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Zero 7
Stars indicate the most critically-acclaimed albums.
Peeping Tom
Generally favorable reviews
Based on 22 critic reviews
How did we calculate this?
Based on 29 votes
Read user comments
Rate this album >
Album Info
Label: Ipecac
Release Date: 30 May 2006
Discs: 1 disc
Genre(s): Alternative, Rock, Electronic
Summary
The newest (and somewhat "pop"-oriented) project from Mike Patton (Faith No More, Fantomas) finds him teamed with an eclectic bunch, including Norah Jones, Massive Attack, Odd Nosdam, Amon Tobin and Kool Keith.
What The Critics Said
All critic scores are converted to a 100-point scale. If a critic does not indicate a score, we assign a score based on the general impression given by the text of the review. Learn more...
Playlouder
Put 'Peeping Tom' on the stereo and it's as slickly dark and eminently devourable as Hip-Hop with R&B overtones can be, though whack it on the headphones and you're introduced to something infinitely superior.
Read Full Review >Los Angeles Times
It works equally as a setting for his quieter moments (the tropical "Caipirinha") and for the melodic vocal rages that defined Faith No More's hits. [4 Jun 2006]
All Music Guide
It's quite possibly Patton's most accessible album since his Faith No More days.
Read Full Review >Urb
The most palatable Mike Patton project to date. [Jun 2006, p.113]
Uncut
While poppier and more accessible than his albums fronting Fantomas, it's worth the wait. [Jul 2006, p.104]
Alternative Press
There's hardly a stinker in the bunch. [Jul 2006, p.206]
Tiny Mix Tapes
While I would put this work near the bottom among Patton's opus, there are still some definitely enjoyable songs.
Read Full Review >Billboard
Patton is either a musical genius or one lucky mad scientist. [3 Jun 2006]
PopMatters
Peeping Tom succeeds (and wildly so, I might add) in the songs where Patton allows himself to succumb, if ever so slightly, to his more experimental tendencies.
Read Full Review >Pitchfork
For all the great ideas and fantastic moments sprinkled throughout Peeping Tom, it turns out that Mike Patton's idea of pop is as uncompromising as his other musical notions. In this case, what's great in theory doesn't work so well in practice.
Read Full Review >Rolling Stone
Yields plenty of oddly seductive moments. [10 Aug 2006, p.99]
Observer Music Monthly
The end result sounds much like the Red Hot Chili Peppers produced by Massive Attack.
Read Full Review >Q Magazine
Many of the collaborations are jarring. [Jul 2006, p.115]
Prefix Magazine
Peeping Tom's almost exclusively synth-oriented songs (save the occasional bass and guitar) are ostensibly intended to highlight Patton's voice. This only accentuates his overwrought yet indifferent performances, however.
Read Full Review >Entertainment Weekly
Once you get past the shock tactics, Peeping Tom is little more than a pile of dated Linkin Park-style sludge. [2 Jun 2006, p.83]
The New York Times
Given his abrasive experimentations with Mr. Bungle and Fantômas, his fascination with mildly skewed beatscapes is a surprise, fun but passé. [29 May 2006]
Drowned In Sound
It holds some charms, but Peeping Tom is overshadowed by Patton’s previous work.
Read Full Review >Mojo
Only the faithful need apply. [Jul 2006, p.101]
Slant Magazine
A collection of infantile, forgettable stripper anthems and not even guest spots from Rahzel or Kid Koala can keep this shit from sounding like Linkin Park.
Read Full Review >What Our Users Said
The average user rating for this album is 8.4 (out of 10) based on 29 User Votes
Note: User votes are NOT included in the Metascore calculation.
Josh C gave it a0:
Few musicians since Frank Zappa have confused "performance" with "self-indulgence" quite like former Faith No More frontman Mike Patton. The noisy freakouts of Fantomas and Tomahawk are daring but all too often unbearably dissonant. The Beach-Boys-by-way-of-Black-Sabbath collage Mr. Bungle could be a delight, but was also a bit too goofy to be adored. As Patton's weirdo excursions are the very paradigm of "great in small doses," he works best as a collaborator adding growls and shrieks to tracks by Björk, Dan The Automator, Massive Attack, and others. So hopes for the highly collaborative Peeping Tom project are high: the guest spots are numerous and impressive (Amon Tobin! Kool Keith!), or at the very least, intriguing (Norah Jones!), and the record has been billed as Mike Patton's most accessible album since the days of Faith No More. Could this be Patton's Apostrophe or Cruising With Ruben And The Jets to make up for his years of Lumpy Gravy-esque weirdness? Nope. Instead, Patton's "pop" album is a collection of infantile, forgettable stripper anthems. After years of the vocal acrobatics of Fantomas, I wonder if Mike Patton remembers what rock singers are supposed to do exactly. Schizo opener "Five Seconds" shimmies like Ween imitating Prince before spazzing out into a slam-dance chorus counting the one, two, three, four, "five seconds to live." If only the listener were so lucky. "Five Seconds" is supposed to sound bad-ass, but it just sounds hokey—a criticism one has rarely if ever been able to levy at Patton before. The album's insufferable lameness is perhaps best summed up by its song titles: "Mojo," "Don't Even Trip," "Kill The DJ," "Celebrity Death Match," "How U Feelin?," etc. The only reason one could or should investigate Peeping Tom is to hear Norah Jones. Jones's adds some much needed sensuality to an album that at times sounds like the aural equivalent of a men's room wall, but her vocals are mixed alongside Patton's singing the same lines, thereby quashing the record's only chance at relief from Patton's one-man spotlight dance. Also, the chorus to the song sounds suspiciously like Beck's slacker anthem, but even that criticism may be giving Peeping Tom more credit than it deserves. Patton fans think this guy is John Lennon, the fact of the matter is that he's a first rate hack and a failure as spectacular as Peeping Tom sums up his entire carer.
Illmatic NaS gave it a10:
An awesome, experimental album. But then again, it's Mike Patton, so that's a given. And great guests, too. Kool Keith and Dan the Automator. Awesome. This who album completely blows away anything in rock, trip hop, or punk released lately. I mean, just listen to the reheated, rehashed bull that's been coming out lately. Mike is refreshing burst of originality, as usual. And screw Entertainment!! LINKIN PARK? Are you serious? Has that critic even heard a Linkin Park album? Mike Patton never has and never will sound like Linkin Park, and this album is no different. The fact that you would even compare the two artist is ridiculous and offensive. Linkin Park rehashes the same old nu-metal. Mike doesn't.
Marie-Pierre P gave it a10:
EXCELLENT!!!! Very original...very Mike Patton!
Femier B gave it a10:
Class! I admit 1st listen was good but not great but gets better and better with every play. Album of the year for me. Patton is a genius and watched live at the Astoria just backed this all up. Nice work Mikey boy
Darren S gave it a9:
Re the Observer review saying the album sounds like RHCP produced by Massive Attack. This is a pathetic comment, and I'd like to know if the reviewer has ever heard RHCP before as it really couldn't be further from reality. Have these people actually heard how terrible the new RHCP album is, re-hashed tracks from previous ablums in a middle-aged rock band way, much like REM.
Ben gave it an8:
It's more genius from Patton AND the collaborators, and if you can't handle it that is YOUR bad. OK not all songs grabbed me, but at least appreciate TALENT!!! It should be encouraged! MOFO is an excellent song!
jase l gave it a9:
Mike Patton blurs the line between genres while still managing to have that 'sound' that is instantly recognisable. This album is pretty damn good and I have the upmost respect for Mike regardless of my own personal likes/dislikes in terms of music. Bring it on.
