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Peeping Tom

4.3 out of 5 stars 90 customer reviews

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Editorial Reviews

Lack of face-to-face interaction did not keep long-distance collaborators from turning in exceptional performances: Norah Jones' lascivious "Sucker," Kool Keith's "Getaway" and Massive Attack's "Kill The DJ" are intense and passionate as anything a live band environment could have produced. Peeping Tom also includes contributions from Amon Tobin, Bebel Gilberto, Dub Trio, Kid Koala and several of Patton's Bay Area running buddies, such as Dan "the Automator" Nakamura (who tag teams with Rahzel on "Mojo"), Jel, Odd Nosdam and Doseone of anticon records. The end result is an utterly unique multigenre/ multi-artist departure from Patton's more recent noisy output-one that would ultimately have to be classified as a pop recordú a Mike Patton pop record, but a pop record nonetheless.
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Product Details

  • Audio CD (January 13, 2015)
  • Original Release Date: January 13, 2015
  • Number of Discs: 1
  • Label: IPECAC RECORDINGS
  • ASIN: B000F3TBIO
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (90 customer reviews)
  • Amazon Best Sellers Rank: #60,416 in Music (See Top 100 in Music)

Customer Reviews

Top Customer Reviews

By Michael Stack VINE VOICE on May 30, 2006
Format: Audio CD
One of those projects whose anticipation will likely lead to extraordinary dissapointment on the part of many fans, Peeping Tom is Mike Patton's take on pop music. Admittedly, it seems highly unlikely we'll be hearing any of this stuff on the radio anytime soon, but the project has been cooking for the past six years-- Patton's desire to largely perform it on his own augmented by a consideration at pursuing a major label for its release (it ended up coming out on Patton's own Ipecac Records) and Patton's endless array of distractions (i.e. every other band he's involved in) resulted in this taking several years to complete, finally seeing release.

The concept on the record is pretty simple-- Patton by and large tackles most the instruments and vocals, with an array of guests either in a production role (Dan the Automator, Amon Tobin, Jel, Odd Nosdam, Massive Attack, the Dub Trio) or performing role (Kid Koala and DJ Disk on turntables, Dale Crover of the Melvins on drums, beat boxer Rahzel, Doseone and Norah Jones on vocals as well as instrumental contributions by all the producers) providing assistance, but this is clearly a Mike Patton record. While it is more rhythmically founded in pop than anything Patton has done in quite a long time, the rather detailed arrangements and production result in a depth of instrumentation that keeps this from being a real pop record-- there's too much going on at any time, and Patton's proclivity to odd vocalizations does shine through here. Net result-- it's significantly more commercial than Fantomas or Mr. Bungle, but this isn't exactly the Backstreet Boys...

So how is it? All this anticipation and all?
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Format: Audio CD
I bought this album the day it came out. It usually takes me awhile to fully love an album. I listen to it non-stop, then I take a break from it, then I start listening to it again to gain a fresh perspective. I realize that the critics get an early copy, but I don't know how they can properly review an album on just a few listens. My first instinct was that Don't Even Trip was the weakest song on the album, and though I've gained greater appreciation for the song on repeated listens I stand by that instinct. Five Seconds is the best by far. The refrain, counting seconds backwards from five, make me want to run through a wall. I recently saw Peeping Tom in concert, and that song was the standout for me. Capirinha is my second favorite song. It's a sultry tune that reminds one of Sade or Maria Muldaur's Midnight at the Oasis. How U Feeling is the one that crept on me. I've only recently started getting into this song. Then there's Mojo. Another excellent concert song, but if you're reading this I'm guessing you already know this one. I'm not sure why Pre School was left off the album, because it is far better than Celebrity Death Match and Don't Even Trip. As another reviewer said, seek this song out. You'll love it. Kill the DJ is a good song, great beginning, average refrain and the ending drags a little. Getaway is a little disappointing, but it's better than 100% of the songs lining up on Billboard charts. Sucker is awesome, but I'm not one of those who is awestruck by the use of cursewords when used in a song--even when they are sung by Norah Jones. I've always found swear words a distraction from the beauty of a song, but artists feel a need to add them to give their listeners a sense of the artist's rage against the machine.Read more ›
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Format: Audio CD
Snippets of excited gossip about this "Peeping Tom" record have been floating around message boards and heavy on the tongues of Patton fans everywhere so when the album finally got released.. Well, there was silence. I'll preface first that I'm a huge Patton Fan but this project lacks the direction and power of Patton's previous releases. The real shining stars here are the producers who fill this album with slick grooves and abrasive guitars and drums. Odd Nosdam blows out Dale Crover on '5 Seconds' in a throwback to Fantómas which works brilliantly, despite the awkward pairing of the two on Nosdam's album "Burner" (the song is called "11th Ave Freak-out Pt 2" for you fans who need it all.) Amon Tobin digs back into his Permutations bag of tricks and turns an old Fugee's sample into a bittersweet grinding industrial track. Jel and Nosdam make beautiful music for Patton to croon over on 'Your neighborhood spaceman.' But still there is something missing. Lyrically, this is one of Patton's weakest albums. Forgotten are the clever biting lyrics of Mr. Bungle or Tomahawk which are now replaced by trite like "Driving Lamborghini's and we're sipping our martinis. Slurping our linguini's etc..." Thankfully the Norah Jones collaboration is bitter and nasty on "Sucker." Take this album at face value; It's Patton's take on pop music and it sounds exactly like that. Instead of trying to dumb down his music for a major release (it was put out on his own label in the long run) Patton should have fully embraced all of his talent's weird skills and made a fearless and freaky collaboration (like General Patton vs. Executioners or the Patton/John Zorn album.Read more ›
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