Anyone over 21-25 remembers this album due to the job that (E)M(P)TV and radio did overplaying and killing "Epic"! That one song is only one facet of this very eclectic and unusual band, who became even more so after this album--some would, in fact, argue that they went over the deep end to try and avoid mainstream success with followup albums. But for one shining moment back in 1989, this band was poised to be the Next Kings Of The World. And it was all due to Michael Patton's soulful, versatile vocal approach; they had the musical ability, all they needed was a real singer with a range and emotion, and once Michael was in, everything clicked into place.
Truthfully, Billy Gould's repetitive basslines are the real power behind the songs on this album--granted, all he does is play variations on syncopated open E-string riffs most of the time, but his ultra-rude clanking tone, frequently laced with fuzz of the lacerated-speaker variety has tons of character. I really enjoy his trilling, trancy line at the beginning of "Falling To Pieces" (a tribute to the Bulgarian Women's Choir, Angelite, he said in an interview), as well as his tasteful slapping and popping after the first chorus. His charging runs in the intro of "From Out Of Nowhere" really push the song forward, as do his bluesy stringbending fills during the middle part of "Epic" underneath guitarist Jim Martin's eloquent soloing. In fact, Billy has a very strongly Geezer Butler-influenced approach throughout the album.
Martin mostly plays rhythm throughout the album with a huge, crisp, crunch tone, but that one long, wailing solo in "Epic" shows there's more to him than simple rhythm knuckleheadedness. Mike Bordin is an excellent drummer with equal amounts groove and power in his playing as well, and his complicated polyrhythms in the crazed instrumental "Woodpecker From Mars" show another side of his talent. The fantastic drum sound reveals every aspect of his style in clear detail.
As eclectic and diverse as this album is, that is its strength; somehow, they manage to make it seem a natural and unforced thing as opposed to lesser bands who try and force new things into their sound to try and "be different". And underneath everything, even nightmarishly heavy (by FNM standards) tunes like "Surprise! You're Dead!" (one of my favorite song titles ever) have a bouncy pop sensibility ensuring that even the heaviest riffs have a memorability to them that surpasses any damn stupid bunch of mallcore morons. Try to top that, Stinkin Pork, I mean, Linkin Park! Years after the fact, after finally getting over the overplaying of "Epic" everywhere, I can finally say that this is a damn good album that stands the test of time.