Ipecac Recordings | Peeping Tom "Pre-School Love Affair" @ipecacrecordings | Uploaded October 2023 | Updated October 2024, 7 hours ago.
The b-side from the "Mojo" single, now available on the DSPs. Stream, download and also check out the vinyl reissue of the 2006 release at ipecac.lnk.to/peeping
*the vinyl reissue does not contain this song
Mike said of the release and single, "Peeping Tom was a blast to make. For me, the best part of being a musician is the collaborative process. It gave me the chance to work with so many friends and musicians I admire. I'm always tempted to go back for a second round. It was also one of the few projects that I worked on where not everything ended up on the record. It's nice to be able to share "Pre-School Love Affair" with more people. At the time, I just couldn't find a place for it on the record that made sense.”
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In keeping with the landmark 1960 psychological horror film that inspired its name, PEEPING TOM had its genesis as a modus operandi devoid of physical intimacy. Mike Patton would write songs with a wishlist of theoretical collaborators in mind, then hope for a reply in the form of a finished track. "It's an exotic way of working for someone accustomed to a band environment," Patton says. "It was charming, really. None of the usual Animal House stuff. Instead of swapping spit and underwear, we were swapping files."
Lack of face-to-face interaction did not keep long-distance collaborators from turning in exceptional performances: Norah Jones' lascivious "Sucker," Kool Keith's "Getaway" and Massive Attack's "Kill The DJ" are intense and passionate as anything a live band environment could have produced-despite the fact that Patton has still never met Jones or Keith. "Plenty of people on the record are still complete strangers to me," he says.
The initial PEEPING TOM offering also includes contributions from Amon Tobin, Bebel Gilberto, DubTrio, Kid Koala, Dale Crover, Rahzel and several of Patton's Bay Area running buddies, such as Dan "the Automator" Nakamura, and Jel, Odd Nosdam and Dose One of hip hop collective anticon. The end result is an utterly unique multi-genre/multi-artist departure from Patton's more recent noisy output-one that would ultimately have to be classified as a pop record, alas a Mike Patton pop record, but a pop record nonetheless.
"I don't listen to the radio, but if I did, this is what I'd want it to sound like. This is my version of pop music. In a way, this is an exercise for me: taking all these things I've learned over the years and putting them into a pop format. I've worked with many people who have said to me, 'oh you have a pop record in you, eventually you'll find it,' and I always laughed at them. I guess I owe them an apology."
The b-side from the "Mojo" single, now available on the DSPs. Stream, download and also check out the vinyl reissue of the 2006 release at ipecac.lnk.to/peeping
*the vinyl reissue does not contain this song
Mike said of the release and single, "Peeping Tom was a blast to make. For me, the best part of being a musician is the collaborative process. It gave me the chance to work with so many friends and musicians I admire. I'm always tempted to go back for a second round. It was also one of the few projects that I worked on where not everything ended up on the record. It's nice to be able to share "Pre-School Love Affair" with more people. At the time, I just couldn't find a place for it on the record that made sense.”
***********
In keeping with the landmark 1960 psychological horror film that inspired its name, PEEPING TOM had its genesis as a modus operandi devoid of physical intimacy. Mike Patton would write songs with a wishlist of theoretical collaborators in mind, then hope for a reply in the form of a finished track. "It's an exotic way of working for someone accustomed to a band environment," Patton says. "It was charming, really. None of the usual Animal House stuff. Instead of swapping spit and underwear, we were swapping files."
Lack of face-to-face interaction did not keep long-distance collaborators from turning in exceptional performances: Norah Jones' lascivious "Sucker," Kool Keith's "Getaway" and Massive Attack's "Kill The DJ" are intense and passionate as anything a live band environment could have produced-despite the fact that Patton has still never met Jones or Keith. "Plenty of people on the record are still complete strangers to me," he says.
The initial PEEPING TOM offering also includes contributions from Amon Tobin, Bebel Gilberto, DubTrio, Kid Koala, Dale Crover, Rahzel and several of Patton's Bay Area running buddies, such as Dan "the Automator" Nakamura, and Jel, Odd Nosdam and Dose One of hip hop collective anticon. The end result is an utterly unique multi-genre/multi-artist departure from Patton's more recent noisy output-one that would ultimately have to be classified as a pop record, alas a Mike Patton pop record, but a pop record nonetheless.
"I don't listen to the radio, but if I did, this is what I'd want it to sound like. This is my version of pop music. In a way, this is an exercise for me: taking all these things I've learned over the years and putting them into a pop format. I've worked with many people who have said to me, 'oh you have a pop record in you, eventually you'll find it,' and I always laughed at them. I guess I owe them an apology."
