patton croons over a somber march with tense interplay between the guitars and bass. On “Superhero,” those craving the familiar are sated with what may be the most straight forward track, akin to “Digging A Grave,” but still its own beast with a middle eastern flair. Then, on “Sunny Side Up,” things turn radically into near-pop territory, assuring one of the least pugilistic songs may have the heaviest impact. Is it funk? Soul? It doesn’t matter.

In this time of record labels disappearing, artists becoming the clown and the album becoming a lost art, Faith No More had the balls to release a single that flew in the faces of commercialism with “Motherfucker.” While, musically, it’s one of the closest stylistically to what fans might expect (leaning more towards a rap/rock feel), the title alone assures zero radio play. Releasing a song where all but the chorus is voiced by the keyboard player rather than one of the most renowned voices in music is also a bold choice that, had they still been on a major label rather than their own imprint, would surely have the suits shitting their Tommy Johns. “Cone Of Shame” ranks up there with “Jizz Lobber” as one of their darkest and heaviest numbers. Patton runs the gamut of his vocal range here, from soft baritone to cinematic narration, and ultimately some of the most emotive and frightening screaming ever to escape from his maw. While he’s done a lot of interesting stuff since Album of the Year, it’s on Sol Invictus where the man finally sounds at home again.

Mike Bordin’s drumming stands out for not standing out. The man is one of the tastiest drummers in all of rock, never overplaying, choosing parts that fit the music perfectly, and is most effective here on the sprawling, cinematic “Matador.” Jon Hudson, likewise, lays back more often than not. Much like Larry LaLonde, he is adept at finding a distinct voice among the others. Take the sparse plucking during the samba-flavored verses of “Rise of the Fall” for example. One of the many strengths of Faith No More has always been their penchant for playing off one another, yet knowing when to activate interlock and form Voltron. Produced by Gould, the sound is dense and dark even when the music is not, giving the happiest sounding moments, like “From the Dead,” an unsettling, underlying sense of dread.

As Fred Gwynne said in Pet Sematary, “Sometimes dead is better.” With Faith No More, such is not the case. Some artists manage to open a window into a world to which one cannot be indifferent. Jackson Pollock, Franz Kafka, GG Allin, Salman Rushdie, et al. – these are the musicians, poets, authors, and film makers that polarize the world. From the beautiful to the grotesque, great art should challenge us, as does Sol Invictus. Is it an amazing album? That depends on who you are, and that is one of the most amazing things about it.


Rating: 4.5/5.0

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  • I’m going to have to side with Dr. Fisting on this one. I’m seriously underwhelmed. Just not enough whelm here….

    • Fisting_Andrew_Golota

      Can we officially change my name on the site to Dr. Fisting? That sounds like some Human Centipede shit.

      • Only if you can fill prescriptions for me…and maybe several friends.

        • Fisting_Andrew_Golota

          I’d be very nervous to see what someone named Dr. Fisting would prescribe for me.

      • Monsterth Goatom

        Are you referring to how your name reads like a gerund phrase (i.e. “Driving Miss Daisy”), rather than something like “Andrew that Fisting Guy”? It definitely conjures up an image. I’m getting lost in the English here.

        • Fisting_Andrew_Golota

          The phrasing of it is not the issue, i just think it sounds more official with “Doctor” in front of it.
          Although, “Fisting Miss Daisy” has a nice ring to it too, since you brought it up!

          • Schindler’s Fist?

          • Fisting_Andrew_Golota

            Because your fist
            (your fist)
            is on my list

          • Monsterth Goatom

            What have I started?!

          • Report to HR.

    • Grymm

      It was just meh for me, too.

  • Aaron Clutter

    I dunno.. I’m digging it more and more after several listens.

    • That’s what it took for me as well.

      • Fisting_Andrew_Golota

        It did grow on me after 5-10 listens as well, believe it or not. On first impression, I liked it even less, and had written a review that I toned down a bit later.

        • I’d be curious to read the earlier draft. Do you still have it?

          • Fisting_Andrew_Golota

            Nah, it’s gone. It touched on the same general ideas, it was just more pissed off.

    • Selim Baradan

      It’s definitely a grower. I can’t stop listening to it even though I think it’s an underwhelming effort. There is just something magical about it which is hard to explain :)

      • That is how you know it isn’t underwhelming. It is subtle. There is nuance, layers. It’s an onion waiting to be peeled. Thing is, some folks hate onions.

  • eloli

    I’ll have to side both with Dr. Fisting and Fred Gwyne on this one, for a band that’s as beloved and respected as FNM, this comeback album just doesn’t cut the mustard. A shame, really, especially after Godflesh, Carcass, and At the Gates in a lesser way, demonstrated that legacy bands can still produce vital albums after a prolonged absence.

    • Oh, come on, that At The Gates? I feel about it the way Fisting does Sol Invictus. Underwhelming by a long shot, but after Slaughter of the Soul they have a very very hard legacy to live up to.

      • eloli

        That’s why I said that At the Gates pulled the comeback album in a lesser way than Godflesh and Carcass… maybe I’m being way too generous with Godflesh too, but since I’ve been a total Godflesh fanboy since Streetcleaner, it figures. Also, as a certified CROM (Crabby, Really Old Metalhead), I’m pretty forgiving when it comes to old favorites dropping new albums after long absences, yet Sol Invictus left me asking myself why did they even bother recording a new album since their comeback tour will be a hit nonetheless. In short, Sol Invictus was a disappointment, not on a Chinese Democracy level, but it surely left me feeling I blew $ 10. :D

        • Though we do not agree, it is typical for two CROMs to butt heads in our nasty old age!

        • Grymm

          No way, man. The new Godflesh still gets plenty of play here!

      • Óðhinn

        Agreed about At The Gates. Underwhelming. To quote Steel Druhm, “just not enough whelm.”

    • Fisting_Andrew_Golota

      See, we can agree on something after all! Gimme a hug!

      • eloli

        Hey, I love this site, man. (Spiky Hug)

    • By the way, nice drop on the Fred Gwyne!

    • At the Gates ! That is The comeback album, I wouldn’t have the ‘lesser way’ qualifier

  • JJnetZach

    It’s good, but it ain’t no Angel Dust. I keep skipping songs but a few of them are awesome, especially Rise of the Fall, Black Friday and Matador.

  • Selim Baradan

    Kudos to AMG for posting two reviews that reflect different point of views.
    I know it could be time consuming for reviewers but I hope they continue this trend. For example, Enslaved’s 2015 album seriously needed an alternative review.

    • Soze

      The Enslaved album is excellent, I heartily agree. This is a bitter disappointment though, I’m with the first reviewer all the way.

    • The key to multiple reviews is having differing opinions. Given that no one on staff thinks that Enslaved record is any good (because it’s not), that makes it difficult.

      • Thatguy

        Ha!

        • Thatguy

          That ‘Ha!’ is to AMG, not you Shangsean

        • I calls it like I sees it.

      • Shangsean

        In Times is pretty much my album of the year so far.

      • Selim Baradan

        I’m surprised to hear that your staff members also think that “In Tımes” deserves 2,5/5 rating, because majority of the critics/fans think otherwise Then again you rated RIITIIR 2.5/5 as well. Maybe you guys don’t like the band’s direction anymore.

        • I think having an album with dynamics would make their music with listening to again. There are more moments in In Times that I liked than on sins of their previous records, but generally speaking I intended to give it a higher score and then read my review and realized that I had just been trying to convince myself I liked it when, honestly, I didn’t. I think it’s largely on the production. But they’re not exactly swimming in new, great ideas.

      • Roquentin

        Ahem. *raises hand*
        I think it’s a really good record, but if I were to do an alternative review for every time I disagree with my colleagues… well, let’s just say that I wouldn’t have any time for fresh reviews.

      • Here’s Johnny

        It’s an Enslaved record, Enslaved are always good. The staff need their ears cleaned out or fisted.

        • This is actually exactly why we do the reviews and fanboys don’t. Because, no, Enslaved records aren’t always good.

          • Here’s Johnny

            Enslaved have never released a ‘bad’ album. I like the recent album, it might not be their best but it is still quality music.

          • I do not deny that the music might be good, but the sound is such that it’s not enjoyable for me. It’s so, so flat.

          • Here’s Johnny

            I don’t get that. It’s true that Enslaved are comfortable on this album. Not necessarily a bad thing though. Another great album from a great band as far as I’m concerned.

          • Here’s Johnny

            So, it is good? Haha. I dunno if its their best but its a quality album. I don’t get that not one of the staff likes it. Pitchfork are absolute arseholes btw.

          • No, some of the music is good. I said as much. The production is absolutely miserable and I find myself extremely bored while listening to it. Not sure what more I can say than that.

    • Martin Knap

      but where does it leave OBJECTIVITY? didn’t Kant say that although aesthetic judgment is subjective it has universal validity?

  • Danny Becker

    I agree with fisting andrew on this one. This album is a huge letdown, and did not live up to the hype. I was really looking for the catchy tracks of real thing and angel dust showcasing Patton’s vocal range on BIG, BOLD choruses. I found nothing on this one. Even Superhero and Motherfucker are letdowns. All the tracks are just generic, and do not sound like faith no more. At least Album of the year had remnants of genius, like last cup of sorrow. What did this have that bares a second repeat?

    Guitar work is insipid. Mike’s performance is rather uninteresting, and he does in fact sound bored. I do agree that maybe an outside force is necessary. I’m a screenwriter, and the writers when writing tend to fall in love with their own work because it’s THEIR work. How much objective criticism can we give to ourselves, when it’s OURS!? I suspect none. It’s imperative that any artist receives THIRD PARTY criticism. To avoid this is irresponsible. This is not to say that the band will enact on these suggestions/criticism. Sometimes, as a writer, I will dismiss other notes if I find compelling reasons to justify my original vision. Many times however, other peoples’ criticisms often times are valid unfortunately :)

    • Fisting_Andrew_Golota

      Well said, sir!

    • eloli

      I’ve been working in Advertising for 20 years now and both copywriters and graphic designers have the exact same problem… to them, their ideas are like children, and guys like me are the asshole who throw them to the river and cares only about the ones who can make it to the shore. :D
      Apologies for the confusing metaphor, it makes perfectly good sense when your’r leading a brainstorming session. :D

      • Fisting_Andrew_Golota

        THROW THE CHILDREN IN THE RIVER!!

    • Quelch Game

      Come on, leaving aside differing opinions of song quality for the moment… several of the tracks on SI sound EXACTLY like FNM. Matador? Motherfucker? Superhero? Sunny Side Up? The rest, well, this IS a band who famously likes to try new things, so…

      This album is a slow burner – there’s nothing here for your average Jim Martin fan-boy who wants a return to his simple chugging riffery. Hudson is doing a lot more than he’s being given credit for but much of his stuff is, yes, background colour to serve the songs. Nothing wrong with that. It’s not an album of 50-year-old men trying to play Angel Dust or The Real Thing again, and thank Christ.

      • I love this. Pretty much exactly how I feel in about 700 less words!

        • Fisting_Andrew_Golota

          I think it’s real easy for a band to use “trying new things”, “challenging,” etc. to justify subpar material. “King For A Day” was easily as diverse/weird as “Sol Invictus,” if not moreso — but it was also a lot better.

          Also, I will defend Jim Martin to the death.

        • And I’m glad you mentioned “Cone of Shame.” Easily my favorite from the new album. The rest of the album could’ve been shit (it’s not), and it would’ve been worth it for “Cone of Shame.”

          • It’s one of my favorites too, along with “Sunny Side Up” and “Matador.”

          • “Sunny Side Up” is definitely up there too. Can’t stop listening to the album, definitely requires a few listens to even start to get a good handle on it. I’ve had roughly 20 years to listen to the other ones, so I’ll have to listen to this one a lot to catch up! It’s a very different album, I think, which may turn some fans off, but the band is so much older, and have spent so many years doing other things, it was bound to be a very different album. I notice a very heavy Tomahawk influence in some of Patton’s compositions and voice-work, notably “Separation Anxiety,” among others, but that’s off the top of my head. Still, I’m amazed at how familiar much of it sounds, in a “home-cooked meal” way, not a boring way.

    • Danny Becker

      is it too late to change my opinion on this one? Lol, I’ll leave my original post up here, but I think this is now the second best faith no more album :(. Geeze, I cannot believe I wrote this.

      • It is never too late. I am listening to the album now and came back to re-read all of this. What’s your first favorite?

  • Thatguy

    Ho – bloody – hum

    But not disappointed because I never rated them

  • Luke_22

    Great idea on the two contrasting reviews. I’m a FNM fanboy as well and my opinion sits somewhere in between the two reviews. I don’t agree it lacks energy but amidst some solid song-writing there’s a few really fine moments, such as “Matador” and “Cone of Shame”. Patton’s incredibly goofy lyrics and vocals during parts of “Black Friday” are difficult to swallow though. Overall it’s still probably the weakest of the Patton albums, but a respectable return nonetheless. Good write-ups on both accounts.

    • The opening lyrics to Black Friday are a little goofy, but I think considering how much great stuff the man has written in the last few decades and even on this album, (“We will be where you will be no more” from “Matador,” for instance.). “Separation Anxiety” also has a lot of great stuff, like, “It’s like when your mind has a mind of it’s own. Please take mine, don’t leave me alone” and “I can’t let you go ’cause you’re a part of me, not apart from me” and what may be the most brutal smack in the face of reality, no fantasy, of how fucked up the world can be and is, “Come home and make our truce. Violence is what we learned. Listen in reverence. Why it can not pass If you only make us, then violence is what we learn.”

      • Luke_22

        Yeah no denying the man is still a fine lyricist and he certainly gets a pass in my book. In all honesty I think the album is remarkably consistent and perfectly short, but I can’t get fully behind “Black Friday” is all.

  • So, is Atlantean Kodex’s “Sol Invictus” still the best song with that name?

    • Wilhelm

      That Atlantean Kodex CD is one of the best metal albums of the decade.

  • Quelch Game

    You’re all fucking nuts – Sol Invictus is great. Yes, it is less “metal” and more mature than most of their previous work so it takes a few listens to sink in. That will ensure it’s longevity. Boat!

  • This is the first track I’ve heard from this band, having never ventured far away from death & black metal … and it sounds awesome !

  • Óðhinn

    3.25 average I guess. if you want to look at that way.

  • Roquentin

    Mr. Kikuras, you have my sword! It’s a good record, it’s vintage FNM with all of their quirks that many will deem to be “faults.” Again, that’s FNM for you.

    • Something I mentioned in my original draft but later took out because I was going on and on (as usual) is something akin to this is an album that I think, eventually, all FNM fans would “get” but unfortunately many will write it off early on and not give it the time to grow that it needs.

  • Refined-Iron Cranium

    Faith No More is one of my favourite bands of all time. That being said, it took me ages – almost months – to ‘get’ albums like Angel Dust and King For a Day. I remember hearing songs like ‘Everything’s Ruined’, ‘Anne’s Song’, ‘Evidence’ and many others, but they only left me baffled. Fast forward many listens and they’ve become some of my favourites.

    I suspect this album will be more or less the same for me. ‘Superhero’ and ‘Black Friday’ have been stuck in my head for days, but I really do think it’ll take a while for me (and most people, actually) to just ‘get’ this album.

    • That is exactly what I think, that eventually, all will get it. Of course, I have been wrong before and will be wrong again.

      • Refined-Iron Cranium

        Faith No More isn’t a band for everybody. I always felt as if their music was like an inside joke that an outsider would only appreciate once they understood it. Not everybody gets it immediately, but once they do, it’s one of the funniest things in the world to them and the joke doesn’t get stale.

        I’m still trying to ‘get’ Sol Invictus. I’ll give it a few months.

  • Václav Hamáček

    Sol Invictus is a good album. Maybe one of the best from FNM. But definitely the best of other actual rock albums released in 2014 -2015. Yes …. it is not Angel Dust but still better than their overrated The Real Thing. Sol Invictus is like a diamond in the bunch of crap which is actual rock music of other bands. Especially on this site where funny non-name B-bands which play as my daddy after 10 beers are awarded. I am enjoying bands like FNM. There is less and less them…..

    • Fisting_Andrew_Golota

      I kind of want to hang out with your dad now.

  • JL

    This album is a total joke in every musical way possible. Not a single note, riff, melody, song or lyric is memorable. I can’t see the appeal of this bizarre weirdness. It simply isn’t good. Am I wrong?

  • JL and Václav Hamáček’s comments pretty much encapsulate the split this album is causing, which is what I wrote about in my review and why Fisting that Andrew Guy suggested we do a dual review. Perfect!

  • Here’s Johnny

    The guitar has never been the most important instrument to Faith No More, i thought a fanboy would know this? It is true that there is a real lack of cool riffs though.

    I will need to listen to the album again but it has underwhelmed me so far. It reminds of King For a Day…Fool For a Lifetime. Not sure if that’s a good or bad thing.

  • beurbs

    “Mike Bordin’s drumming stands out for not standing out”
    “Jon Hudson, likewise, lays back more often than not”
    “Is it an amazing album? That depends”

    wow sounds like a real barn-burner

  • Matia Groinx

    Biggest letdown of the decade is that someone wrote in his review for this album that “quality control” was actually needed from a bunch of “music sellers” to “calibrate” the artistic views of Faith No More. This is the perfect example of the artistic letdown of human race. Being unable to accept an artist’s view whether u like it or not and rather have some “mindless” robots put a few notes that statistically will make you horny. Such a shame, a whole cone of it.

    • Fisting_Andrew_Golota

      I accepted the artist’s view. You shall accept my low opinion of it.

      • Matia Groinx

        I certainly have no problem with your low opinion about the album, its yours to keep or change or whatever suits your own taste. It could easily happen that i agreed with it, if i didnt mostly like the album..mostly. But the issue is not even about FNM’s album, its your whole “mashin for the masses” approach thats utterly disturbing. You shouldnt even be entitled to express this kind of moronic suggestions in an album review anywhere in this universe or at least in this site which after all these years proven it has nothing to do with a “musically correct” mentality. This specific attitude Is degrading for the music firstly, for the artist, for your “audience” that happens to read your review and expect at least a brave opinion and lastly for you.

        • So, suggesting they needed a recording engineer or a producer or someone to provide an unbiased opinion is mashin it for the masses and degrading to the whole world?

          … ok

        • Fisting_Andrew_Golota

          Suggesting that any band cater to “the masses” would indeed be a messed up statement — which is why I didn’t say that.
          My point was that even at their weirdest, FNM had someone providing quality control. It obviously didn’t result in their music being dumbed down or more commercial whatsoever. It just made it more focused. And the new record could’ve used some of that.

  • Carlos Marrickvillian

    Thanks to both writers, great reviews! they inspired me to really put in the effort with this before commenting…
    I think it’s ‘great’, it’s refreshingly short, Inventive without being self indulgent and loaded with songs that keep on giving with each listen. It’s centre piece ‘cone of shame’ and the epic (boom tish) Matador are up there with my favourite FNM songs.

    I dig Jon Hudson’s playing, I enjoy the clever subtlety, restraint and variation in his sound and style. I think it’s worth noting for Mr Fisting’s benefit (:) that showing restraint is very different to doing nothing. It’s the mark of a confident and intuitive player that gets dynamics.

    It is a strange record and I can see why it’s rubbed some up the wrong way. Carcass and ATG with their recent comebacks kicked down the door, slammed their money on the bar and screamed we’re back!…FNM on the other hand seem to be lurking in shadows with their cards to their chests and a gimp at their feet whispering we’ve been here the whole time…

  • FISTING, did you get a bad copy or mix or something? You need to get your ears checked. I was at Philly show and they crushed it. This album will likely be Grammy nomination material. Probably their best album to date.

  • RU63

    Picked this up on Vinyl a few days ago, and it sounds great! Definitely worth the purchase, and probably one of the best listens this year. Thanks for the review Al Kikuras, which made me buy it.

  • TheAuditor

    I dunno bois, two years later and the shit has some serious staying power for me–FNM is almost always great driving music and this is no exception. I love the Alice in Chains-style riffery and whack-o rhythm changes. I dig this album a lot.