Certain musical adventures, outputs, meanderings, experiments, trials, tribulations, and exercises in ego massaging are able, in certain circumstances, to fly under the radar and generally considered, reviewed, and appreciated from a musicality perspective rather than with any preconceived notions of worthiness. Mostly, in the gladiatorial arena of Ave Noctum, this is the case, dealing as we do, with a small number of ‘well known’, bands and artists but generally much of what you may find is by small, on the fringes of the world, bands that are sticking their head above the parapet, safe in the knowledge that generally their output will be judged purely on its artistic merit. That’s usually the case, but occasionally a well know band/artist will pop up on the slate and it’s a slightly different ball game. The same would be true of say bands like Carcass, Megadeth, Maiden, Metallica and the great and good (and bad) of metal’s nomenclature top table. These bands are often held to a higher standard purely because of their illustrious and genre defining work that has proceeded them.
Now I am not for one minute suggesting that Mike Patton necessarily belongs in those exalted corridors of power, but given his prodigious work ethic (sadly not extended to fulfilling Faith No More’s touring plans for the last two years but let’s not let personal gripes interfere with this train of thought) and his status as somewhat of Svengali of contrarian chaos, his work is judged and contrasted with his prodigious output of work not limited to Faith No More, Fantomas, Tomahawk, Mr. Bungle etc. I will admit, I admire most of his music even if elements of it may test the patience of some. That said, Dead Cross’s first self-titled album was, for me, merely OK and not up in the upper echelons of what Patton is capable of, but, with this their second album, Dead Cross seem to have found their musical sea legs and created an album of hardcore infused, skate punk with enough nods to Patton’s love of the absurd, comedic, and outlandish. And given it again features Dave Lombardo on drums, who doesn’t love a drum fill featuring one of thrash’s most beloved tub thumpers? It’s such a joy to hear Lombardo bust out his chops here which are supplemented by The Locust’s Justin Pearson and Retox’s Michael Crain, who’s cancer diagnosis, informs a lot of the pain and angst reflected in the lyrical and musical direction of ‘II’.
For the most part, this album seems to straddle Mr.Bungles’s proto 80’s thrash with the bounce and groove of say Suicidal Tendencies, pinches of Ramones styled punk with splashes of the avantgarde sprinkled over the top, courtesy of Patton’s eery spoken word interludes and spooky, killer clown, circus infused keyboard flourishes. And it’s this myriad of musical styles all jammed together like sardines at the bottom of a trawlers net, that may put some of the curious off about Dead Cross, but for those that like an extra bit of spice to their hardcore/thrash music, you’ll find much to enjoy and luxuriate in here. Dead Cross have found their feet with their second full length effort, which is odd considering it’s a far less straightforward than their first album but in allowing the sum parts of their collective musical influences free reign, it’s conversely a more cohesive and enjoyable collection of songs. There will be some, that will simply ignore this as another example of Patton’s musical compulsive Tourette’s, where he feels everything, he does is deserving of a release, but a word of caution to the naysayers, do not let your preconceptions preclude you from wallowing in what is a great album of thrashy, punk hardcore with a dollop of madness with a side order of the macabre. Given this is produced by Ross Robinson, should clue you in to the core of what makes this album so enjoyable, as the uber producer mines the collective wells of Patton and Lombardo souls and leaves it all flayed, filleted, fresh and dripping on the butcher’s block. This is a hugely enjoyable and fresh sounding collection of songs which is even more admirable considering it’s all played in musical genres that are all well into their fiftieth years. Some of Patton’s best work for years.
(8.5/10 Nick Griffiths)
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