“I can dress up the dead man
But I can’t bring him back to life
Bring it out, bring it out.”
FAITH NO MORE – MOUTH TO MOUTH
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If I had to pinpoint certain moments of adolescence that really served as an epiphany to my little pre-teen heart, one of them would surely come with the introduction to the band FAITH NO MORE and the hit single (and video) for the song EPIC from the album THE REAL THING (1989). The energy was raw and fresh and alive, speaking to some whispering flame of rebellion within me.
Of course I was familiar with GUNS ‘N ROSES and other popular (radio) rock bands of the day, as well as some classic groups like BLACK SABBATH, AEROSMITH and QUEEN, but it was over the course of 1989/90 when it felt that I had been given my first real introduction into a brand new band which was speaking to my generation and the coming teenage years. FNM felt like it “belonged” to us.
Then in 1991 with the release of BILL & TED’S BOGUS JOURNEY, and the appearance of the FAITH NO MORE SPIRITUAL AND THEOLOGICAL CENTER, the band firmly established its place as pop culture icons. With their follow up album ANGEL DUST (1992), now with a new lead guitarist, the band proved that it was a musical force to be reckoned with in a fresh landscape of artistry.
But this article isn’t meant to serve as a FNM discography (which actually begins in 1985 w/ WE CARE A LOT), nor is it a nostalgic piece about my childhood. No, the article today is give props and credit to the immensely versatile vocalist and songwriter, the visionary Mike Patton. In particular, his contributions to horror/science fiction in music, film, video games, and influencing other artists.
Bands like KORN, INCUBUS, SYSTEM OF DOWN and SLIPKNOT all cite FNM as an inspiration, while Mike Patton, a vocal and outspoken opponent of the mainstream industry, would go on to co-found IPECAC RECORDINGS (1999) and have success with innumerable other creative projects including MR. BUNGLE, FANTOMAS, TOMAHAWK, PEEPING TOM, LOVAGE and DEAD CROSS.
With DEAD CROSS we get the most overt nod towards the horror genre (even if tongue in cheek), featuring the song BELA LUGOSI’S DEAD by BAUHAUS (1982), with drums courtesy of Dave Lombardo from SLAYER. Over the past few years we’ve gotten brand new albums from MR. BUNGLE, TOMAHAWK, and DEAD CROSS, each giving us a taste of horror influences.
Yet, decades before we were already getting hints at Patton’s genius for creeping terror with songs like CAROUSEL, or EVERYONE I WENT TO HIGH SCHOOL W/ IS DEAD by MR. BUNGLE. Hell, the entire discography of FANTOMAS is a nightmare soundtrack for imaginary horror films. I’m pretty sure a murder took place in a cheap motel during the recording of ADULT THEMES FOR VOICE (1996).
Patton can go from transcendent & angelic vocals, to guttural demonic possession with the flip of a coin, delivering equal conviction and talent regardless of musical genre or lyrical task. His collaboration with artists such as THE DILLINGER ESCAPE PLAN, THE MELVINS, JOHN ZORN, and BJORK only highlight the versatility of this artist and his wide reaching impact.
Considered by many to be one of the greatest and most diverse rock vocalists of all time, with an impressive 6 octave range, it’s no wonder that Patton has also done voice over work for several projects, including the popular survival horror video games LEFT 4 DEAD 1 & 2, as well as THE DARKNESS and its sequel. He even supplied all the monster voices for the film I AM LEGEND.
No stranger to composing film scores, Patton would go on to create the horror soundtrack for THE VATICAN TAPES (2015), as well as the adaptation of Stephen King’s novella 1922 (2017), and cites some of his own horror influences as being the soundtracks for ROSEMARY’S BABY, THE OMEN, THE BIRDS, FOUR FLIES ON GREY VELVET, and the superb Japanese horror film KWAIDAN.
His band FANTOMAS is named after a popular series of French crime fiction novels from the early 20th century which featured a modern-day serial killer and super-villain, while the band’s album DIRECTOR’S CUT is a cover version collection of themes from horror films and television. The band PEEPING TOM is named after the controversial 1960 horror film of the same name.
With FNM song titles such as ZOMBIE EATERS, SURPRISE YOU'RE DEAD, and DIGGING THE GRAVE, Patton never shied away from expressing his love for the horror genre. With his brief stint with the band THE DILLINGER ESCAPE PLAN, on the track COME TO DADDY he sings: “I want your soul, I will eat your soul. Come to daddy, come to daddy!”, taking a direct cue from the film HELLRAISER.
And does so with such ferocious intensity, conviction and confidence, you believe that he just might have enough of an appetite to get the job done. Patton is one of the most frenetic and eclectic musicians alive today, jumping from alternative metal to art rock, funk, thrash metal, surf punk and experimental trip hop with ease. Always, creeping beneath the surface, are striking tones and tributes to terror.
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Michael A. Dyer is the host of the HORROR TO CULTURE podcast and website.
