(Photo Credit: Raymond Flotat)
Garnered as the fourth-stint on a thread-line of antiquated single-releases from their latest, Sol Invictus, Faith No More have certainly careened an exhilarating return to the forefront this year. Running the gamut from gracing festivals with their chameleon-like stage presence, co-healining tours, and dropping an arsenal of new material into the hands of consumers, including cuts: “Cone of Shame,” “Superhero,” “Black Friday,” “From The Dead,” and “Sol Invictus,” the prog-metaliers are a force long-overdue seething fruition.
“Separation Anxiety’ follows the “neo-vintage-tacky” suit the band has so come to revel in artistic proportion. The song plays as the soundtrack to a series of subsequent-sequences cut-together from the 1955 expressionist film: Dimentia, or what others know as: Daughter of Horror.
Lead-singer/frontman, Mike Patton paints the sonic-persona with his “far-in-the-distance” crooning, coupled by his shrewd chants of raspy discourse. Matched with choice and precision between the beats and edit-cuts, black-and-white imagery issues a narrative obscene as a young woman invariably seeks to determine her experiences between reality and a dream while a bizarre man baring a black-mask rises from the grave.
Faith No More bassist, Bill Gould explains the relevance of releasing music-concept-videos through Mike Patton’s label, Ipecac in opposition to working under a major-label:
“When you do it with a major, there’s nobody that you can talk to about accountability as far as… I don’t know… something simple, like, ‘You want us to do a video? Who wants us to do a video?’ ‘Well, the guy down in that office down there.’ I never met him before.”
“In this kind of situation we have here, we know everybody, we can talk to everybody. And it’s like, ‘We need this video. We need it for this.’ ‘Okay. Let’s make it happen.’ And we know that the content that comes out of is our content, how we want it, and not some guy in an office who thinks they know who we are who’s giving this in front of all these people and embarrassing us, for example. Which happened a lot, actually. Even though we had a great label back in the day, but it’s an office of people who are not in our band, who [don’t] know us as well as we know ourselves.”