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Mondo Cane
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Mondo Cane
Current price: $16.99
Barnes and Noble
Mondo Cane
Current price: $16.99
Size: CD
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Mike Patton
's previous work scoring a
Morricone
-esque soundtrack (
A Perfect Place
), covering themes from movie soundtracks (
The Directors Cut
), embracing the language and music of other cultures (
Anonymous
), and crooning (
Lovage
), all invariably had a deeper purpose: preparation for his most elaborate endeavor to date (which is saying a lot.) Inspired by time spent in Italy visiting his in-laws and listening to the oldies station there a decade prior, for this project the vocalist extraordinaire performs renditions of cinematic
Italian pop
songs of the '50s and '60s, all while backed by a 40-piece orchestra, a choir, and a 15-piece band. To add to the grandeur, the recordings are taken from live shows, with the best bits pasted together from a slew of European performances using studio magic. Most of the parts are taken from the tour's first intimate performances in Italy, which is fitting.
Mondo Cane
sounds authentically Italian.
Patton'
s time in his second home in Bologna was apparently well spent. His grasp of the language is exceptional; he sings naturally with the comfort of a true native (and a flair for rolling "r"s) throughout the bulk of the release.
"Deep Down"
lapses into English, only because the original does, in a masterfully embellished version of
Ennio Morricone'
s theme from
Danger Diabolik
. Because the original soundtrack masters are M.I.A., this little slice of magic brings a previously unavailable piece of history back to life, and it's a totally worthy substitution. It's not surprising that
Patton
would pay tribute to his hero
, whose material
Ipecac
reissued in the
Crime and Dissonance
set, but the big surprise and reward is when he takes risks with deep Italian cuts by
Fred Bongusto
,
the Blackmen
Luigi Tenco
, and
Gino Paoli
. All of these, while taken from a variety of styles, from
Frank Sinatra
pop
to
psychedelic
garage rock
, are covered as they should be: with proper respect to the original, while showing off the unique personality of
. Sure, he's showing restraint, and singing ballads, mostly, but that doesn't mean he's not going to go from an Operaman impression to a maniacal wail on a whim. Dynamic bombast is his specialty, and amazingly, it all fits perfectly within the confines of Italian pop. As outlandish as
is, it all somehow amounts to the most easily digestible thing in
s scattered discography. Weird, considering
Peeping Tom
was his so-called "pop project." ~ Jason Lymangrover
's previous work scoring a
Morricone
-esque soundtrack (
A Perfect Place
), covering themes from movie soundtracks (
The Directors Cut
), embracing the language and music of other cultures (
Anonymous
), and crooning (
Lovage
), all invariably had a deeper purpose: preparation for his most elaborate endeavor to date (which is saying a lot.) Inspired by time spent in Italy visiting his in-laws and listening to the oldies station there a decade prior, for this project the vocalist extraordinaire performs renditions of cinematic
Italian pop
songs of the '50s and '60s, all while backed by a 40-piece orchestra, a choir, and a 15-piece band. To add to the grandeur, the recordings are taken from live shows, with the best bits pasted together from a slew of European performances using studio magic. Most of the parts are taken from the tour's first intimate performances in Italy, which is fitting.
Mondo Cane
sounds authentically Italian.
Patton'
s time in his second home in Bologna was apparently well spent. His grasp of the language is exceptional; he sings naturally with the comfort of a true native (and a flair for rolling "r"s) throughout the bulk of the release.
"Deep Down"
lapses into English, only because the original does, in a masterfully embellished version of
Ennio Morricone'
s theme from
Danger Diabolik
. Because the original soundtrack masters are M.I.A., this little slice of magic brings a previously unavailable piece of history back to life, and it's a totally worthy substitution. It's not surprising that
Patton
would pay tribute to his hero
, whose material
Ipecac
reissued in the
Crime and Dissonance
set, but the big surprise and reward is when he takes risks with deep Italian cuts by
Fred Bongusto
,
the Blackmen
Luigi Tenco
, and
Gino Paoli
. All of these, while taken from a variety of styles, from
Frank Sinatra
pop
to
psychedelic
garage rock
, are covered as they should be: with proper respect to the original, while showing off the unique personality of
. Sure, he's showing restraint, and singing ballads, mostly, but that doesn't mean he's not going to go from an Operaman impression to a maniacal wail on a whim. Dynamic bombast is his specialty, and amazingly, it all fits perfectly within the confines of Italian pop. As outlandish as
is, it all somehow amounts to the most easily digestible thing in
s scattered discography. Weird, considering
Peeping Tom
was his so-called "pop project." ~ Jason Lymangrover
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