Actor and musician Corey Feldman has revealed that he deliberately ruled out Faith No More frontman Mike Patton for a guest feature on his upcoming rock-rap collaboration. Feldman cited vague concerns about Patton’s alleged connections to “cult stuff” and what he described as a “dark” personal message. The disclosure came during an appearance on the Hate To Break It To Ya Podcast, where Feldman discussed the creative process behind his new track featuring Fred Durst of Limp Bizkit.
Feldman explained that he had initially envisioned Patton as the ideal vocalist for the project. “I actually thought of Mike Patton. He was the one that I wanted first, and I’m a fan of his work, but he’s a little bit tied to, you know, those things that I…” Feldman said. When pressed about whether there was “smoke” around Patton, Feldman responded: “Not smoke. Just the stuff you’re talking about, the cult stuff. Yeah. So, it looked a little dark. So, I was like, I don’t think that’s the best marriage. But I like his work, but just not his message, maybe.”
The new song, titled “Paranoia [I’m Not Trippin],” features an eclectic lineup of musicians. Robin Diaz from Puddle of Mudd and a pedal steel player who has worked with Marilyn Manson are among the contributors. Feldman described the track as part of a “supergroup of monster rockers,” emphasizing the collaborative nature of the project. After deciding against Patton, Feldman turned to Durst, who immediately embraced the opportunity. “I called Fred and I said, ‘I got this new jam. What do you think?’ And he’s like, ‘Oh, I don’t know. Let’s hear it.’ So, I sent it to him. He’s like, ‘Dude, that’s badass.’ I was like, ‘All right, you want to do it?’ He’s like, ‘Yeah, let’s do it.'”
There are no credible allegations or documented evidence that Patton has any involvement with cult activities or organizations. The Faith No More frontman’s public persona has been marked by deliberate eccentricity and artistic provocation rather than any substantive connection to the concerns Feldman raised. Patton’s reputation stems largely from his avant-garde approach to music and performance art, which has sometimes included deliberately unsettling imagery and behavior designed to challenge audience expectations.
Patton’s artistic mystique has long captivated audiences and critics alike. His work spans multiple projects beyond Faith No More, including the experimental metal band Mr. Bungle, the supergroup Tomahawk, and Dead Cross. Throughout his career, he has collaborated with respected avant-garde musicians and composers, including John Zorn, Bjork, and the Melvins. His record label, Ipecac Recordings, has become a respected institution in underground and alternative music. The label provides a platform for diverse and challenging artists. This extensive body of work demonstrates Patton’s commitment to artistic innovation rather than any involvement in the type of activities Feldman suggested.
During the 1990s, Patton cultivated a deliberately provocative public image. He carried unusual items including a voodoo doll, sadomasochistic gear, and other shock-value objects while discussing his “various obsessions” rather than his music. Patton himself acknowledged the performative nature of these antics. In a 2002 interview, he stated that “the more misconceptions, the better,” indicating that much of his public behavior was intentionally designed to confound and entertain rather than reflect any genuine involvement in fringe activities. His fans developed what observers described as a “cult-like devotion” to him as an artist. This refers to the intensity of fan appreciation rather than any actual organizational structure or ideology.
Feldman’s decision to exclude Patton appears to stem from vague associations between Patton’s artistic persona and broader conspiracy theories about Hollywood and cults. His concerns were rooted in perception and rumor rather than substantive evidence. The timing of Feldman’s comments, which came during a broader conversation about satanic cults in the entertainment industry, reinforces this interpretation. By contrast, Patton’s documented activities reveal an artist deeply engaged with legitimate avant-garde and experimental music communities. He has no verifiable connection to the type of organizations or ideologies Feldman implied.
