The media frenzy in the wake of Faith No More’s streaming of Motherfucker has largely receded but here’s a selection of some reviews that we didn’t include first time round.
Comment is largely confined to the niche musical media and blogs while some mainstream media – looking at you Kerrang – have not mentioned the song at all.

Faster Louder

A typically schizophrenic jumble of genres ‘Motherfucker’ features all those classic FNM hallmarks: Patton’s giddy vocal acrobatics, The Real Thing -era raps, a thunderous rhythm section and those sweeping, theatrical choruses which defined their later work. It also happens to be really, really good.

Music Feeds

Motherfucker is as instantly compelling as some of FNM’s ’90s classics. The song is tightly wound, coiled around starched guitar strings and clockwork drum rolls. Motherfucker builds on the “greatest” voice in music, frontman Mike Patton, but refrains from breaking out until its huge outro. Patton shouts “Get the motherfucker on the phone” over a quality guitar solo.

Hit Fix

“Motherf**ker” fits in nicely with the group’s pre-millennial output, as well as Patton’s diverse post-FNM career. It’s a sweeping, cinematic song in which a sinister piano collides with militant snare drums, while Patton’s distinctive vocals careen from spoken word raps to wounded howls to threatening whispers, repeating the phrase “get the mother**ker on the phone!” so often that you might actually remove your headphones and call the “motherf**ker” in your life.

Dots and Dashes

There could be few more petrifying voices to hear sneering from down the other end of the blower than that of one Mike Patton; and so, as Faith No More return with Motherfucker – “a song about accountability”, that is as momentous (being the first all-new number from the Californians in circa seventeen years, and all) as it is aurally monumental – those of a more tremorous disposition would do well to find a nearby sofa to hide behind. “Get the motherfucker on the phone” Patton chants, his vocal layered in such a way so as to lend it far greater authority, before he perhaps sardonically notifies: “Hello, motherfucker/ My lover, you saw it coming/ Goodbye, motherfucker/ My lover, you had it coming.” All the while, stadium-dismaying guitars trill, Mike Bordin’s drums thunder, and authoritarian bass lines thrum. But most importantly, this “ode to pomp and style” hears a sublime equilibrium between carnivalesque burlesque and classic, brooding alt. rock brutality struck with irreproachable aplomb once more. In short, we still care. Rather a lot, in fact…

Triple M

So many bands return after a long hiatus only to disappoint, they’ve changed or they’ve moved on from their sound, it’s just not the same. Not Faith No More. Earlier in the year we heard the first live performance of the first new FNM music in 18 years and now we have an official release of their brand new track “Motherfucker”. And…..the track does not in any way disappoint, it’s the gravelly, dark and epic FNM that we love.