In the absence of new Faith No More (which seemed like it might actually be a thing for a minute earlier this week), Tomahawk has always been my favorite (read: most FNM-like) of Mike Patton’s myriad side projects. If I’m being honest, the Patton-led collabo — which also includes Jesus Lizard guitarist Duane Denison, ex-Helmet drummer John Stanier and ex-Mr. Bungle bassist Trevor Dunn — kinda lost my interest with 2007′s Anonymous, a record that lacked gusto and reminded me a very mellow, spiritual version of Bungle. 2003′s Mit Gas is the record that hooked me, but 2001′s self-titled debut is a ripper too (stream it on Spotify here).

So it’s with cautious anticipation that I report that Tomahawk are working on a new album, according to their Facebook page. Hooray! Hopefully it’s more Mit Gas / self-titled and less Anonymous. Presumably we’ll find out in the first half of 2012, and presumably it’ll be issued via Patton’s own label Ipecac.

-VN

Thanks: Mykee Shaffer

For some reason, internet metal nerds love to talk about drummers, even if they themselves do not play drums. Whether it’s “Who has the fastest double bass/blastbeats?”, “Should I use one bass drum or two?” or “What does Pete Sandoval’s drum throne smell like?”, there are few things more tiresome than the topic of metal drumming. What that in mind, in this post I will put the discussion of this topic to rest forever by conclusively saying all that there is to say about metal drumming. After this post has been published, anyone who still debates these points is as foolish, ignorant and stubborn as people who believe the Earth is flat or that God exists. So if you have anything to say, say it now, because this is it — this is your chance to become part of the moment in which we closed the door on dorky, redundant debates about metal drumming.

This is THE FINAL WORD on metal drumming!!!!

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In honor of my first-ever time seeing Helmet tonight (following the MS afternoon show at Fontana’s, of course), I’m reposting an oldie but goodie….first published on Nov. 26th, 2007

Helmet perfectly exemplifies where backbone groove finds its place into the world of metal. True — guitarist/monotone vocalist Page Hamilton has always provided the overall vision of this outfit, but it is mega-thick pocket drummer John Stanier that people usually seem to remember the most about NYC’s Helmet.

As far as I’m concerned, Meantime is one of the greatest heavy albums from the 90s, and I still rock that joint several times each year. Every song is a gem, and the style perfectly melds with both the melody and the fury throughout. After I discovered the awesome might of this record back in the day, I went on to check out subsequent release Betty and previous offering Strap It On, and both of these albums truly have their strengths but at the end of the day, Meantime is the one. Fierce and incendiary and yet pretty accessible for a hard pocket aggressive blend.

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Wow, can this really be twentieth anniversary of Helmet? Well, yeah, the classic core of Henry Bogdan, Page Hamilton, and John Stanier disbanded in 1998. And sure, the reconstituted line-up that Hamilton unilaterally pulled together for 2004′s better-than-expected Size Matters has degenerated entirely into an unrecognizable cast of hired guns spilling in and out of a literal revolving door. But, uhhh, barring that, technically the band did form in 1989, so even though there’s only one original member and his last album Monochrome was fucking awful, I guess Hamilton is allowed to celebrate this moment.

But not like this.

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Page Hamilton’s latest batch of hired guns masquerading as “Helmet” is about to embark on a month-long European jaunt that will hit up cities in Belgium, Denmark, Finland, France, Germany, Italy, Spain, and The Netherlands. Kicking off January 13 in Helsinki, the tour includes opening act support on most if not all dates from Totimoshi, whose 2008 record Milagrosa was produced by Mr. Hamilton and engineered by Deaf Nephew Toshi Kasai (of Altamont and Big Business). Details can be found here.

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