Here Dave Lombardo's initially reserved tempo soon booms alongside Patton's ravings. "Church of the Motherfuckers" is a slithery industrial and darkwave-kissed corner where Mike Patton turns his nastiest chops loose. A few unexpected turns add to the album's incessant anticipation.įor one, the bass-bombed and naturally nutty "Bela Lugosi's Dead" is a cryptic, static-laden harbor of goth punk once amassed by LORDS OF THE NEW CHURCH and SISTERS OF MERCY. It comes fast, without mercy, and with the explicit purpose of delivering a perplexing wallop-and it's a mere primer for the chaos to follow. Opening with the crazed "Seizure and Desist", it's a bludgeoning blitz of sensory overload, one for which you should be well-prepared, even if you dial up FANTOMAS for your nightly tuck-in. Thus, DEAD CROSS's unruly 28-minute debut is one to remember that is, once you get over the neurotic explosiveness of it all. While you have to feel a bit for Serbian, who gets erased from a potentially historic moment in fringe music, Mike Patton is the obvious choice-if you're out to crank a fuzz-busting, madcap dissection of hardcore. Exit Serbian, enter the higher profile-make it plural, if you desire-pedigree of Mike Patton, and DEAD CROSS's self-titled debut album is now a reality.Ĭall it betrayal or call it making the most of an awkward transition, but Dave Lombardo, Michael Crain and Justin Pearson stood to gain everything by allowing Patton to not only to re-record Serbian's parts on this album, but also to write his own lyrics.
This moment has been a long time coming, it seems, especially once co-founding vocalist Gabe Serbian mike-dropped, both figuratively and literally.
DEAD CROSS SHILLELAGH MOVIE
Mike Patton emerges once more from the dark side of his own blood moon, bringing with him enough personae to give James McAvoy's 23 personalities from the movie "Split" reason for permanent exile. The future is canceled, and the season of the witch is nigh.
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