In the summer of 1992, my older brother drove me to Tower Records to buy the new album by a band called Faith No More. Angel Dust was quite a departure from their previous album due to the increased influence of vocalist Mike Patton. As a 14-year-old burgeoning music fanatic, I was fascinated by the idea that such aggressive and experimental music could also be oddly accessible. While I have remained a fan of Patton throughout his numerous projects over the years, they have never quite managed to ignite the same level of enthusiasm. If any of them could be considered a worthy contender, it would be Tomahawk.
Formed in 2000 as a collaboration between Mike Patton and guitarist Duane Denison from The Jesus Lizard, Tomahawk straddled a similar line between experimental and straightforward rock/metal. The addition of ex-Helmet drummer John Stanier and ex-Melvins bassist Kevin Rutmanis (now replaced by Trevor Dunn, ex-Mr. Bungle) transformed the project into a veritable supergroup. Their first two albums delivered solid batches of dark yet quirky alt-rock songs. Their third, Anonymous, was a surprising collection of Native American inspired songs that left much of the aggressive rock element behind. While it is an interesting and respectable album, it was a bit of a disappointment. Six years later, Tomahawk have returned with what is arguably their most cohesive album to date.
While Patton has become somewhat of an icon of experimental music, he is most successful when he is forced to fit his tempestuous ideas into a more controlled environment. Duane Denison’s guitar work, while often angular and discordant, provides a uniquely dense framework that gives these songs their inherent charisma. In the end, Oddfellows is another album from a Mike Patton project and his grandiose presence will compel some to judge it as little else. He pulls out all the stops and clearly has no problem proving that he is still one of the most versatile rock vocalists. However, the diversity and overall quality of Denison’s compositions are what truly make this the most satisfying Mike Patton album of this century.
For those who share my affinity for 90‘s-era Mike Patton, the album hits all the right marks. One of the most notable is “Stone Letter,” which might be the catchiest and most barefaced rock song that Patton has ever touched. The fact that the song sits between the jagged guitar-driven title track and the crawling piano of “I.O.U.” is a perfect example of the outright audacity of Oddfellows. A basic verse-chorus structure will be confidently embraced for one song, only to be turned on it’s ear for the next. Oddly enough, the deviations are what produce some of the weaker moments. Nevertheless, this presumptuous nature of the album is a welcome reminder of a time when rock bands were confident enough to throw you a curve ball or two.
All of my nostalgic drivel aside, Oddfellows is not only a gratifying return to form for Tomahawk, it is also one of the more enjoyable alt-rock albums in recent memory. I am not afraid to admit that I will never be completely satisfied until I am holding a new Faith No More album in my hands. But, Oddfellows is certainly a great example of why I became so captivated by Mike Patton in the first place.