MÖSH YOUR ENTHUSIASM (5)
By:
January 15, 2024
One in a series of 25 enthusiastic posts, contributed by 25 HILOBROW friends and regulars, on the topic of metal records from the Eighties (1984–1993, in our periodization schema). Series edited by Heather Quinlan. Also check out our MÖSH YOUR ENTHUSIASM playlist at Spotify.
FAITH NO MORE | “EPIC” | 1989
“Epic” is a musical blend that paved the way for Nu Metal, skillfully merging rock, funk, and rap in a way that no other band had managed before. I must admit, I’ve watched the original video far too many times over the past few days and even delved into live shows deep within the YouTube rabbit hole, all to grasp the significant influence the track had on the early ’90s scene. After numerous listens, what resonated the most was the seemingly generic word “IT” in the lyrics. These two simple letters, emphasized over 60 times in the song yet never explained, might just be the key to realizing what made this tune Faith No More’s standout hit.
/ What is IT?/
It’s it: TENSIONAL. The song may well be a cathartic scream amid the tension the band faced following Chuck Mosley’s departure.
It’s it: CYNICAL. It represents the realm of complete lack and absence. Even if you desire everything, you’ll never grasp it (this feels so Lacanian…) Compare this perspective with Queen’s 1989 hit “I Want It All”, where Freddie Mercury exudes confidence and optimism, clad in pure Yuppie fashion. They are worlds apart! Here, there’s no glam, just a sense of personal defeat, laced with irony and biting humor.
It’s it: PARADOXICAL. You’d expect an ‘Epic’ to be, well… epic. But no — there are no triumphs here, only life’s messes. It gives off an anti-hero kind of vibe.
It’s it: NON-RATIONAL. It isn’t about making sense; it’s about feeling, seeing, hearing.
It’s it: SURREALISTIC. The video radiates Dali-esque vibes, a huge focus on eyes, akin to bewildering dreams tied to the uncanny.
Press PAUSE for a moment! One aspect that truly grabbed my attention was the kitschy lightning bolts in the video. While they might have been poorly executed, symbolically, they represent both creation and destruction. This emphasizes the song’s central conflict: the tension between EROS and THANATOS.
Hit PLAY again:
It’s it: EROS. The life drive, the pursuit of satisfaction, the vivid hues, and the raw energy of Mike Patton’s delivery. It’s the water that continuously flows.
It’s it: THANATOS. The death drive, the underlying aggression, the small fish nearing its end, the exploding piano. It’s the fire that engulfs and consumes it all.
Now I’m starting to grasp the whole “IT” thing from “Epic”. The song dives deep into some profound existential questions, yet delivers them with an ironic, sarcastic flair. The mix of beats, chords, and fervent shout-outs amplifies just how awesome this track is, whether you’re dissecting its layers of meanings or just getting lost in its rhythms.
MÖSH YOUR ENTHUSIASM: INTRODUCTION by Heather Quinlan | Crockett Doob on Metallica’s ENTER SANDMAN | Dean Haspiel on Mötley Crüe’s HOME SWEET HOME | Jack Silbert on Poison’s TALK DIRTY TO ME | Adam McGovern on Dio’s INVISIBLE | Mariane Cara on Faith No More’s EPIC | Heather Quinlan on Blue Öyster Cult’s SHOOTING SHARK | Steve Schneider on UFO’s DIESEL IN THE DUST | Carlo Rotella on Primus’ JERRY WAS A RACE CAR DRIVER | Erik Davis on St. Vitus’ BORN TOO LATE | Greg Rowland on Motörhead’s ACE OF SPADES (remix) | Kathy Biehl on Twisted Sister’s WE’RE NOT GONNA TAKE IT | Nikhil Singh on G.I.S.M.’s GAS BURNER PANIC | Erin M. Routson on Metallica’s ESCAPE | Holly Interlandi on Helmet’s MILQUETOAST | Marc Weidenbaum on Celtic Frost’s I WON’T DANCE (THE ELDERS’ ORIENT) | Amy Keyishian on Living Colour’s CULT OF PERSONALITY | Josh Glenn on Scorpions’ STILL LOVING YOU | Alycia Chillemi on Danzig’s SOUL ON FIRE | James Parker on Godflesh’s CHRISTBAIT RISING | Miranda Mellis on The Afflicted’s HERE COME THE COPS | Rene Rosa on Type O Negative’s BLACK NO. 1 | Tony Leone on Slayer’s SOUTH OF HEAVEN | Christopher Cannon on Neurosis’s LOST | Brian Berger on Black Sabbath’s HEADLESS CROSS | MÖSH CONTEST-WINNING ENTRY: Tony Pacitti on Metallica’s THE CALL OF KTULU. PLUS: CONTEST RUNNER-UP: James Scott Maloy on Accept’s MIDNIGHT MOVER.
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