Peep this

>> Mike Patton’s Peeping Tom
plays peek-a-boo with pop

NOW YOU SEE HIM: Mike Patton

by LATEEF MARTIN

Go see Sharkwater. It’s an important documentary. And what does that have to do with the prolific vocalist/producer Mike Patton? Everything. If a shark stops moving it dies. If James Brown was the hardest working man in show business, Patton is definitely the most omnipresent, from Faith No More to Mr. Bungle, Fantômas. Tomahawk, acting (Steve Balderson’s Firecracker) and who knows what else in between. His latest, project is Peeping Tom, which on record features the talents of Dan the Automator (who joins Patton at le Spectrum this week), Massive Attack, Bebel Gilberto, Kool Keith, Amon Tobin, Norah Jones and more. Six years in the making, Peeping Tom is Patton’s twisted idea of pop, schizophrenia for the average Shitney Smears fan. The Mirror got a peek into the process by calling General Patton as he chilled in New Orleans.

Mirror: You’ve played with all kinds of bands. What kind of dynamic works best for you?

Mike Patton: It’s different, that’s why I like to change it up. Sometimes it’s nice to be the band leader, other times it’s nice to work with a producer and their input, like Dan the Automator, he’s a one-man band. Sometimes it’s nice to relinquish control and let somebody else worry about it, like Tomahawk, for example. You can just be on vacation and sing.

M: You’ve got some incredible and diverse talent on Peeping Tom. Name association time! Norah Jones.

MP: Professional.

M: Rahzel

MP: My boy.

M: Amon Tobin.

MP: Studio rat.

M: Dub Trio.

MP: Troopers.

M: Kool Kieth.

MP: Freak.

M: What’s different for you with Peeping Tom as opposed to say, Fantômas or Mr. Bungle?

MP: Each one of those things is a different animal. Fantômas was all written and brought to life by me. Mr. Bungle was more of a collective, a few guys in the band writing together. Peeping Tom is mix of those two things, in that yeah, I wrote everything, but there were some collaborations there. I can’t do all myself playing it live, so I hire a big band to do that.

M: And if you’re getting booed on that rare occasion, you gotta be doing something right.

MP: (laughs) I like your logic! It wasn’t the first and won’t be the last. When we did that tour with the Who, I pretty much expected it. I think you can sort of grow tighter as a band in those kinds of hostile environments, learn how to rise above, and still be able to have a good time and play your ass off. I consider it sort of an exercise. It’s a good thing to learn to get your skin thicker and let things like that roll off your back.

M: You gotta. I saw Rasputina open for Marilyn Manson, and motherfuckers were whippin’ loonies at [singer/cellist] Melora Creager, but she was a trooper.

MP: That’s what it’s about.

M: So what’s next on your plate?

MP: After this I have a couple weeks off, then I go to Europe to work with an orchestra for a couple of ’50s and ’60s crooning tunes—that should be pretty fun!

With Pigeon John at le Spectrum
on Wednesday, April 11, 8 p.m., $30, all ages