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In 2006, after six years in the making, singer/producer <a href="spotify:artist:34Ai24gPz5YJ8NbksiNFef">Mike Patton</a> (<a href="spotify:artist:6GbCJZrI318Ybm8mY36Of5">Faith No More</a>, <a href="spotify:artist:2zq0uqN9Wq12tqrQQt1ozw">Mr. Bungle</a>, <a href="spotify:artist:6yyZgcrQ10gThrJxzqogiP">Tomahawk</a>, <a href="spotify:artist:43ltIj8NRBsmOEjDr5Sk10">Fantômas</a>) added Peeping Tom to his impressive list of finished projects. Inspired by director Michael Powell's 1960 cult thriller of the same name, <a href="spotify:artist:34Ai24gPz5YJ8NbksiNFef">Patton</a> spent years sending tracks to potential collaborators as diverse as <a href="spotify:artist:3mvkWMe6swnknwscwvGCHO">Amon Tobin</a>, <a href="spotify:artist:6gk4ierjjSVPoZep27VfZz">Bebel Gilberto</a>, <a href="spotify:artist:2Kx7MNY7cI1ENniW7vT30N">Norah Jones</a>, <a href="spotify:artist:6FXMGgJwohJLUSr5nVlf9X">Massive Attack</a>, and <a href="spotify:artist:3zFaWPA8Jobgf5egh38KD2">Kool Keith</a> -- the latter three all contributed -- to construct a record that was completely bereft of physical intimacy. The resulting Peeping Tom, released on <a href="spotify:artist:34Ai24gPz5YJ8NbksiNFef">Patton</a>'s own Ipecac label, flirts with the esoteric while remaining surprisingly accessible, relying on a cross section of musical styles and artists that defies the term "genre." ~ James Christopher Monger
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