so, after a great and old interview in which mike says his parents own porno, here goes a video: imani coppola and mike pynthon patton hosting rage, in 2007; imani pick a rod stewart video and sir patton starts to talk about how his parents getting in the mood.
[rod stewart was sampled by lovage. track is lifeboat. sampled: in a broken dream (by python lee jackson feat. mr. stewart]
nice ways to promote your product or service by lovage
ready to teach us how to let the hos go wild…
thanks, @slimmaniac!
(i wonder a version of mike playing videogame…)
Mike Patton (Lovage)
Here is the sexy Mike!
From this pic: http://www.last.fm/music/Lovage/+images/426694
pattonmike reblogged your photo: I’m taking requests for other Mike Patton…
see… mike patton - lovage! with hugh hefner robe style… slimmaniac:Oh yeah, that will be awesome! I’ll try to get it done today!
mike blows out 44 candles today!
happy birthday, fucker!
I first encountered Mike Patton in the same way probably a lot of you did: in high school. As the newly-minted floppy-faced lead singer of Faith No More, he tossed Big Hair Rock a curveball with his erratic stage presence and undeniable voice. He also unwittingly helped give birth to compound genres like “Funk Metal” and “Rap Rock” after gumming up the MTV airwaves with the band’s mega hit “Epic.”
That was way back in 1989, right before the grunge cloud began raining down on pop culture and shoved Big Hair Rock aside for Big Hate Myself Rock. FNM got weirder, thanks to the growing influence of Patton’s long-running side project called Mr. Bungle. Working with pioneer saxophonist/composer John Zorn, Mr. Bungle unleashed a steady stream of multi-hyphenated music that bent genres into pretzels and got geeks (like me) worked up into a lather. Taking bits of ska, jazz, metal, doo wop and every other type of music imaginable (Balinese monkey chant, anyone?) they stirred a riveting stew, but eventually Mr. Bungle seemed to crash under its own weight.
If you’ve been keeping score since then, Patton’s managed to set up camp in his own little experimental territory. He’s now one of rock music’s most wildly creative, intelligently sinister and most well-respected composers lurking in the avant-garde shadows. From redefining death metal with Fantomas, to putting on a hip hop cabaret with Dan The Automator in the forms of Lovage and Handsome Boy Modeling School, to lending his elastic pipes to Bjork’s all-a cappella “Medulla” project and even writing a chamber orchestra piece with Zorn, Patton never seems short of things to do. His output has been consistent not only in its frequency, but in its randomness.
His latest spate of releases comes in the forms of a beat-juggling turntable collaboration with Brooklyn DJ crew the X-Ecutioners (also known as the X-Men) in February, and, most recently, a mile-a-minute tribute to cartoon music (and to the month of April) with Fantomas, released, you guessed it, in April (Both on his label Ipecac Recordings). Before taking off for a Fantomas tour, Patton took some time to chat with Indie Study about his influences, the art of collaboration and his love affair with the turntable.
Independent Study: How did John Zorn come into your life and how did you guys start collaborating?
Oh, I’ve already done my turntables for the Lovage stuff. Mike’s a good friend. He actually came onstage and screamed with us on one of the tracks when we played in San Francisco. He’s great. The Lovage music is done for the most part but we’re just waiting for Mike and Jennifer to get together and write again. But I had so much fun on that tour. I hope they finish it soon (laughs). Dan the Automator is part of it as well, of course. But I haven’t heard any new Peeping Tom stuff yet.
book of the month - behind the scenes
I know … hahaha! <3
what the world needs now is love, sweet lovage!
