Tomahawk - release "Business Casual" (and new album coming soon)

[McFlymo]

https://www.youtube.com/watch?v=_tAJuKu04R8

From Tomahawk's new album, Tonic Immobility, in stores March 26th. Pre-order now at http://lnk.to/TomahawkTonic

Duane Denison (The Jesus Lizard/Unsemble), Trevor Dunn (Mr. Bungle/Fantômas), Mike Patton (Faith No More/Mr. Bungle, etc.) and John Stanier (Helmet/Battles), return with their first full-length album in eight years.

"Tonic Immobility could just be something in the air we're feeling," says Denison. "It's been a rough year between the pandemic and everything else. A lot of people feel somewhat powerless and stuck as they're not able to make a move without second guessing themselves or worrying about the outcomes. For as much as the record possibly reflects that, it's also an escape from the realities of the world. We're not wallowing in negativity or getting political. For me, rock has always been an alternate reality to everything else. I feel like this is yet another example."

First impressions: I am a little sad that while it is trying to hark back to the energy of Mit Gas (kinda sounds like When the Stars Begin to Fall), Patton is lacking energy, ideas or commitment and the overall recording quality a little lacklustre.

Add to this, my trouble with Patton's use of the N-word on the Dead Cross album, the dodgy cover of "Speak English or Die" by racist band S.O.D (with Patton not changing any of the original, fairly dodgy lyrics), Buzzo's pro-Trump / Republican aligning recently, and now this vaguely "you can't say anything these days without offending someone" type rant from Denison: this is just another nail in the coffin for me. I will find it hard not to give the album a cursory listen at least, but not going to hold my breath for anything worthwhile.

It's sad when your heroes turn out to be cunts, isn't it?

[Dirty Boy]

I heard something about Buzzo speaking on right-wing channels a while back, but couldn't find anything he said that was pro-Trump. I think he views himself as libertarian according to the recent interview he did with Lydia Lunch. It would be a shame if he had turned into a Lydon-esque knuckle dragger. I think i  would have recognised his hair if he'd stormed the Capitol building at least.

As for the music - i honestly couldn't give ten shits. I love the Jesus Lizard and Helmet's Meantime (and Bungle obv), but they never bettered their first record imo.

[Noodle Lizard]

Yeah, the S.O.D cover was weird. On the surface of it, they've changed the title/refrain to "Speak Spanish or die", which makes it seem like it's an anti-anti-immigration song ... but then the rest of the lyrics remain unchanged about construction workers, street food vendors and people with dots on their head. It makes no sense, or at least has had very little thought put into it. I've been a bit disillusioned with Patton for a while, though, and this latest release hasn't inspired much confidence. Wish he'd do another Mondo Cane album, at least it'd be hard to be disappointed by that.

As for King Buzzo, unless he's done or said anything recently to indicate otherwise, I wouldn't call him much of a Republican or Trump supporter. I think he's described himself as a "classical liberal" (i.e. small government, personal freedoms), but seems pretty apolitical for the most part. By all accounts a very decent chap as well.

[chveik]

from what I've seen in his interviews, Buzzo is a real thicko

[lankyguy95]

Song feels kind of unfinished?

[Dirty Boy]

from what I've seen in his interviews, Buzzo is a real thicko

I always thought he came across well. funny, insightful and free of bullshit. However, reading about his interview with proud boys cunt Gavin McInnes and his reactionary opinions on Bernie Sanders has fucked me right off. I'm just glad that Melvins lyrics are pure gibberish.

[The Mollusk]

I always thought he came across well. funny, insightful and free of bullshit. However, reading about his interview with proud boys cunt Gavin McInnes and his reactionary opinions on Bernie Sanders has fucked me right off. I'm just glad that Melvins lyrics are pure gibberish.

He just comes across as an ageing bonehead punk to me - iron crosses and other Nazi insignia on the record sleeves as a vague and pointless bit of subversion, and his main aim seems to be making a loud racket and aggravating people, even though those intentions are about as vague and nonsensical as his lyrics.

He's much better suited to a time a couple decades ago when you could just be a dumbass and tear the roof off with amazing riffs and not be held to account for everything you say, since now when he's pulled up on it he does not do a very good job of absolving himself and unfortunately only makes himself look like the thing people are accusing him of being.

He claims he never researched who McInnes was and that he was just politely going along with an interview but that shit doesn't really fly any more. Do your homework, just because you're hard rock royalty doesn't mean you're "above" this stuff and you look like a twat rubbing shoulders with incel fascists.

[The Mollusk]

I knew it would be as soon as I saw the greyscale art and that awful typeface, but this Tomahawk song's a vapid, insubstantial dribble of shite. Like if the first album was akin to being chased off private property by a fucking terrifying dog barking and sprinting at full pelt and you only just make it over the fence but the dog is right there going hell for leather against the chain links and your heart is racing like fuck, comparatively this song is like hearing a dog barking from about five streets away while you're in your cosy living room watching Bake Off and not giving a single fuck. 

[non capisco]

Turned it off halfway through and said "That's enough of that!" out loud to no-one. The title did make me watch Limmy's "Sports Casual" sketch again and that is all it had going for it. Make an effort, Mike mate, this is flannel. I doubt even Tomahawk themselves remember how this one goes.

RAWWWWK Patton is really uninspired these days, the only project of his I've been into recently was the Corpse Flower album he did with Jean-Claude Vannier. All that revisited old Bungle thrash and Dead Cross tod can sod off into a dustbin and take this with it.

[McFlymo]

Yeah, apologies, I don't know where I got the "Buzzo is a Trump supporter" bit from, I just had a look and found this link where Buzzo seems to come off as fairly innocent and ignorant of the whole McInnes thing. https://www.brooklynvegan.com/melvins-buzz-osborne-talks-gavin-mcinnes-interview-black-lives-matter-more/

Then I saw a few highlights of the Gavin McInnes interview here:
https://www.metalsucks.net/2020/08/14/exclusive-the-melvins-buzz-osborne-addresses-the-controversy-surrounding-his-2018-interview-with-proud-boys-founder-gavin-mcinnes/

And it's pretty damning, "Nazis are socialists" and various other absolute shite in there: The guy can go suck a fuck.

He claims he never researched who McInnes was and that he was just politely going along with an interview but that shit doesn't really fly any more. Do your homework, just because you're hard rock royalty doesn't mean you're "above" this stuff and you look like a twat rubbing shoulders with incel fascists.

Exactly. It's not enough to just shrug and say, "Oh I didn't realise I was giving my time to a Nazi. Oh well."

Also, he says he condemns all the Black Lives Matter violence, which just removes all context from why, sometimes, there needs to be violence when you're existing in an oppressive system, that essentially gives you no alternatives. He misses that nuance. He's pro-death penalty though. He also misses the fact that many videos surfaced of white guys, in black, clearly looking like professionally trained soldiers etc, turned up at many peaceful BLM rallies and started smashing windows. No, he and Patton, and all the rest of these guys don't bother discussing or looking into these details, because they're either blissfully ignorant (white privileged assholes who don't give a fuck about anyone else) or they're ignoring these details for a reason (these details don't serve their political ideology.)

To be extremely generous to these cases, sure it could be argued that they're just ignorant of political stuff on a wider scale, but to me that's just not fucking good enough. If they're not speaking out against the rise of white supremacy and racism in the US, with their pretty significant platforms, they're fucking complicit, so fuck them.

It infuriates me, because early in 2020 I had a chance to ask Roddy Bottum from FNM (during an Instagram live Q&A thing, where he was promoting his new band, MAN ON MAN) about BLM and he and Joey addressed it with a sort of forgivable ignorance, the likes you'd expect from a Miss World competition: "I truthfishly believe that uh, like, racism is bad and stuff or something, so yeah, I guess we'll just try to pay attention and listen to what people are saying" but I was even delighted that Roddy went as far as this, even just acknowledging that he has a lot to learn in this area, meant a lot to me, but still, it gave me an insight into just how ignorant these guys are and it's especially shocking given that Roddy is part of the LGBTQ+ community as well.

Just saddens me that even my queer heroes are also capable of being kinda conservative white privileged douchebags.

But hey.... Anyway.

That new Tomahawk stuff is shite, innit?

EDIT: typos and stuff.

[Noodle Lizard]

To be extremely generous to these cases, sure it could be argued that they're just ignorant of political stuff on a wider scale, but to me that's just not fucking good enough. If they're not speaking out against the rise of white supremacy and racism in the US, with their pretty significant platforms, they're fucking complicit, so fuck them.

I wonder if age has something to do with it too. Certainly the artists we're mentioning here came up in a time where they weren't really expected to have a worthwhile opinion on anything (even the more overtly political bands would probably seem quite shallow if they were asked to talk about their beliefs in depth), and even until a few years ago most interviews with musicians would be about their music or the industry more than anything else.

I'm not sure if not "using their platform" makes them complicit in and of itself. What if they really don't have anything useful to say? I don't know if I'd want to hear much about entertainers' political beliefs unless it granted more insight into their art, so Roddy Bottum not having much worthwhile to say about BLM, for instance, doesn't bother me in the least. I'd be more concerned by an artist (or anyone, for that matter) pushing their beliefs hard when they're clearly not well-informed. Provided they're making good music (and not doing/saying anything too fucking wrong), I'd say a musician is doing their job just fine.

(to get back to the thread topic - I don't think Patton is doing his job just fine anymore)

[Shaky]

Yes, this is utterly boring. I've of the mind that their first album is the only truly brilliant one, with it's cracking, seedy production and strong narrative. The subsequent three have their moments, but Mit Gas and Oddfellows are more conventional and Anonymous is somewhat spoiled by Patton having to make his patented noises over music that begs for more room to breathe.

[flotemysost]

It infuriates me, because early in 2020 I had a chance to ask Roddy Bottum from FNM (during an Instagram live Q&A thing, where he was promoting his new band, MAN ON MAN) about BLM and he and Joey addressed it with a sort of forgivable ignorance, the likes you'd expect from a Miss World competition: "I truthfishly believe that uh, like, racism is bad and stuff or something, so yeah, I guess we'll just try to pay attention and listen to what people are saying" but I was even delighted that Roddy went as far as this, even just acknowledging that he has a lot to learn in this area, meant a lot to me, but still, it gave me an insight into just how ignorant these guys are and it's especially shocking given that Roddy is part of the LGBTQ+ community as well.

Just saddens me that even my queer heroes are also capable of being kinda conservative white privileged douchebags.

EDIT: typos and stuff.

Good on you for raising that. I guess I can sort of understand feeling caught on the spot and floundering with a question like that, but it's hardly like these guys are unaccustomed to giving press interviews, and it's not exactly a niche subject to raise.

I do think, as several posters have said, this is likely a symptom of these guys being the product of a different era of interview style/the way we consumed media/a general difference in what the public expected of musicians back then but I'm not sure that's a satisfactory excuse really, get with the times lads.

This single is pretty dull. Agree it has a bit of Mit Gas about it (in the sense that much of album doesn't really go anywhere), but at least those tracks have a bit more of a taut, polished swagger about them, this just feels really flabby and lazy.

First Tomahawk album will always be my fave, it's just so slick and brooding and nasty, but I do really like Anonymous too (I think it's a great concept and despite the #cancelled potential of a bunch of white blokes making Native-inspired music, it sounds like it was pretty faithfully researched and even the album title seems like a nod to the fact that these people have been oppressed and ignored. Agree with Shaky that the vocals could definitely take more of a backseat though.)

[thugler]

Wow this sucks. Phoned in. Why did they bother? Love the first 2 records.

Shitty news about Buzzo etc as well.

[McFlymo]

I wonder if age has something to do with it too. Certainly the artists we're mentioning here came up in a time where they weren't really expected to have a worthwhile opinion on anything (even the more overtly political bands would probably seem quite shallow if they were asked to talk about their beliefs in depth), and even until a few years ago most interviews with musicians would be about their music or the industry more than anything else.

I'm not sure if not "using their platform" makes them complicit in and of itself. What if they really don't have anything useful to say? I don't know if I'd want to hear much about entertainers' political beliefs unless it granted more insight into their art, so Roddy Bottum not having much worthwhile to say about BLM, for instance, doesn't bother me in the least. I'd be more concerned by an artist (or anyone, for that matter) pushing their beliefs hard when they're clearly not well-informed. Provided they're making good music (and not doing/saying anything too fucking wrong), I'd say a musician is doing their job just fine.

I agree, I am perhaps demanding a bit much from these guys. Their general apathy and avoiding of political issues over the years I could totally take. I liked that FNM never commented much on politics, except when they condemned the dodgy misogynist antics of Guns N Roses, while they were touring. I noticed that FNM were pretty outspoken in the press about how disgusting that behaviour was. And Roddy coming out as gay, while Patton comfortably played with gay sex in the lyrics to Be Aggressive etc, seemed pretty ahead of the curve: They seemed fairly woke back in the early 90s.

Perhaps it's a sad example of people getting more conservative as they get older and I suppose it's both the disappointment at that, combined with the disappointment at how cliched and uninspiring Patton and his Bungle / Tomahawk / Dead Cross team have become that has me so pissed off.

Although the aforementioned N word / Speak Spanish or Die / S.O.D / Buzzo interview / Denison saying something akin to "you can't say anything these days" tips things into a pretty unsavoury place for me. So fuck these guys.

Re: Anonymous - I still love that album and didn't feel Patton was overdoing it, although this was around the time that I felt Patton had begun to run out of interesting things to do on records (Mondo Cane, Corpse Flower and the Crank 2 soundtrack projects excepted.) I remember Tomahawk made some statement about how Anonymous was indeed about these lost voices as many of these ancient Native American pieces of music were never credited to anyone.
I thought that album was a humble, respectful way of breathing new life into these pieces of old music and sharing that culture to a wider audience.

I'm always a bit on the fence about the "Cultural Appropriation" thing. There are definitely some very tenuous examples of this that I've been presented with, where to me, it was more about celebrating and sharing culture, rather than ripping it off / stealing it / exploiting it. But that seems like such a mirky world.

[The Mollusk]

Patton comfortably played with gay sex in the lyrics to Be Aggressive etc, seemed pretty ahead of the curve: They seemed fairly woke back in the early 90s.

I've been wondering recently about exactly how much of this sort of stuff was "woke" and how much of it was actually just subversive behaviour. I know Bottum wrote the lyrics to "Be Aggressive", so it's not the best example for me to draw from here, but I do think there's some truth to the notion. The thing I mentioned upthread about Melvins and punk bands reappropriating swastikas and iron crosses ties in with this, since that's a direct instance of artists provoking a reaction with a very smug, knowing and deliberately low-effort gesture.

There is a bizarre crossover in these sorts of artists, where the age + conservatism graph curves perpetually upwards but at the same time there's still the belief that being edgy and provocative with pretty much any subject matter is fair game, when it quite clearly isn't. Times have changed, read the room etc.

Another example is this meme which Melvins posted on their Facebook page a few months ago:



While we can't be absolutely certain that the motivation behind making this was at least in part transphobic, it still has very obvious connotations of "men shouldn't be wearing women's clothes" and the implication that the model in the photograph looks foolish for doing so. This sort of content would be more appropriate if it was poking fun at something less gendered and more objectively daft like these YEEZY RNNR "Ararat" shoes, but the fact that it isn't shows shortsightedness in the band for sharing it (I'm almost certain Buzzo is in control of what their social media page posts). The intention might still seem like it's just a bit of fun and the main focal point should be that Buzzo's outfits are cool, but it's a confused message that show's the band's age since to me it more overtly looks like the message is "men in women's clothes = funny, men in cult-like dress robes = great", and if questioned about it you can almost guarantee you'd get some sort of "you can't say anything nowadays" response.

Trevor Dunn, former bassist for Mr. Bungle, and also Fantômas side by side with Buzz himself, was known for wearing a dress and a pigtailed wig on Bungle's "California" tour. I'm not saying that Dunn shouldn't have been allowed to do it and if he's having fun up there then... fair enough I guess? But how many people watching those shows would have been thinking "wow, this has changed my perspective, it's totally fine for anyone to dress however they want and fuck gender norms" and how many would have been thinking "haha man in a dress is funny"? I'd be willing to bet it's disproportionately the latter - heck, maybe even Dunn himself thought that.

When I saw Fantômas play in 2004, it was at the Astoria in London, which also served as London's venue for the G-A-Y club night after regular gig curfews. When Patton introduced the band during the set, they got to Dunn and as his name was announced the 10ft tall lights behind the band which spelled "GAY" lit up. Dunn has also stated in an interview that at one Mr. Bungle show supporting SOAD and Incubus, the band "dressed up like the Village People and acted super gay" to wind up the crowd full of metal kids.

Those last three instances (all between 1999-2004) are quite vague in that they aren't actively homophobic but they do exist in a grey middle ground: pointless edginess which borders on offensive. They are subversive, but they embody neither the eye-opening John Waters-esque positivity of "Be Aggressive" (1992) nor the unpleasant transphobic negativity of the Melvins meme (2020), and there's a direct link with all of those examples in how time has affected not just the attitudes of the fans (of whom there will always be new, younger and more "woke" generations) but also those of the ageing band members.

I'm certainly not suggesting rejection any of these bands' output because of the above rumination, but I think it's an interesting perspective to have when considering the way attitudes have changed over time and some public figures think they can pick and choose whether or not to change with them.

Sorry for the long post!

[BeardFaceMan]

Isnt he saying with that pic that the dress that Gucci want men to wear is boring and he wants to wear more interesting clothes than that? That was my immediate thought. That's just from looking at the pic and not really knowing anything about Buzzo other than the bands he's in.

[Claude the Racecar Driving Rockstar Super Sleuth]

Osborne appears to be wearing dresses in at least two of those photos (the one on the right looks more like he's stolen Liam Gallagher's cagoule).

There is a bizarre crossover in these sorts of artists, where the age + conservatism graph curves perpetually upwards but at the same time there's still the belief that being edgy and provocative with pretty much any subject matter is fair game, when it quite clearly isn't. Times have changed, read the room etc.

There's a fine line between being provocative and merely being contrary. The former can be done out of principal - speaking truth to power, standing up for the oppressed etc. - while the latter basically requires a complete lack of principal.

[Dirty Boy]

I always though Patton was fairly switched on politically at least given his scornful rage at ol' guns'n'groupies lover Jim Martin.

Buzzo is also a big fan of Throbbing Gristle, so i always (perhaps  naively) thought the shock imagery, sick humour, dedications to Hitler etc were some kind of half-assed tribute to their subversive tactics. As has been said though, times change etc and given recent comments it's not looking great for the jewfro'd one.

Anyway, new Melvins out soon. Hope it's a belter...

https://www.youtube.com/watch?v=ynZyuxaSJ_8

Oh for fucks sake!

[McFlymo]

That Gucci / Buzzo meme is quite interesting to me, because it sort of seems like Buzzo is taking the piss out of himself. Like he was originally going to go for the toxic statement of "real men should dress like men" but realised he was being a hypocrite, so changed it.

It exists in a similarly provocative / vague place that the Bungle "Speak Spanish or Die" (S.O.D cover) exists for me: The sentiment might have been well meaning but it's too vague and therefore too easily misunderstood.

[Noodle Lizard]

Osborne appears to be wearing dresses in at least two of those photos (the one on the right looks more like he's stolen Liam Gallagher's cagoule).
There's a fine line between being provocative and merely being contrary. The former can be done out of principal - speaking truth to power, standing up for the oppressed etc. - while the latter basically requires a complete lack of principal.

It could also be that King Buzzo is principled, but his principles are around 40 years old now. I can understand someone who has spent most of his life either recording or touring (Melvins are on the road more than most bands I can think of) being a bit behind-the-times, but I'm also more prepared to forgive him because he does strike me as being a very kind person overall (based on my own experience[nb]the most unforgivable thing he said was to recommend Prometheus[/nb] and plenty of other people's stories), and their music is more or less completely apolitical. They also seem to maintain good relations with bands like Napalm Death, whose music is overtly left-political.

[Noodle Lizard]

Back to the thread topic, though, I can't believe how boring that new song is. Aside from the obvious comparisons to earlier Tomahawk, it doesn't sound entirely out of the realm of something FNM might have produced in their later years. One of the main reasons I fell in love with Patton's work was his insistence on always trying something different rather than settling for one sound, so it's a shame to feel like I know exactly what two modes to expect from him now. Granted, that almost inhuman hunger and energy is probably very difficult to maintain when you're into your 50s, "just a man" at the end of the day!

[Claude the Racecar Driving Rockstar Super Sleuth]

the most unforgivable thing he said was to recommend Prometheus

Fucking CANCELLED!!!

[SpiderChrist]

Wish he'd do another Mondo Cane album, at least it'd be hard to be disappointed by that.

Inspired by this post, I listened to Mondo Cane last night, and this morning have bought a copy of the CD from someone on Discogs who calls himself Spartacus Mills. And so the circle is complete.

[flotemysost]

Some interesting thoughts here. I had always, perhaps generously, taken the examples of dalliances with "queerness" cited above, plus others (see: FNM's drag-queen-studded video for Easy, which the band allegedly chose over the original suggestion of female glamour models; Patton's "I <3 BOYS" keyboard sticker that he used on tour with Mr. Bungle; several bits of live footage showing Patton giving an unsuspecting male audience member a kiss square on the gob, etc. etc.) as evidence of being "woke", at least within the less enlightened expectations of those times, and as a playful fuck-you to the overarching heteronormativity and general macho culture of many rock/metal audiences around then.

However thinking about it now, I wonder how much of it was just a bit self-serving and performative. I mentioned in the Marilyn Manson thread how I tend to find it a bit offputting when an artist is obviously "edgelord-signalling", but I hadn't considered that this also might be a different side of the same coin - essentially, flirting with the idea of subversiveness in a noncommittal way that doesn't require you to outright take an ideological stance or profess solidarity for a cause. And undoubtedly it's far easier to do that sort of thing, and you're more likely to be praised for it, when you're (AFAIK in Patton's case, anyway) a straight, white, cisgendered man, and a conventionally attractive one at that.

The Gucci meme strikes me as a misfired attempt at self-deprecating humour rather than anything intentionally transphobic, but it still sort of relies on "men wearing dresses=ridiculous" veiled under the guise of "high end fashion is pretentious and silly", which seems like a pretty dated Zoolander-esque basis for a joke.

[McFlymo]

Some interesting thoughts here. I had always, perhaps generously, taken the examples of dalliances with "queerness" cited above, plus others (see: FNM's drag-queen-studded video for Easy, which the band allegedly chose over the original suggestion of female glamour models; Patton's "I <3 BOYS" keyboard sticker that he used on tour with Mr. Bungle; several bits of live footage showing Patton giving an unsuspecting male audience member a kiss square on the gob, etc. etc.) as evidence of being "woke", at least within the less enlightened expectations of those times, and as a playful fuck-you to the overarching heteronormativity and general macho culture of many rock/metal audiences around then.

However thinking about it now, I wonder how much of it was just a bit self-serving and performative. I mentioned in the Marilyn Manson thread how I tend to find it a bit offputting when an artist is obviously "edgelord-signalling", but I hadn't considered that this also might be a different side of the same coin - essentially, flirting with the idea of subversiveness in a noncommittal way that doesn't require you to outright take an ideological stance or profess solidarity for a cause. And undoubtedly it's far easier to do that sort of thing, and you're more likely to be praised for it, when you're (AFAIK in Patton's case, anyway) a straight, white, cisgendered man, and a conventionally attractive one at that.

The Gucci meme strikes me as a misfired attempt at self-deprecating humour rather than anything intentionally transphobic, but it still sort of relies on "men wearing dresses=ridiculous" veiled under the guise of "high end fashion is pretentious and silly", which seems like a pretty dated Zoolander-esque basis for a joke.

For an answer to Patton's "performative wokeness" look at how often he said / did pro-LGBTQ or anti-macho stuff in his non-FNM projects. Perhaps being in a band with Roddy had opened his eyes a bit (I think he was only 21 or 22 during the Angel Dust era of singing about swallowing cum etc), but I remember the aforementioned G-A-Y thing in London with Trevor Dunn and to me that feels a tad homophobic, playful and not malicious maybe, but would that "joke" have happened if the band had had an actual gay person in it?[nb]Although I don't know what Trevor Dunn's sexuality is[/nb]

I've also seen Patton getting annoyed at someone shouting "Bungle! Bungle!" at him (I think it was a Tomahawk gig) and Patton returned chanting, "Faggot! Faggot!" back at the guy.

However! The "wokeness" (for want of a better term) of FNM in the 90s was a great thing for people like me, who had literally seen zero LGBT representation in modern culture that I could relate to or feel comforted by. There was a cynicism to FNM and a courage against the more traditional metal attitudes that at the time made me feel a bit like I could question macho stereotypes and mock that sort of shit, even if I didn't know how to articulate that until I was much older.

[Goldentony]

Patton's always seemed like a bit of a show off cokehead skater rather than politically dodgy, but people talk about him like he's a fucking total head the ball privately when it comes up. I never bought into it because I saw that mixtape he made in the 90s full of people dying and shitting on each other. Slimy video collector boke who thinks Faces Of Death is too soft, tons of them everywhere, this ones just supremely handsome and was incredibly talented for a stretch. Fuck knows what he thinks, but he seems like more of a try hard than an actual full on nutter to me. But then again i'm not his mate am I hey, don't know him.

Him, Buzzo, all these blokes are damaged by California. You have to expect it from them. Buzzo's thick as all pigshit imaginable and has that same smarmy streak. They're all like Bam Margera's grandads, that same vibe. Politically he's like a deadpan appreciation of Ron Swanson by a tit. They're lucky enough to have more self awareness than Rob Zombie but they're a few bad choices away from the same level. Probably sound on some level but they've all got California sun in them, can't get rid of that. Sends some people mad.

[McFlymo]

YIKES....
https://www.youtube.com/watch?v=DVMr7dirQtI

The comments are wonderfully tolerant and respectful, as you'd expect.

[The Mollusk]

I wouldn't go as far as "yikes" but this is exactly the type of thing I was getting at in my big rant post upthread. There's no way they're blissfully unaware of how prevalent gender identity and politics are in the world right now, so I just don't get what the fuck the point is of stuff like this. It's not smart enough to be subversive, and it's not so senselessly dumb that the irony (if it exists) is glaringly apparent. Once again it's just fucking stupid and misguided and it really shows their age and lack of relevance.

[McFlymo]

It's totally and 100% a "Yikes" from me!

A "YIKES" and an "EDGYDADS".