ノルウェー人サウンドトラック・コンポーザーのカーダと、フェイス・ノー・モアのフロントマンであるマイク・パットンという2組の大物アーティストによるサイド・プロジェクト=カーダ&パットン。この二組に共通するのが、フィルム音楽へに愛。とりわけパットンは別バンド、ファントマス名義でホラー映画音楽のカバー集『ザ・ディレクターズ・カルト』を2001年にリリースした経験を持つ。2015年、17年ぶりの新作をフェイス・ノー・モアとしてリリースし、世界各国でツアーをソールドアウトさせた。また、ティービー・オン・ザ・レディオのトゥンデとラッパーのドーズワンとともに結成したネバーメンのデビュー・アルバムもリリース。さらには、トマホーク、ファントマス、ラヴィッジのフロントマンとしてビョークやジョン・ゾーンといった様々なアーティストの作品に参加してきたパットン。一方のカーダも2001年以降、5枚のスタジオ・アルバムをリリースし、2015年の『Diving Into Darkness』(フィンランド)と『1001 Grams』(ノルウェー)を含む15作の映画音楽を手がけている。
今回発売される『バクテリア・カルト』は、『Romances』以来となるこの大物コラボレーターによる12年ぶりの新作で、すべて映画音楽およびロック・ミュージック・ファンをターゲットに作られている。エレクトリックでエクスペリメンタル、それでいてシネマティック。

発売・販売元 提供資料 （2016/02/15）

The second studio collaboration from Norwegian composer and producer John Erik Kaada and Faith No More/Mr. Bungle/Fantomas frontman Mike Patton, Bacteria Cult filters the cinematic vignettes of 2004's Romances through a widescreen lens. Where the latter LP relied mostly on Kaada's evocative electronics for its foundation, Bacteria Cult pairs Patton's otherworldly croon with Norway's Stavanger Symphony Orchestra, and the results are stunning. A wordless, yet unceasingly evocative amalgam of dark, orphaned film music, lush chamber pop, and neo-classical-infused avant-garde, the eight-track set feels like one long piece that's been broken into snack-sized portions. Upon first listen, Patton's contributions seem subtle, but further investigation reveals how integral a role his voice plays. He's simply omnipresent, seamlessly shadowing the melody, adjusting to its nuances, and changing octaves on the fly -- closer "Fountain Gasoline" sees him stretching his elastic vocal cords to their very limits. The early half of Bacteria Cult, especially "Red Rainbow" and "Black Albino," invokes Danny Elfman at his most whimsical and Ennio Morricone at his most spaghetti drunk -- the latter cut owes more than a polite tip of the hat to The Good, the Bad and the Ugly's "Ecstasy of Gold." Elsewhere, "Peste Bubonica" manages to tease out elements of Nusrat-esque Qawwali before returning to the killing fields via the deep, reverberated, single-note twang of an electric guitar, while the aptly named "Papillon," all playfulness and light on top, is carried along by some seriously sinister undercurrents. Bacteria Cult needs a little time to get into your bloodstream before it can be reckoned with, but ultimately, it's an infection worth sweating through. ~ James Christopher Monger|

Rovi

The second studio collaboration from Norwegian composer and producer John Erik Kaada and Faith No More/Mr. Bungle/Fantomas frontman Mike Patton, Bacteria Cult filters the cinematic vignettes of 2004's Romances through a widescreen lens. Where the latter LP relied mostly on Kaada's evocative electronics for its foundation, Bacteria Cult pairs Patton's otherworldly croon with Norway’s Stavanger Symphony Orchestra, and the results are stunning. A wordless, yet unceasingly evocative amalgam of dark, orphaned film music, lush chamber pop, and neo-classical-infused avant-garde, the eight-track set feels like one long piece that's been broken into snack-sized portions. Upon first listen, Patton's contributions seem subtle, but further investigation reveals how integral a role his voice plays. He's simply omnipresent, seamlessly shadowing the melody, adjusting to its nuances, and changing octaves on the fly -- closer "Fountain Gasoline" sees him stretching his elastic vocal cords to their very limits. The early half of Bacteria Cult, especially "Red Rainbow" and "Black Albino," invokes Danny Elfman at his most whimsical and Ennio Morricone at his most spaghetti drunk -- the latter cut owes more than a polite tip of the hat to The Good, the Bad and the Ugly's "Ecstasy of Gold." Elsewhere, "Peste Bubonica" manages to tease out elements of Nusrat-esque Qawwali before returning to the killing fields via the deep, reverberated, single-note twang of an electric guitar, while the aptly named "Papillon," all playfulness and light on top, is carried along by some seriously sinister undercurrents. Bacteria Cult needs a little time to get into your bloodstream before it can be reckoned with, but ultimately, it's an infection worth sweating through. ~ James Christopher Monger

Rovi