Album Review: Tomahawk - Oddfellows

Tomahawk (consisting of members of Mr Bungle, Jesus Lizard, and Helmet) are possibly the world's best band. I have already argued this point so I can let that bold statement stand for itself. After six long years they are back with album number four, Oddfellows, and it finds these fellows in a very odd mood. It is the natural progression of Tomahawk's sound from Mit Gas and Tomahawk. None of this would be even remotely unusual if it weren't for 2006's Anonymous. As good as it was, that album was an anomaly in its style and subject material. It barely sounded like Tomahawk and, considering that they were between bass players, it really does stand alone outside of their main discography. Speaking of bass players, the band have brought in underground legend and frequent Mike Patton collaborator Trevor Dunn (Melvins, Mr Bungle, Fantomas) for four-string duties. Unsurprisingly he fits the band like a glove and, if anything, his bass work plays a much more prominent role on this album than Kevin Rutmanis ever could have.

In fact, after multiple listens the Mit Gas comparison is quite inescapable. They both open with brooding menace ('Bird Song' or 'Oddfellows') that then transition into the album's “single” ('Rape This Day' or 'Stone Letter'). As a stand-alone single 'Stone Letter' is perfectly serviceable if unimaginative. We have heard this style of driving rock from Patton many times before ('Last Cup of Sorrow' anyone?) and for an artist who pushes the envelope we might have caught him in a rare moment of treading water. If only the new album had an ending as impressive and outright disturbing as 'Aktion F1413' then the parallels would be complete. Instead we are treated to the manic surf metal track 'Typhoon', a song that packs a riff that feels as if it was cribbed directly from Toxicity. Another musical touch point is Mr Bungle's California, again not a surprise given the personnel on board. That album helped to invent an evil style of lounge music that rears its head a few times on Oddfellows, particularly the introduction of 'Rise Up Dirty Waters' and 'Baby Let's Play ____'.

Tomahawk have two default modes: they are fast and twisted or they play it slow and creepy. The faster numbers tap into the punk backgrounds of Stanier and Dennison whereas the slower tracks play right into the strengths of Patton and Dunn. As you can see its a win-win scenario. With the caliber of musicians involved with this band when they are on fire they they are absolutely unstoppable. Take 'South Paw', a delicate fusion of hardcore punk ferocity and pop song writing. It is a balancing act so improbable that in lesser hands it could blow up in your face. As it is I feel compelled to listen to the track dozens of times daily – this is real earworm material.

So what we are left with is the classic Tomahawk sound, sharpened to a fine point by their absence and thrust directly into the brain. These guys are simply too strange to receive any major amount of popular acclaim but that seems to suit them perfectly well. Rather than a watered-down dose we get a full hit of gonzo rock right to the face and the only cure is to hit play and experience it all over again.

Rating: A

Recommended tracks: Oddfellows, South Paw, Rise Up Dirty Waters