En – Faith No More – Interview 1997 – The Albun Network Magazine

Faith No MoreAlbum Of The Year – Interview 6,1997



By: Michael D. Vogel – 

© May 22, 1997. Michael D. Vogel. All Rights Reserved.

      Is there an archetypal locale in this great country of ours from which hardcore rock bands are formed? First responses might be Los Angeles, New York, Detroit or maybe even Washington D.C. But wherever this mecca of aggressive rock may lie, the humble and quaint surroundings of San Francisco, most probably don’t pop up very often in hard-edged comparisons. After all, the bay area is the home of the Grateful Dead, Jefferson Airplane and Journey to name a few. Although most of the members are involved in various side projects, a team sense of pride is deeply rooted within the band. It is a fierce energy that has bonded these men together for a career that has spanned fifteen years and seven albums to date. But this is not a happy band. The members of Faith No More feel they have not fully realized their potential nor have they received the attention they deserve. Plenty of rock and metal bands have incorporated different musical styles into songs, usually in very small doses. With Album Of The Year, Faith No More have taken the next step on the road to darker pastures. Battling constant rumors of a split and the ever- present battles in the court system, bassist Billy Gould took some time out to discuss the state of Faith No More and set the story straight. Faith No More has always been about explosive music, yet as of late the rumor-mongers and fortune-tellers of the music business have predicted the eminent implosion of the band. Let’s set the story straight! Billy Gould: “In a nutshell, here is our history – Faith No More have been together for almost fifteen years, releasing seven albums to date, one every two years. When any group of people are together for that long there is bound to be some turmoil, but nothing that was to overwhelming to resolve. As for rumors and insignificant gossip, we have been dealing with those kinds of breakup speculations since we recorded our first album. Our last album, King For A Day, Fool For A Lifetime was somewhat of any angry record. The material came out of the firing of our guitarist, Jim Martin. We all thought the band was lacking in guitar heaviness in the past. So our intention was to record an extremely guitar heavy album. Once the record was completed, we hit the road touring for a short nine months. Not wanting to be too burned-out, we stopped touring a little early and went immediately back into the studio to record a new album. “The way we work musically is a democracy. This process is a little harder because the album needs to be worked out to everyone’s satisfaction. As members of the band, we all realize there is a need to compromise, but at that same time there is also the desire to be able to exercise your own artistic vision. It is that reason, (Mike Patton has Mr. Bungle; Roddy Bottom started Imperial Teen; and Mike Bordin has been playing with Ozzy Osbourne); they all have their side projects. Each of these other projects is completely different from the others. “Once you get the demons out, then your ready to come back and face the war with a clear head. Each of our albums has been a logical progression. As far as a particular formula for our sound, we don’t follow any particular guidelines. A formula is not something that we could really hold onto. We are a real band: An organic entity that matures, experiences changes and gets older. As we see it, our responsibility is to grow in the most natural way as possible. Album Of The Year expresses that growth. Although, for a definition of the album, its’ meaning will probably not be evident for a couple of years – until we can all look back and see how it fits into the rest of our chain of records.” As an anti-formula band, Faith No More seems to thrive on the philosophy of concentrating on areas that are lacking from past albums. Is there a certain point you are trying to get across? BG: “The Real Thing might be unique and a little different from the mainstream, but for the most part it was a pop-rock album. Unfortunately, as a result, we had developed into almost a cartoon type band. In order to show a different, darker side of the band, we recorded the Angel Dust album. Although this was a heavier record, with a lot of atmosphere, it never really smacked you in the face. King For A Day, Fool For A Lifetime was really where we attempted to do just that. “We always try to do strengthen those area’s we feel are shallow. King For A Day was the release valve. An explosion of music that we really felt we needed to express. Our new record, Album Of The Year, is somewhat of an after effect. The debris has settled, leaving the exposed the wreckage. In all, it is a post explosion, moody album that deals with the topic of death.” Is this a manifestation of the D.i.Y. (Do It Yourself) philosophy? “If you think about the process of maturity, there are certain point where adolescence ends and adulthood begins. There are always certain things that signify each of these stages. But, for the most part, growth can be a very intense process. Bands of today are not encouraged to grow and develop, taking chances with their music. It is a very painful thing to do. So we took it upon ourselves to push who we are as a band and what we are representing musically. In more simple terms, we record what we heard inside of our heads and not necessarily what outside influences are dictating. “It is impossible to classify Led Zeppelin or Pink Floyd; they are in a group unto themselves. Similar to that, we want to create our own category, where there are no comparisons of any kind. People have always tried to classify our music. Some say we are metal while others say we are more funk oriented and still others think we are the perfect crossover mix. We would prefer people to say instead, Faith No More recorded a new album and it sounds like Faith No More! To be creatively satisfied is the ultimate goal of any musician. “The same can be said for the name of the album. It has really taken on a life of its own since coming up with the title Album Of The Year. On one hand it took a whole year to record, so it really is the ‘album of the year’. But is also a tongue and Cheek joke. It is a response to the way things are over-hyped these days. This level of hype and the threshold of a person’s credibility has been taken to such an extreme that the title becomes a relevant statement of the times.” Over the years many artists have been labeled wild cards – renegades that are outside the fringe of conventional music. Do you feel Faith No More is now caring that flag? “We have been ignored over the last couple of years. For a lot of people, especially in the music industry, everything would probably be better if we just went away. Our music makes it very difficult for radio programmers to categorize because we the wild card that doesn’t fit into any one format. If the world were orderly and neat with everything fitting into its’ predetermined slot, the whole business would run much more efficiently. But that is fantasy and this is reality. For better or worse, people today are on the bandwagon where everyone belongs to a particular group. So by giving the record the title Album Of The Year, it is our way of injecting a little obstinacy into reality.” In the past, Faith No More has shied away from the over use of toys that modern technology provides. Has the band now embraced the new age? “Our philosophy has always been that the more stuff you include on a record, the smaller the album becomes. As a result, we have always tried to keep things as minimal as possible. But then again there is nothing wrong with pro-technology either. The most important thing is that it works well with the music. “The beauty of modern technology is that it puts the power back into the hands of the musicians and away from studio tech’s and engineers who have, for the most part, made themselves a necessary part of the recording process. In the past a few thousand-dollar investment got a band a three-song demo tape with no flexibility for creative input from the band. Now, for that same investment, a band can buy a computer hard drive recording system and make demos to their own specifications. There is a certain amount of pride that goes with doing something for your self. For example, we edited this record in my basement. That’s not something that could have been accomplished five years ago.” You once said ‘The music business is disgusting’. Do you still feel that way? “There is a lot of hypocrisy in the industry. Most of today’s music mirrors what is going on in the business right now. This irresponsibility comes from the corporate nature music has evolved into over the last several years. A major reason why records aren’t selling is due to the lack of connection people have with the music. The industry is out of touch with what is written and recorded. In short, there is so much control over what is being released that the music tends to suit the needs of the people who are promoting it rather than those who are recording or buying it. “If you don’t sell records, the band is eventually going to get dropped from the label. A record companies vision is on a quarter-by-quarter basis. They are very short sighted; it’s part of the business. So, if you are going to pursue the path where you are self-reliant, you then run the risk of losing everything you have worked hard to achieve. There is also the realization that there may be no rewards at all, other than the self-satisfaction of enjoying what you are doing. For better or worse, we have taken that path. But I am relieved that, like this interview, it hasn’t all gone for nothing!” ^m^   Line-Up:                                                                                   Origin: Mike Patton – Vocals                                                            San Francisco, CA Jon Hudson – Guitar                                                                  Mike Bordin – Drums                                                                 Billy Gould – Bass Roddy Bottum – Keys About The Current CD: This is the seventh album from a career that has spanned over fifteen years. Other notable successes of Faith No More – 1989′s double platinum The Real Thing and 1992′s gold album Angel Dust. Discography: Album Of The Year (Slash/Reprise, 1997) King For A Day, Fool For A Lifetime (Slash/Reprise, 1995) Angel Dust (Slash/Reprise, 1992) The Real Thing (Slash/Reprise, 1989) Introduce Yourself (Slash/Rhino, 1987) We Care A Lot (Mordam, 1985) Produced By: Roli Mosimann, Billy Gould & Faith No More Label: Slash/Reprise  Website: www.fnm.com   © May 22, 1997. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at http://www.vogelism.com, authored by Michael D. Vogel. This article may be shared or reprinted as long as the entire copyright message, including the source location of this article, accompanies it.

Mike Patton Talks MONDO CANE with Your Music Magazine – May 2010

Há menos de 50 dias para a apresentação dee Mike Patton´s Mondo Cane e Ennio Morricone em Santiago, Chile. Reservamos essa entrevista para que possa fazer a contagem regressiva para 24 de novembro.

There are less than 50 days for the Concert of Mike Patton’s Mondo Cane and Ennio Morricone in Santiago, Chile. We reserve this interview so you can make the countdown to November 24.

Para a leitura em outro idioma, transcrevemos a publicação para que possa se traduzida no botão ao lado

Para que puedas taducirla, dejamos todo em contenido publicado para que puedas traducirla a tu idioma


When I was in High School, I would hear stories of a man who as legend had it once drank his own urine from a stinky boot during a show; A man who was known to recklessly climb shifty stage backdrops and riggings – all while belting out some of the most intoxicating and influential vocals in rock history. Thus is the legend of Mike Patton… or at least that’s the way I’ve known it. The voice behind legendary acts such as Faith No More, Mr. Bungle and Fantomas, as well as numerous side projects and odd-ball collaborations, Patton has once again surprised us all. Mondo Cane, which almost literally translates from Italian to “the world has gone to the dogs”, collects various selections from a short run of exclusive shows throughout Europe in which Patton performed covers of various 60s Italian pop songs backed by a massive orchestra and live band; At first listen, Mondo Cane confused me. It was definitely Mike Patton’s voice, but he wasn’t singing in English and I had no idea what was going on… Then the second track ‘Che Notte’ came on and my mood changed… The track was upbeat, almost jazzy. All of a sudden, I’m driving down a long country road somewhere in northern Italy; There’s a town up ahead. Rounding the sharp cobblestone turns in my speedy Alfa Spider, I drive straight towards the town’s piazza; Top down, scarf blowing in the wind, half-burned cigarette barely hanging from my bottom lip, I raise my hand politely to an old man on the corner with a gesture only an Italian could pull off: ‘Buon giorno, signore! Come stai?’ He flips me off. What the crap? Suddenly I’m back in the woods with my lovely girlfriend and my annoying cat… no Alfa Romeo, no fancy scarf, no air of brazen machismo… no rude old man. Just a beat up pick-up, an old band hoodie and a brand new shiny copy of Mike Patton’s Mondo Cane on the table. Man, I need a vacation.

What inspired Mondo Cane? What drove you to put together an album of 60’s Italian pop songs?

It was a part of my life. I lived in Italy for 6 or 7 years and while I was living there I fell in love with this music. I didn’t have to search too deep. It was present in everyday life. I got in really deep and started discovering who was writing this stuff and who was arranging it and learned more and more about it. The more I learned, the more fascinated and seduced I was. You know, at a certain point after listening and really loving this stuff, I realized…goddamn, someday I’d love to do my own version of this stuff. I’d love to recreate it in my own image. It’s a selfish point of view, but that’s the way I make a lot of my music. I hear things and then I think, “Well, what can I do with that?”

Were there plans for the album before the performances themselves? 

No, no. This was never destined to be a record or recording or even a project of mine. It was just a string of dates, a couple of concerts I was doing. Considering how much time and energy was going into the arrangements and finding the right musicians I realized that I should really document this, for better or for worse. I should put this down and see what happens. Once I did that, I sort of dug my own grave. Live concerts sound great, but are they perfect? No. So what I did was I created an illusion of a live record that sounds like a studio record. I cut out all the applause, corrected every wrong note or every mistake, myself included, and tried to make the best studio atmosphere that I could out of a live concert. There was a bit of magic in there.

What was it like working with a 40-piece orchestra? That’s a huge group of people to manage…

It’s a lot of people, yeah. Ultimately, yes, I am responsible, but there’s also a conductor that can keep them happy. The biggest challenge was making sure that the orchestra were not bothered by the sounds of the fifteen piece electric band behind them. There were definitely physical challenges but also some aesthetic ones. An orchestra playing with a rock band? They’ve done it before. They don’t care for the most part. They think of us as heathens. The way they collaborate with us is, you know, like Metallica with a fucking orchestra.

Yeah, I was going to mention Metallica…

So there you go. That’s what I’m dealing with and that’s what any musician that’s not classically trained is going to have to deal with. I managed to do it and I got through it, but there are a lot of prejudices there, and for good reason.

How were the shows originally received in Europe? Were there doubters?

The first shows we played were in Italy. Those were our first three shows and were the ones that I recorded and were the backbone of the record. I probably could have chosen the concerts a little better and maybe recorded the last three shows we played because we were much better, but hey, that’s the way it goes. But yeah, the concerts were received really well and from a mixture of people. I’m used to a sort of rock crowd; People who are fanatic about what they’re coming to see and make their opinions known. There were some of those people, but very little. We played theaters where people subscribe to a whole season of orchestral music. They just come every Thursday night or whatever. There were a lot of curious heads out there and I was very thankful.

Do you think it will be a challenge to market this album here in the US?

I don’t know and I don’t care. Well, I guess maybe “I don’t care” is not an accurate statement because I wouldn’t be talking to guys like you. I’m not disparaging you, I’m just saying I wouldn’t be doing fucking interviews. There’s a certain amount of humility you have to accept in doing things like this and it’s not my forté. I’m not great about talking about myself. I make music and I’m not that great talking about it. Do I think that it will succeed with an American audience? I don’t know. I have no fucking idea. I do think that if you listen to a record like this it pretty much doesn’t matter where you’re from or what point of view you’re coming from. I think that it will put a smile on your face. That’s my opinion. That’s the best sales pitch I can offer.

Are there plans to press this on vinyl? ‘cause that’d be great…

Vinyl? Yeah, I’m working on that. There’re a couple of options. I’ll decide on one of them because the artwork is – I just got the promos the other day and I was over the moon, man, so happy with it.

Yeah, the cover looks great. I’m definitely interested in seeing the rest of it.

Oh, it’s really cool, but wait until you see it. Wait until you hold it, man. I’m telling you. It’s one thing on the computer screen, but trust me, there are surprises for you when you hold it.

Are you planning to take Mondo Cane on the road here in the States?

I am, yeah. I’m doing a month-long tour of Europe in July and then I’m working on the States. Unfortunately, a project like this is very difficult to do in the States and I’m realizing that. There’s plenty of great musicians and plenty of people that are curious about it and plenty of people that would come to the shows, but it’s just different over here. I’m not going to lie to you, it’s expensive. A whole orchestra and a fifteen piece band? It’s not something that I can just do on my vacation. For whatever reason due to state funding and sponsorships and blah blah blah, in Europe it’s much easier to realize a concert like this. In the States… so far it’s been a bit of a struggle. If I just do two or three shows in the States I’ll be happy. What can I say? There are definitely more opportunities in Europe. That being said, there’s nothing as satisfying as making your own music and not being a state-funded whore. A lot of European composers – I mean, hate to talk shit, but hey, if you’re getting funded by Obama or Berlusconi, who are you working for? Who are you making art for? I definitely have that sort of resentment towards European policy and European artists, but it’s tough love.

So what kind of music do you listen to, then?

Where do you want to start? I mean, I’ve been doing this a long time. You can’t ask me, like, my favorite artist, okay? Jesus Christ. Help me out here! Do you want recently? How about that?

Yeah, how about recently? What have you been listening to?

Okay… I’ll tell you about a group that I really like called Pivixki: P-I-V-I-X-K-I. Australian piano and drum duet that plays grindcore. Really amazing. The piano sounds like a guitar… It’s fantastic. It’s really incredible if you like that kind of stuff – completely up your alley. That’s just the first thing I saw on my desktop here, so…

So I was told I have one Faith No More question.

So that’s the way they do it, huh? Funny. Well, good. One is too many for me. No, I’m kidding, man, I’m kidding.

I’m bummed because I missed both Coachella and the three Warfield shows…

Oh, no shit? You should have come to the Warfield, man, it would have been easier to do this there.

Yeah, I’m bummed. It’s been years since I’ve seen Faith No More.

You’re too busy living in the mountains up there! It’s okay. We only played three shows, you know, it’s no big deal. Whatever.

Maybe next time around…

There won’t be no next time, my friend.

Damn, really? So what was it like playing on stage again with FNM?

It was great! What we did was construct three different evenings with different bands playing with us; not even bands at some point, acts playing with us. We constructed a bit of a freak show every night that we were really proud of. It’s kind of the first time that we’ve been able to really take control of an evening and sort of sculpt who sees what and what they hear. In the past I think we’ve cared a lot less about that.

Why do you think it was different now?

Because we’ve got nothing else to worry about. There’s no record. There’s no press. It’s very easy to just focus on musical concerns. And for the first time in two decades I think we were able to construct a series of shows that we were super proud of and that we controlled every single aspect of; The way it looked, the way it sounded, who was playing with us… Yeah, it was pretty satisfying.

Source: http://www.yourmusicmagazine.com/index.php/by-section/18-ymmblog/398.html

EN – Mike Patton and Dan The Automotor Áudio – Interview 1991

Mike Patton and Dan the Automotor [Áudio] – Interview 1991 

Entrevista em áudio  BBC Rádio 1 rock show em 17.07.2001 – UK

HMV Entrevista / Interview Faith no More – novembro 1990 English

Hi, Patton Fans

Interview with Faith no More in November, 90 to HMV MAGAZINE

Entrevista com Faith no More em Novembro para HMV MGAZINE

Original Version English

Versão Original – Inglês

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