Perhaps I’m biased because I have preciously declared cartoons to be the only form of television worth watching, or perhaps it’s because April is my birth month, but Suspended Animation seems to me to be the best Fantomas album yet. For their new album, Mike Patton (of Mr. Bungle, Faith No More and Tomahawk on vocals and electronics), Buzz Osbourne (of The Melvins on guitar), Trevor Dunn (of Mr. Bungle on bass) and Dave Lombardo (of Slayer on drums) deliver a celebration of both cartoons and the month of April. Subtitled “30 Miniature Holidays in 43 minutes”, it’s safe to assume that stylistically Suspended Animation has more in common with the Fantomas debut Book 1, than either of the albums in between. But the sound has not simply returned to those days. This album feels like a more accomplished work than Book 1. Musical motifs are stronger defined and allowed a chance to grow (albeit briefly), and some of the riffs found on the 3rd (Festival of the Sweeping of the Tombs) and the 13th (Blame Somebody Else Day) sound like the beginnings of what could have been Mr Bungle songs.
Patton has also allowed his voice to come a bit more to the fore than on Book 1. Although he still does not sing a word on it, the vocal noises found throughout have a far more lyrical feel to them than the random noises previously relied on. This is particularly effective on the 10th (Soul Sunday/Feast of the Rivers and Seas). That’s not to say there are no words used on the album. But noone who saw Fantomas on their last visit and noticed the childrens toys strewn amongst Pattons table of equipment and vocal processors would be surprised that they come largely from cartoon samples, or what sounds like a speak-and-spell that’s been taken to its limits. One of the highlight days, April 6th (Sorry Charlie Day/Plan Your Epitaph Day) features this robotic voice counting in another memorable riff.
When dealing with children’s matters in heavy music, it’s all too easy to take the sinister road. This is a method even Fantomas themselves used to great effect on The Director’s Cut. But one of the strengths of Suspended Animation is that it is truly a celebration of the joy cartoons can bring. The 12th (Cosmonauts Day/Walk on Your Wild Side Day) is filled with the sound of children laughing, while the 16th (Rekindle Your Romantic Self Day) features a schoolyard chant. Nursery rhymes seem to pop up all over the place, with snippets of Pop! Goes the Weasel and Rock-a-Bye Baby (which couldn’t be more aptly named for inclusion on this album) popping their heads in.
Fantomas also take advantage of cartoon (sur)reality, taking us on what sounds like a weird space adventure for the 22nd (Girl Scout Leader Day), and into the jungles for the 24th (National Karaoke Week/Children’s Day – a.k.a. my birthday).
The packaging is also more elaborate and involved than any previous release too. The CD comes in the back of a 30 page calendar for the month, with each song/day illustrated by renowned pop-artist Yoshitomo Nara. It’s always difficult to talk about a Fantomas CD in terms of individual tracks, since in reality they all add up to one long movement. But in this case the visual elements are just as important as the aural.
There is a bit of a downbeat tone to the last day, April 30th (National Honesty Day) and the closing sound of the album is Bugs Bunny’s famous question, “Well what did you expect in an Opera? A happy ending?” But I would say that yes, Fantomas have delivered a happy and joyous celebration throughout.
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