Track Listing

1. War Song
2. Mescal Rite 1
3. Ghost Dance
4. Red Fox
5. Cradle Song
6. Antelope Ceremony
7. Song Of Victory
8. Omaha Dance
9. Sun Dance
10. Mescal Rite 2
11. Totem
12. Crow Dance
13. Long,Long Weary Day

Product Details

• Amazon Sales Rank: #40106 in Music
• Brand: Dig
• Released on: 2007-06-19
• Number of discs: 1

Album Description
A thirteen-track album that reverentially explores and reinterprets the darker, more recessed ancestral music created by North America's indigenous people, the title reflects the countless individuals who contributed to these songs but went un-credited throughout history.

Zeromag, June 2007
I-pod headphone listening experience Part 2: I hopped on my bicycle and took a journey through the back lakes and quarry of my hometown. The sun was shining bright, and nature was at its finest. All the while, my soundtrack was the new album by Masterchief Mike Patton (Faith No more, Mr. Bungle, Fantomas, Peeping Tom) and his tribe known as Tomahawk, also comprised of little Indians Duane Denison, (U.S.S.A, ex-Jesus Lizard) and John Stanier (Battles, ex-Helmet). The theme this time around is reinterpretations of Native American tunes. The original composers we do not know, and thus the album is appropriately titled Anonymous. Duane Denison was curious to find Native American tunes that were more Spooky, aggressive, and kinetic.

He came across books written in the time of President Teddy Roosevelt. With these findings of Native American music transcriptions, Tomahawk set out on their mission to shed light on these wonderful and powerful indigenous music.Denison and Stanier recorded their parts in Nashville while Patton added vocals and samples at Vulcan Studios in San Francisco. Patton's style is evident from the first measure in. As I continued my ride, I became one with Mother Nature; I felt an incredible spirit flow all around.

- Andy Smyth

Headbanger's Blog, April 19,2007
When ex-Jesus Lizard guitarist Duane Denison, ex-Faith No More singer Mike Patton and ex-Helmet drummer John Stanier formed Tomahawk and put out their self-titled album in 2001, their name had nothing to do with their style of progressive avant-metal. But with their third disc, Anonymous (out June 19), the band has delved into the tribal sounds of Native American music and created Tomahawk's most evocative and cinematic work yet. "It was not our idea to do an album like this when we started the band, " Denison tells Headbangers Blog, but now that we've done it, it seems like it was destined to happen. " Denison, who arranged most of the album, became interested in Native American music and culture several years ago after touring Indian Reservations with Hank Williams III. He soon discovered a variety of contemporary Native American blues and new age musicians, but nothing truly heavy. "I was somewhat disappointed by the Native bands," Denison says. "I figured there must be native music somewhere that was more aggressive, spookier and more kinetic." Denison's research led him to books of transcribed Indian songs from the early 1900s, around the time of Teddy Roosevelt's presidency, when the public had particular interest in Indian culture and artifacts. Tomahawk's Anonymous is composed of reworked versions of these songs, combining the atmosphere of the originals with a heavy, modern approach. Denison and Stanier recorded guitars and drums for the album in Nashville and Patton later recorded vocals and samples in San Francisco. "The arranging and recording of these tunes began about a year ago," Denison says. "And we had to work in sections, like a movie. But the album came together quite easily once we got started and had all listened to the rough demos. I think Tomahawk fans are a fairly adventurous bunch and will enjoy this departure." While the music on Tomahawk is serious and ominous, Denison hasn't lost his sense of humor. When Headbangers Blog asks him if he had any revelatory encounters with medicine men during his tour of the reservations, he replies. "I never met any medicine men, but I did meet a medicine woman named Doctor Quinn... Sorry." That's alright, Duene. Just keep your day job.

Customer Reviews

Not the Tomahawk of the past, but fantastic nonetheless
Listening to Anonymous without knowing what Mike Patton project it was, those familiar with previous installments in the Tomahawk catalog might be hard-pressed to pin the work specifically on them. Where the earlier two albums focused on abrasive metal, the thematic Native American nature might cause some to assume that Fantomas was responsible, but there are also nods to Patton projects of the distant past - Faith No More and Mr. Bungle. But sure enough, this is all Tomahawk, delivering an album of music inspired by Native American Indians that befits the band name. How listeners feel about it may depend on how adventurous they are.

The Fantomas comparisons begin immediately when Anonymous opens with "War Song," an atmospheric start to the album filled with wailing vocals and churning guitar. "Mescal Rite I" follows, lending more credence to the belief that this is a Fantomas product - all vocals are Indian chants. In fact, Patton fills many of the rest of the album's songs with Native American chants with English vocals taking the helm on only a few of the album's tracks. What's most surprising is that they're the album's least interesting songs. When freed from typical song structure, the band seem to flourish with this material. Guitarist Duane Denison and drummer John Stanier are to be applauded for providing such stunning backing for Patton - not only is it rock that is significantly Native American-inspired, it's not cliched or laughable as might be the result of many others' efforts. It's actually beautiful.

As the albums wears on, however, rather than sounding like Fantomas it becomes more obvious that it's more that the album doesn't sound like Tomahawk specifically. The project just doesn't bear the stamp of the previous outings, so those picking up Anonymous looking for more in the vein of the self-titled Tomahawk album or Mit Gas might be in for a surprise - or disappointment. Tomahawk has evolved, it seems. In fact, "Antelope Ceremony" bears some resemblance, vocally at least, to California-era Mr. Bungle, while "Omaha Dance" sounds like it could have fit on Faith No More's final album, Album Of The Year. Only "Sun Dance" seems to fit the mold for what a Tomahawk song "should" sound like.

That's not to say the album is a disappointment - only that it's very different. It might just be Patton's most unusual project, and that's saying a lot coming from the guy who routinely makes weird screams and gutteral sounds with his voice on outings with John Zorn. What makes it so unusual is that, while working within a basic rock format, Tomahawk manages to make something so foreign to most listeners sound so inviting. Anonymous winds up being one of Patton's most satisfying releases in recent memory and comes highly recommended for adventurous, open-minded listeners.

Tomahawk, not Patton
I read every single review of this album on amazon. Mostly, the milder complaints that I saw were "it wasn't what I expected" or it was "not like the other Tomahawk albums". I consider this complaint to be pointless. It's not even a complaint, it's an observation with a personal, annoyed agenda attached to it. Yea its different. Its REALLY different, but do you like it?
Second, the other complaint was not mild, it was forceful and it was always directed at Mike Patton: 'Patton should have stuck to Mr. Bungle' or 'Patton should have made this a different project (because its not like the other Tomahawk albums)'. One thing I found out, which maybe many of you have too is that Duane Denison (guitar player) is most responsible for turning Tomahawk into what it is now through "Anonymous". Denison was touring with Hank Williams III. Denison got curious about Native American Music. Denison did research for a year before coming up with transcriptions, and Stanier and Patton liked Denison's idea. That's how a band works.- MULTIPLE BRAINS INTERACTING AND CONTRIBUTING. Just because Patton is the guy we all know and remember does not mean he's the one calling the shots
Mike Patton has been and continues to be on the forefront of music's "celebrity doing what he/she's not supposed to do" section. You can't find that section in the CD store. Other immediate examples include Miles Davis and Bob Dylan. They both had a tradition in their sound and then changed it by going electric with Bitches Brew and Blonde on Blonde. Guess what? Tons of fans got mad at those two when they made albums that 'weren't like the other ones'. Grow up, get over it and listen with a curious and frightened ear.
And those of you who explored Tomahawk, but found nothing to complain about except Patton, you're worshipping him just as much as his adoring fans do because you can't stop writing about him. And you're not giving credit to the other two in the group for the album's sound.
If you're a fan of many genres, then you're already prepared to hear something different and simply respond to this album's sound. If you're a fan of heavy metal, but not much else, then I would NOT say skip this album. I'd say buy it now (or listen to the songs a few times each on myspace), because these musicians that you love want you to love something outside your genre. They're using their fan base to bring attention to a style outside what is normally published.

For what its worth:

1) I've Never Heard Anything Like This
2) I Love It
3) I'm Doing My Final Undergraduate Thesis On This Album As A Cultural Product

The Snide Hipster Backlash
I went into my first listen of Anonymous with a bias against it, having read some of fan reviews here at Amazon and hearing some of my biggest fears about the project expressed. Primarily, the biggest flaw I ever find in Patton projects is an emotional distance from the music he does, which at times borders on what sounds like Patton's smartass sarcasm finding its way into the recordings. For instance, way back when Faith No More did a cover of "Easy Like Sunday Morning" it sounded like, vocally, he was making fun of the song rather than simply covering it.

So, when some reviewers expressed that Patton is "silly" here and not respectful of the source material, I thought "Oh no." Because that's sometimes a problem for Patton (I'm no blind worshipper of everything the man does even though I am fan.)

But, after numerous listenings, I can say I'm honestly shocked. I really did expect Patton to be too frivolous with the Native American source material. But then while listening, I asked myself: First and foremost, does this succeed as a Tomahawk album? The answer is a resounding yes. It is a tight, heavy rock album that integrated native American Music in a creative, inspired way.

After all, how many of us rock fans (and/or Patton fans) are connoseurs of Native American music? And is there really any reason, aside from a ridiculous sentimentality, to believe there is an obligation to "honor" it, rather than to look it as any other form of music that Patton has integrated into his vast music portfolio (filmscore, jazz, polka, hip-hop, death metal, and on and on and on?)

First, despite Pattons prolific pace of output, I still find it shocking that an album of this quality could show up just a few weeks after he finished up his Peeping Tom tour. Patton layers so much skilled, intricate vocal work into this album that it sounds MUCH more like a work of many years than the mostly shallow Peeping Tom album did--which was supposedly "years in the making." Clearly, Patton works best when he works fast.

Anonymous is powerful, refreshing and better than the majority of recordings I've bought in the last 12 months. It sounds haunted, uprooted and wandering, and actually a bit mystical. And to me, that is enough for it to render some "truth" from its source material. And it takes Patton into new vocal territory. . . and with what the man has done in the past, one would have to wonder, is he ever going to run out of new ideas and vocal sounds?

Not every recording Patton has done in the last several years is some flawless object of adulation, and Patton fans often come across as blindly worshipful of anything he does, so I can kind of understand the desire to pick this album apart and try to find what's wrong with it. But some of the reviewers, like Eerievonevil sound like they are more hung up on their own ego, as promoting themselves as superior music fans. But that kind of review is not helpful.

Again, Anonymous succeeds as a Tomahawk project. And take the controversial musical history and fan-worship aspect of Patton out of this and simply listen to the recording as "Hard Rocking Band integrates Native American Music into its sound" and you will realize you are listening to a special, powerful, original recording that is not to be missed. . .not just by Patton fans, but by fans of great, boundry pushing music in general.

The cerebral, intellectual, technical aspects of Pattons skills are always present in his recordings, but he seems to guard his emotions, to be distant from his listeners, and in that way so much of his recordings in recent years seem like games, like exercises in mastering challenges, but lack heart. Anonymous surprised me because it does have an emotional heart that I've found missing in the majority of Patton's recordings.

But I know Patton is capable of covering material without sarcasm, to render a song with beauty and heart. . .anyone who caught Peeping Tom's final performance at the Fillmore in SF where he did an acapella version of "Llorando (Crying)"--much like the version heard on the Mullholland Drive soundtrack--knows what I'm talking about. And that's what I hear on Anononymous--it's one of the most powerful, honest vocal territories Patton has ever explored.

And let's not forget the band. The musicans on the album are in top form, making music that breaks away from what Tomahawk has done in the past while retaining a distinctive sound. If an album this good can't get five stars, I don't know what should.