FANTOMAS
Fantomas - (1999)

The first project Mike Patton worked on after the April 1998 breakup of Faith No More was the all-star Fantomas. Heavy metal fans everywhere salivated at the lineup of Patton on vocals, the Melvins' Buzz Osborne on guitar, ex-Slayer Dave Lombardo on drums, and Mr. Bungle's Trevor Dunn on bass. But as longtime fans have come to learn long ago, always expect the unexpected with Patton-related projects. The band's self-titled debut (the first for Patton's record label, Ipecac) is far from your conventional rock; composed and produced entirely by the singer, the songs serve as a soundtrack to a comic book's story line. At nearly 43-minutes in length, Fantomas is comprised of 30 chronologically numbered "pages"' instead of songs. While it's an unconventional album, it's also a completely original one, especially when compared to the blah and predictable alt-rock of the late '90s. Patton uses his voice as an instrument with often amazing results (singing nonsensical syllables instead of words); few singers have the talent or know-how to pull off such highlights as "Page 1," "Page 19," "Page 21," and "Page 29." If you're expecting an album comparable to either Faith No More or Mr. Bungle, you may be confused and disappointed. But if you're looking for something completely original and cutting edge, Fantomas is highly recommended. (allmusic.com)

http://www.mediafire.com/?h7s8yy11b05ndw5

FANTOMAS
The Director's Cut - (2001)

Fantomas stand with their feet planted horizontally across the soft dimensions of your face, warping the shape of your skull and shoulders with their off-color explosions. With expectations withering on the floor, leaving a viscous stink, nothing in their hands is concrete. As a follow-up to their 30-song debut, throughout which vocalist Mike Patton never formed a single actual word, Fantomas offer these 16 new creations, all realigned versions of film soundtracks, ranging from the notorious theme to Rosemary's Baby to the obscure and peculiar wank of Henry: Portrait of a Serial Killer. While there are many similarities to the dispersed flip-flopping styles of their earlier work, The Director's Cut breaks new ground with a thick jagged axe. First, most noticeably, are the even more varied vocal stylings; Patton's sweet croon on "Experiment in Terror" is nothing you've heard before from him on a Fantomas recording, along with many of the other croaking, spitting, pissing, screaming noises he excretes. Yet another testament to the unabashed genius of Mike Patton and his co-conspirators, leaving those caught up in the rapture with mouths even more full with thick drool. (allmusic.com)

http://www.mediafire.com/?204uxzbhtnm8akl