The Metal injection website has published a review of the new Faith No More album, Sol Invictus. It was written by Jeremy Ulrey and an excerpt is given below:
Sol Invictus has been a long time coming, given that the band have been touring consistently off and on since 2009, and the most striking thing about it is that it resists the temptation to recapture the old funk thrash sound of The Real Thing, instead picking up pretty much where AotY left off: "Motherfucker" is the closest FNM venture to old school funk/hip hip rhythms, turning the shitty-on-paper combination of nu metal and "88 Lines About 44 Women" into a staggering chorus showcasing Patton's melodic vocal flights. "Superhero" also proves to be a bit of a misnomer of a single, the band going the "unreliable narrator" route by throwing out the most straightforward, disposable track first.
The deep cuts are where Sol Invictus really gets interesting. "Matador", which was the earliest of these songs to be played live, is a fairly elaborate production, cascading from a plaintive piano ballad up through a bombastic, Queen-like energy build that is nonetheless classic FNM through and through. Jon Hudson acquits himself well as the logical successor to Jim Martin on his second studio effort in that role. "Black Friday" starts off with Patton reviving his schoolyard countdown rhyme scheme (ie. "Be Aggressive"), but the underpinning track is all Pixies-like acoustic western swing leading up to a stun guitar chorus.
"Cone of Shame" contains one of the few overt displays of modern influence, the central guitar line having a distinct redolence of Johnny Marr's tenure in Modest Mouse. Hewing to the formula of previous albums somewhat, "Sunny Side Up" is essentially this album's version of "Take This Bottle" or "RV", while "Rise and Fall" doesn't smack of any particular back catalog track but does indeed sound like it could have been an Angel Dustouttake.
Sol Invictus has the distinction of being consistent and fairly easy to get into while at the same time evoking the spirit and songwriting ethos of the later, slightly less prestigious albums, King for a Day and Album of the Year. However, while both of the latter were slighted in their time and left to refine with age like a fine wine, Sol Invictus is one that should prove imminently potable right here in the present.
To read the full review go here: