Tomahawk: A Supergroup Built on Collaboration and Sonic Prowess

Tomahawk, the American rock supergroup, emerged from the fertile musical minds of Mike Patton (Faith No More, Mr. Bungle) and Duane Denison (The Jesus Lizard) in 1999. Their shared passion for pushing sonic boundaries led them to exchange music with the aim of creating something truly unique.

Denison, known for his searing guitar work, brought in drummer John Stanier (Helmet), a powerhouse behind the kit. Patton, the enigmatic vocalist and keyboardist, rounded out the lineup with bass player Kevin Rutmanis (Melvins/ex-Cows).

The group's debut album, recorded in Nashville during the spring of 2001, marked the beginning of their journey. The following years saw extensive touring and the release of two more critically acclaimed albums.

While the band went on an extended hiatus in 2007, their sonic legacy continued to resonate. In 2013, Tomahawk returned, with Trevor Dunn replacing Rutmanis on bass, ready to unleash their intense and experimental rock upon the world once more.

Early Days (1999-2000):

Patton, fresh off the breakup of Faith No More in 1998, had already established the Ipecac Recordings label and returned to the fold with Mr. Bungle. He also formed the experimental metal supergroup Fantômas with Buzz Osborne of the Melvins and Dave Lombardo of Slayer.

It was during a Mr. Bungle concert in Nashville that Patton met Denison. This meeting sparked a creative fire, resulting in a musical exchange and jamming sessions that would ultimately shape the sound of Tomahawk.

Wire, the seminal British art-punk and post-punk band, exploded onto the London scene in October 1976. The original lineup—Colin Newman (vocals, guitar), Graham Lewis (bass, vocals), Bruce Gilbert (guitar), George Gill (guitar), and Robert Grey (drums)—quickly became associated with the punk rock movement, notably appearing on the The Roxy London WC2 compilation album. Their debut, Pink Flag (1977), a landmark achievement often cited as one of the most original punk debuts, defied categorization, blending minimalist punk with unconventional song structures. Tracks like the 28-second "Field Day for the Sundays" showcased their experimental approach. Though initially heavily influenced by Gills songwriting, the bands trajectory shifted after Gills injury in February 1977, leading to a departure from much of his material (though many early Gill compositions later surfaced on demos and compilations). *Pink Flag*s influence on hardcore punk was undeniable.

Wire`s evolution continued, moving beyond their early noise-rock sound. Albums like Chairs Missing (1978) and 154 (1979) showcased a more complex and structured sound, incorporating extensive guitar effects and synthesizers. This experimentation with song arrangements and sonic textures became a hallmark of their career, solidifying their status as highly influential innovators within the art-punk and post-punk genres, known for their richly detailed, atmospheric soundscapes and enigmatic lyrical themes.