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Peeping Tom

Rate It! Avg: 4.0 (220 ratings)
Peeping Tom album cover
Five Seconds (feat. Odd Nosdam)
Mojo (feat. Rahzel & Dan the Automator)
Don't Even Trip (feat. Amon Tobin)
Getaway (feat. Kool Keith)
Your Neighborhood Spaceman (feat. Jel & Odd Nosdam)
Kill The DJ (feat. Massive Attack)
Caipirinha (feat. Bebel Gilberto)
Celebrity Death Match (feat. Kid Koala)
How U Feelin? (feat. Doseone)
Sucker (feat. Norah Jones)
We're Not Alone - Remix (feat. Dub Trio)
Album Information

Total Tracks: 11   Total Length: 43:57

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Wondering Sound

Review 0

Jon Wiederhorn


Jon Wiederhorn is a senior editor at Revolver, a regular freelancer for Guitar World and SPIN and the co-author of the upcoming book "Louder Than Hell: The Unce...more »

Peeping Tom, Peeping Tom
2006 | Label: Ipecac Recordings / The Orchard

Fans of ex-Faith No More singer Mike Patton have long thought of Peeping Tom's debut album as his Chinese Democracy. Now, six years after the project's heralded beginnings, it turns out the disc is far more like a Gorillaz for the underground. Peeping Tom combines pop and rock melodies with hip-hop and electronic beats and features a variety of guest musicians. "Kill the DJ" grooves at a slow, nervous burn with help from Massive… read more »

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Patton is a Genius


It is getting cliche to say that, but it is true. He enlist DJ Naja from Massive Attack, Amos Tobin and Odd Nosdam for some wicked tracks. I'd like some more please!

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Norah Jones


Come on, you know you want to hear her drop the f-bomb.

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Mike Patton does it again!


A couple of so-so tracks, but overall these album is chock full of goodies! Don't Even Trip, Neighborhood Spaceman and We're Not Alone are highlights. Looking forward to Patton scoring the Crank 2 movie and a Monde Cane release later this year!

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Mike Patton Does it again!


I took a step away from Mr. Bungle and wandered over to Peeping Tom and I have to say Mike Patton has got to be the mad scientist haunting the dreams of every genre of music you could possibly think of! I love this Album!

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fire walk with me


Mike Patton doing a pop album is like David Lynch making a TV mini-drama. Which David did. I make this comparison because like Lynch, Mike has created a world where everything on the surface is not quite what it seems. If you start digging after a couple of listens you start to appreciate the dark undertones to the catchy hook of the songs almost mimicking the anonymous pretension of a listeners positive gyrations to the beat rather then adhering the message: "Our love is made like a Starbucks chain, and we're taking over this neighborhood".....

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mojo, ignite


why does this song come out as being done by ignite? who tha fuck iz ignite? ive found all sorts of ignite, but none pertaining to this song.

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Mike Patton is a genius


Mike Patton has bounced around a lot of bands and projects since Faith No More disbanded and every single one has been phenomanal. This is his latest collaboration with Rahzel, Dan the Automator and Dub Trio, among others. A little more hip-hop and pop than things like Fantomas and Tomahawk, but solid Patton nonetheless.

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Album of the year!


Can't get much better than this. Mike Patton is brilliant!

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pop album


This is a commercial pop album, which isn't my cup of tea really. I don't think any of the tracks are particularly innovative, apart from the opener with it's nice '1 second, 2 seconds..' line. the rest really just follows standard pop lines and hooks. That's fine - and Patton does it well, but don't expect the interesting twists of Fantomas and Mr Bungle (or even Faith No More). Depends what you're after, really.. (prolly give it 3.5 stars)

user avatar

Good album


But is it wrong that I find Norah Jones singing 'motherfucker' so alluring? Well is it?

They Say All Music Guide

Mike Patton’s “pop” project Peeping Tom kept fans waiting for a really, really long time. Consequently, the four years between its inception around 2002 and fruition in 2006 were a gestation period for urban-legend speculation about the record’s sound to flood the public consciousness. Was he really working with Norah Jones? What did he mean by “pop record”? Given the thrashing, acidic nature of Patton’s other projects like Mr. Bungle, Faith No More, and Tomahawk, nobody expected this album to be “Mike Patton Sings Boyz II Men,” and most fans figured the notoriously enigmatic musician was just messing around. Peeping Tom makes a good case for itself as a pop\rock record or even as an alternative hip-hop record, but honestly, the most telling way to describe the album is as a Mike Patton record. As usual, the esoteric songster has used a new project as the means to create an entirely fresh and distinct rock style. The hip-hop presence on the disc is obvious, but Patton has assimilated it into his project so nimbly that the music isn’t easily classifiable as hip-hop, rock, or pop. For instance, on “Mojo,” the album’s first single, gangsta-style squealing synths and reverb bass push ahead while Patton embraces a slicker and smoother incarnation of his Faith No More-era voice, slinking through the song with his trademark blend of clean vibrato, nasal tension, and belting clarity. This is not any kind of rap-rock that’s been heard before and bears no likeness to Limp Bizkit, Kid Rock, or even Faith No More.
This track also serves as a good example of the self-deprecation that pervades the project. When Patton sings “Roll it up and smoke it again/Bottoms up and drink it again/Fix it up and shoot it again/I can’t believe I did it again,” he is keenly aware of the way the way it sounds for such an avant-garde songwriter as himself to recite perfect rock & roll clichés. His lyrics mock the self-important coolness of the music industry and self-parody his own place in it. The last line of the chorus is a particularly smart addition, painting on still another layer of sarcasm in how it parallels Britney Spears’ “Oops…I Did It Again” — which he quotes directly at the very end of the track. Patton is self-aware: the Britney shout-out shows that he knows this is the closest he’s been to writing anything near radio material in 15 years. Simply put, the man understands irony: he knows exactly what he’s doing in convincing waify songbird Norah Jones to sing “The truth kinda hurts, don’t it motherf*cker?” on “Sucker,” and he knows just how faux-clever it comes off when he sings “I know that assholes grow on trees/But I’m here to trim the leaves” on “Don’t Even Trip.” Of course, all this smirking could be interpreted as Patton thinking he’s better than everybody else, but it could just as easily be an acknowledgement that the prestige he’s garnered in the rock world for being so experimental and arty is really no more meaningful than the vanilla-flavored teen pop stardom thought to be his antithesis. This very debate has kept fans and critics talking for years, and whether you think Patton is a narcissist or a walking slice of humble pie, it adds a satisfying dimension to what is his most accessible record since Mr. Bungle’s 1999 album, California. That album, like this one, still sounds a little like psychotic carnival music, but that’s why listeners love him. – Cammila Albertson

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