The Director's Cut is the second album by American musical supergroupFantômas. The album is a collection of cover versions of themes from horror and thriller films and television series, performed in a variety of different musical styles. The album was released on July 9, 2001 through Ipecac Recordings, a record label owned by the band's vocalist, Mike Patton.
The Director's Cut has been praised by critics, with reviewers highlighting the album's versatility and unusual content.
The Director's Cut was released on July 10, 2001 by Patton's record label Ipecac Recordings. The album's release was preceded by a tour of Europe the preceding May and June, while "Rosemary's Baby" was previewed on the Ipecac Recordings website.
The album has been met with favorable reviews from critics. Writing for Allrovi, Blake Butler rated the album four stars out of five. Butler described the album as "yet another testament to the unabashed genius of Mike Patton and his co-conspirators" and considered it to a ground-breaking release.Drowned in Sound's Graham Reed award the album a score of nine out of ten, finding it to be "leftfield" but atmospheric. Reed praised the diversity shown by the group, ultimately calling it "one of the most challenging, and rewarding albums of the year". Noel Gardner of NME rated The Director's Cut eight out of ten, finding that it sounded better in practice than in theory. Gardner admitted that the covered themes were vastly different to their original presentations, but praised the drastic divergence as the album's strength.Pitchfork Media's Brendan Reid gave The Director's Cut a score of 8.4 out of 10. Reid described the album as "obsessively detailed and brutally frenetic", finding Patton's vocals to be the centre of the album's strength. Writing for CMJ New Music Monthly, Tom Mallon described the album as "inventive", finding that its varied approaches to the source material allowed the band members to "step out of [their] normal roles", particularly citing drummer Dave Lombardo's "jazzy" performance on "Experiment in Terror". Mallon felt that the album would not gain the group new admirers, but went "a long way toward cementing [Patton's] reputation as an artist rather than a mere noisemaker".