Album of the Year is the sound of a band gracefully, if reluctantly, disintegrating.
It trades the chaotic, genre-hopping madness of their earlier work for a streamlined, noir-inspired sophistication. There is a palpable sense of weariness here, but it is dressed in a sharp suit and polished to a high-gloss finish. The music feels like a walk through a damp, urban landscape where the shadows are long and the neon lights are slightly too bright. It is an album of contrasts: the crushing weight of Jon Hudson's guitars against Roddy Bottum's lush, cinematic synthesizers.
How does Album of the Year sound next to the rest of Faith No More's catalogue?
The vocals lean notably further into crooning than the rest of the catalogue.
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