Latest news with #FaithNoMore
Yahoo
18-04-2025
- Entertainment
- Yahoo
Mike Bordin: Mike Patton Is 'Unwilling' To Do Faith No More Shows
The post Mike Bordin: Mike Patton Is 'Unwilling' To Do Faith No More Shows appeared first on Consequence. Faith No More last played a concert in August 2016, and it appears they won't be returning to the stage anytime soon. Drummer Mike Bordin says that singer Mike Patton has 'gone from being unable to do the shows to clearly being unwilling to do shows with us.' Patton was supposed to return to the stage with Faith No More in 2021, but canceled all scheduled concerts at that time due to mental health struggles. He has since returned to performing live with his band Mr. Bungle, but Faith No More have yet to reschedule any shows. In 2022, Patton told The Guardian that the pandemic took a toll on him, and that he turned to alcohol during those dark times. 'The idea of doing more Faith No More shows — it was stressful. It affected me mentally. I don't know why, but the drinking just … happened.' He added, 'The band is rock solid, and I want to make sure that I bring it. There are a few issues going on,' without going into detail. Last year, keyboardist/guitarist Roddy Bottum noted that Faith No More were on a 'semi-permanent hiatus.' Now, Bordin has offered an update on the state of Faith No More in a new interview with the Let There Be Talk podcast (as transcribed by Blabbermouth): 'All I can say is, and I think I do want this to be on the record, actually — because we don't promote ourselves, we don't talk about ourselves, and that's, that's really been to our detriment. But we'd been rehearsing for six months for [those 2021] dates. We'd been rehearsing instrumentally and we incredibly sounded phenomenal. I mean, the bass player said, 'I've never heard us sound this good. This is how these songs sounded in my mind.' And we've never gotten that on album, on live, whatever. I mean, we were ready, we were prepared. And it came to pass that when the gear was in the truck, when it was rolling to Chicago, 36 hours before we were supposed to be on stage, and our guy [Patton] doesn't show for the rehearsal, the one rehearsal that we're gonna do. And we go to go see him and see what's going on. 'What the hell's going on here? Our gear's rolling already to the gig.' And it was very clear that he was unable at that point to physically do it. We made the decision that, 'Look, we've gotta support our guy.' It's gonna be a shit storm canceling fucking 75 shows, but none of us wants to be the guy that breaks his back and forces him to do something that he's not in the position to be able to do. It wasn't even an argument. The only argument was, 'How the fuck did we logistically do this? Because we have to.' I mean, we did support him in our way, and whether that's perceived or not is beyond — I can't control it. So we pull these shows and just wait to see. Hopefully things are better, and try to find out what we can around the edges. But ultimately shows get started to get booked with another band, and that's continued to this day. So it's my take, my position, my statement on it is that he's gone from being unable to do the shows to clearly being unwilling to do shows with us. And that's heavy. That's a big difference. That's a big difference. And we haven't really had much dialogue on it. … It doesn't feel great to me. It honestly kind of hurts my feelings a little bit, but that's personal. That's a private thing. It's business. We were never gonna force somebody to do something that they weren't able to do. And now, as I say, it looks like it's more really about being willing to do it.' Bordin did add that he is 'grateful for what [Patton has] given to us. I mean, we're blessed to have been blessed by such a gigantic, enormous talent. And the future? I don't know. Will he be willing to do stuff or not? It's not for me to say.' The drummer concluded, 'I can't force him to do something that he, from where I'm sitting, doesn't seem to wanna do. That's all I can say. And I don't wanna be controversial. I'm not looking for a fucking headline — I'm really not. I'm just trying to tell you sort of what it looks like from here.' Listen to Mike Bordin's appearance on the Let There Be Talk podcast below. Popular Posts The 100 Best Guitarists of All Time Reggie Watts Bummed Out by Coachella: "[Its] Soul Feels Increasingly Absent" Green Day Open Coachella With "American Idiot" Performance: "Not a Part of MAGA Agenda" A Night of Mayhem: Lady Gaga's Coachella Performance Is One for the History Books Wife of Weezer Bassist Scott Shriner Shot By Police, Charged with Attempted Murder The Original Misfits Rip Through 20-Song Set at Coachella Subscribe to Consequence's email digest and get the latest breaking news in music, film, and television, tour updates, access to exclusive giveaways, and more straight to your inbox.
Boston Globe
06-03-2025
- Entertainment
- Boston Globe
Queen of Noise Kim Gordon makes fashion/political statement on ‘Gulf of Mexico' with P-town tee
'GULF OF MEXICO,' the shirt shouts in large red capital letters on the front, Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up The tee, available for pre-order online, is being sold by the seasonal Joey Holman, who owns the West End boutique, designed the T-shirt as a way to cope with his own anger over 'Trump's divisive rhetoric,' he said. 'For the first time, instead of numbing myself out looking at social media, I was like, 'I have a store. I have a brand. Why don't I use that and try to make something?'' Exterior of The Old Baby in Provincetown. Joey Lee Holman Holman, 41, is married to Roddy Bottum, the 61-year-old keyboardist for Faith No More (they're also in an indie-rock band together called Advertisement Gordon, who recently earned the first Grammy nods of her career for Last month during New York Fashion Week, celebrated Mexican designer Patricio Campillo was photographed Did Holman know about that? 'Oh my God, that sounds so much cooler than mine,' he said, calling up the image during an interview. 'I'm looking at his shirt now — it's so good. 'I think everybody should be making a Gulf of Mexico shirt,' he added. 'That'd be fabulous.' Brooke Hauser can be reached at
The Guardian
17-02-2025
- Entertainment
- The Guardian
‘Serge Gainsbourg pretended to be an alcoholic': Jean-Claude Vannier on making a masterpiece with the louche legend
Ask a set designer to create a bohemian Paris apartment and they'll probably come up with something that looks a lot like Jean-Claude Vannier's: books everywhere, vintage Bauhaus armchairs, art on every bit of wall space. You would say the living room was dominated by his grand piano, but your eye keeps getting drawn to a plethora of toy pianos that sit on and around it. On closer inspection, there are toy pianos on the shelves too, crammed among the books. 'I've got more in the other rooms,' shrugs Vannier, speaking through an interpreter, 'and I have a house in the country that's full of them too. I take them to concerts and play a note or two. I find it adds something to a live performance that is filled with virtuosos. I have an open-tuned guitar that I kick, too – it makes a big boom.' Disrupting an orchestral performance by playing a toy piano or kicking a guitar seems characteristic: Vannier, now in his early 80s, has been a disruptive presence in French pop for 60 years. His latest project is pretty odd: a song cycle performed by a vast mandolin orchestra, accompanied by a story written by Vannier that involves a broken romance, alcoholism, homelessness and murder. 'All the great love stories are sad,' he says, 'because if people live happily ever after and have lots of children, there's not much to say.' In fairness, it's certainly less strange than the story Vannier's most famous collaborator, Serge Gainsbourg, came up with for his 1972 album L'Enfant Assassin des Mouches (The Child Fly Killer). This involved a small boy persecuting a fly before being smothered to death by a swarm of the insects. If Jean-Claude Vannier et Son Orchestre de Mandolines seems an unlikely diversion, it's no more peculiar than Vannier's 2019 album Corpse Flower, a collaboration with Faith No More's vocalist Mike Patton (a Vannier superfan who's releasing his mandolin album on his label Ipecac) that featured songs about despairing monkeys and the danger of voiding one's bowels when drunk. Nor indeed Vannier's own career as a singer-songwriter in the 70s, which came about, he says, because no one else wanted to sing his chanson-inspired songs. It's meant as no reflection on the quality of the albums to say you can see why: Vannier's idea of a single was a song called Merde, V'la le Printemps, or Shit, Here Comes Spring. 'It wasn't my intention to shock anyone,' he says. 'I just wanted to talk about what I saw around me. I had a song called Mon Beau Travelo – My Beautiful Transvestite. I was doing the music for a ballet with Roland Petit. After the performance, he would take me to the side streets off the old Paris Opera. There were many drag queens there. We used to watch them and that's what inspired the song. It was very controversial at the time, and no one was willing to sing it, but it's not shocking. It's just what I wanted to express.' Vannier's reputation, however, really rests on his arrangement and soundtrack work. David Holmes, DJ and creator of soundtracks for a host of Steven Soderbergh movies, has called Vannier 'the greatest soundtrack composer of them all, a true genius'. Vannier has worked with everyone from singer Françoise Hardy to literary provocateur Michel Houellebecq. He wrote and recorded songs with the latter, Houellebecq even taking singing lessons to get his voice up to scratch. Mentioning his name provokes a frown from Vannier: 'It's true that I've worked with him, but he's someone who will never be my friend. I met one of his publishers in an antique shop near here and they [joked], 'Houellebecq is worse than a gangster!' He has a terrible reputation, so I would never associate with him. But I'm a huge fan of his actual writing.' For all of these people, Vannier constructed astonishingly inventive orchestral arrangements, that occasionally touch on atonality and often bear the influence of music from the Middle East – the result, he says, of his disastrous first job, as an engineer in a Paris studio. 'I started with yé-yé singers, young girls and boys, and I made a lot of mistakes. So they had me record accordionists, who at that time were seen as very vulgar: their music was for Saturday night dances that were a bit violent. They didn't have a good reputation. I messed up again, because I wasn't particularly interested in this music, so they had me record Arab musicians. This was during the Algerian war: there was a lot of fear aimed at Arab people, they were not popular at all in France. I loved working with them. I was happy, because I loved Arab music.' But it's Gainsbourg who remains his most celebrated client. Vannier worked with him on the lauded soundtracks for the films Cannabis, La Horse, and Les Chemins de Katmandou and, most lauded of all, on 1971 record Histoire de Melody Nelson. A flop on release, it's now acclaimed not just as Gainsbourg's masterpiece, but one of the greatest French-language albums in pop history. Its belated rediscovery by crate-digging sample hunters and musicians in the 90s also seemed to spark a broader shift in anglophone listeners' traditionally snobbish, dismissive attitude to French pop: if something as extraordinary as this had escaped widespread attention, what else had the country's musicians produced? 'I think you're right,' says Vannier. 'When I first started receiving emails from kids in the UK that went on about how amazing this record was, I thought they were laughing at me – I know the British are very big on sarcasm. But then Mojo magazine called my daughter saying they wanted to do a big spread on me. I was astonished. I think that, quite simply, they just didn't have access to these records before. They accepted me with open arms and more. I realised I had influenced a lot of people.' You can say that again. Echoes of his dramatic Melody Nelson orchestrations can be heard everywhere from Beck's Sea Change to the Arctic Monkeys' Tranquility Base Hotel And Casino, and they've been sampled by everyone from Portishead to De La Soul. In recent years, Vannier has conducted huge, star-studded concerts of the music in London, Paris and LA. Yet his relationship with Melody Nelson is a tricky one. Vannier says he wrote most of the music – 'Sometimes Gainsbourg would come and see me with a melody, but more and more he would turn up with absolutely nothing and I would have free rein' – but Gainsbourg declined to give him a writing credit. They remained friends until the French singer's death in 1991, but Vannier seems to have found Gainsbourg's penchant for provocation a little trying. 'He pretended to be a shit-stirrer,' he says, 'because it was profitable for him financially. He wasn't really interested in politics or philosophy or psychology – he was just prompted by whatever his press people told him to do. Before TV appearances, he'd run his hands through his hair so he looked more dishevelled. At the start, he actually pretended to be an alcoholic when he wasn't – he was trying to shock on purpose to amuse his audience. At the end of his career, he genuinely was an alcoholic, but at the beginning that was a pose as well.' Melody Nelson had another belated effect. While working for a French label, the British DJ, producer and 'Gainsbourg obsessive' Andy Votel heard 'garbled rumours in Parisian record shops' about a mysterious 'Melody Nelson follow-up' that had never been released. Some of the rumours were pretty lurid: it was based on Lord of the Flies, it had an 'X-rated cover', it had been banned. It turned out they were talking about L'Enfant Assassin des Mouches. 'The guy who produced it worked with a guy called Mike Brandt, a really kitsch singer who was big in the 70s, although Eminem later sampled elements of arrangements I had created for him.' This was on 2009's Crack a Bottle. 'I'd made a few hits with this guy, so to thank me, his producer said he'd make a record with me and I could do exactly what I wanted. It was very, very expensive to make. I don't think anyone today would throw so much money at such a strange project.' The results were astonishing, if deeply weird: a melange of funk, free jazz, hard rock, musique concrète and stunning orchestrations. His label was so horrified, it refused to press more than a handful of copies. If Vannier was surprised by the belated interest in Melody Nelson, it was nothing compared to his bafflement when Votel contacted him, asking to rerelease it, which he did in 2005 to vast acclaim. It's been quite a career. At 82, Vannier 'doesn't do much work' nowadays, but doesn't give much outward impression of slowing down, with another soundtrack coming up. Perhaps he can't stop. 'When you love music,' he says, 'there's absolutely nothing that can prevent you from making your own music. My parents were devout Protestants. They absolutely hated artists. There was absolutely no way I was going to pursue a career in music. But once I turned 18, I had the right to do so. When your real passion is music, it's like a tide that absolutely nothing can stop.' Jean-Claude Vannier et Son Orchestre de Mandolines is out now on Ipecac.
