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Most Helpful Customer Reviews
2 of 2 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
If you've heard any of the other albums centred upon Zorn's Moonchild trio, you'll know what to expect from this: athletic drumwork from Joey Baron, heroic electric bass from Trevor Dunn and demonic caterwauling from Mike Patton. By all rights, this sound should have been fully explored by now, but in fact Zorn is clearly enjoying balancing his extreme jazz-metal trio against his other favourite trio of the moment: his distinctly more gentle Alhambra trio. This album in the most enjoyable so far from this core group.
As previously, Zorn sits in for some trademark shrieking sax on several of the tracks here, and regular contributor Marc Ribot is also on hand to provide electric guitar on "The Book of Los". Although these elements add to the diversity of the album, however, they are not the only tricks unleashed here. There are three free improvisations, for example; all are (mercifully) short but they add up to eleven minutes of music that will please only those listeners who enjoy the more out-there wavelengths of the jazz spectrum.
A more interesting direction is found on "The Changeling", which is a duo for Baron and Dunn that pushes the limits of what can be achieved by bass and drums in a metal setting. The "head" for this piece is again one of Zorn's themes on Jewish scales, adding yet an element to the general feeling of convergence between the many extremes of Zorn's current work.
If you only want to buy one Moonchild album, I'd still recommend Six Litanies for Heliogabalus because - for sheer theatre and excess - it is difficult to equal. If, however, you prefer to see the Zorn signature written in a slightly less alarming font, this is probably the Moonchild album that best balances musical risk and reward. Tracks such as "Tabula Smaragdina" and "Seven Sigils" certainly dial up the excitement, creating a hectic and virtuosic version of hard rock that is well worth hearing.
As previously, Zorn sits in for some trademark shrieking sax on several of the tracks here, and regular contributor Marc Ribot is also on hand to provide electric guitar on "The Book of Los". Although these elements add to the diversity of the album, however, they are not the only tricks unleashed here. There are three free improvisations, for example; all are (mercifully) short but they add up to eleven minutes of music that will please only those listeners who enjoy the more out-there wavelengths of the jazz spectrum.
A more interesting direction is found on "The Changeling", which is a duo for Baron and Dunn that pushes the limits of what can be achieved by bass and drums in a metal setting. The "head" for this piece is again one of Zorn's themes on Jewish scales, adding yet an element to the general feeling of convergence between the many extremes of Zorn's current work.
If you only want to buy one Moonchild album, I'd still recommend Six Litanies for Heliogabalus because - for sheer theatre and excess - it is difficult to equal. If, however, you prefer to see the Zorn signature written in a slightly less alarming font, this is probably the Moonchild album that best balances musical risk and reward. Tracks such as "Tabula Smaragdina" and "Seven Sigils" certainly dial up the excitement, creating a hectic and virtuosic version of hard rock that is well worth hearing.
Most Helpful Customer Reviews on Amazon.com (beta)
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7 reviews
6 of 8 people found the following review helpful
Logical step
20 Oct 2010
Format:Audio CD
As a fan of Moonchild I must say this is a fantastic new release! There ARE many new places in this music, from the 12 tone writing in the 3 Apparitions that sound like something Zorn would write for classical violin (Schoenberg meets The Shaggs) to the amazing dynamic changes in Warlock (amazing Ribot on this track) and the choral vocals and moody piano melody on Book of Los (to name a few) Moonchild has always had great rhythmic complexity, but here the writing adds a new level of melodic complexity as well. The compositions seem a logical new step, connected in ways to In Search of the Miraculous and The Goddess as much as the previous Moonchild CDs, bringing these two worlds together. Thrilling!
Everyone plays great here, Dunn and Joey Baron are as always a joy to hear and Ribot really does some shredding! Many fans wanted more Ribot after his guest spot on The Crucible and they will be really happy about his work on this CD. Patton is on here less than before, and his presence is astounding. Only one person has such a range, from a whisper to a scream to a high falsetto to low baritone chanting. His connection with Zorn is as tight as ever, and Zorn plays a duo with him and a burning solo on the opening track. This is an absolutely fabulous CD, an exciting 5th release from Moonchild.
To Shiva-- If you do respect what Zorn is doing it doesn't seem fair to write pieces as complex as the Apparitions off after one hearing. It might be to your advantage to assume he knows something you do not and hang in there because there is a lot going on in this CD. It has its own logic and should be judged on its own terms rather than what it is NOT or what you expected it to be. Hoping you will stick with it and eventually be able to appreciate all that is going on here. It is quite a new direction and really kicks!
Everyone plays great here, Dunn and Joey Baron are as always a joy to hear and Ribot really does some shredding! Many fans wanted more Ribot after his guest spot on The Crucible and they will be really happy about his work on this CD. Patton is on here less than before, and his presence is astounding. Only one person has such a range, from a whisper to a scream to a high falsetto to low baritone chanting. His connection with Zorn is as tight as ever, and Zorn plays a duo with him and a burning solo on the opening track. This is an absolutely fabulous CD, an exciting 5th release from Moonchild.
To Shiva-- If you do respect what Zorn is doing it doesn't seem fair to write pieces as complex as the Apparitions off after one hearing. It might be to your advantage to assume he knows something you do not and hang in there because there is a lot going on in this CD. It has its own logic and should be judged on its own terms rather than what it is NOT or what you expected it to be. Hoping you will stick with it and eventually be able to appreciate all that is going on here. It is quite a new direction and really kicks!
6 of 9 people found the following review helpful
What's the point?
18 Oct 2010
Format:Audio CD
I've been a Zorn fan for several years, ever since listening to Cobra and Xu Feng. I own and love many of his recordings, especially the Naked City and Painkiller boxsets and the two Electric Masada albums. I also really enjoy the previous Moonchild releases, particularly Six Litanies for Heliogabalus and The Crucible, and bought Ipsissimus with great expectation on the first day of release.
First, this isn't a bad album. The musicianship is of course top notch. Marc Ribot's guitar work is a wonderful addition to the lineup, and Dunn's bass is if anything even more awe-inspiring than ever.
Unfortunately, the album leaves me cold and begs the question, "What's the point?" Despite the addition of Ribot, it sounds like a rehash of previous Moonchild and Zorn themes to me. The three apparitions tracks are the familiar chaotic, dissonant works reminiscent of his file card techniques and other improvisations; I will probably never listen to them again. The Book of Los was promising, as it led me to hope the album would build on the more melodic direction of The Crucible. Alas, not so.
Unlike the above mentioned Moonchild albums, Ipsissimus doesn't seem to have a unifying theme. The artwork and Book of Los track indicated a William Blake inspiration, but I don't hear it. It really just sounds like a random collection.
And I must say, with apologies from a fan: I'm getting tired of Mike Patton. In some contexts he fits perfectly (Astronome and Six Litanies, for example) but here I just find him annoying. I believe future Moonchild works would benefit from his absence.
Really, though, I think the problem is Zorn himself. He may be a genius, but even geniuses can produce mediocre work. When a genius is in the position to release whatever he or she wants, self-editing is critical. Zorn now seems to be giving us absolutely everything he does without self-critique; just look at the size of his discography.
Again, the album isn't bad. If this is your first exposure to Zorn or Moonchild it may sound new, exciting and inspiring.
Maybe I'm not hearing the magic in this release. If anyone has any thoughts or keys to understanding it please let me know.
First, this isn't a bad album. The musicianship is of course top notch. Marc Ribot's guitar work is a wonderful addition to the lineup, and Dunn's bass is if anything even more awe-inspiring than ever.
Unfortunately, the album leaves me cold and begs the question, "What's the point?" Despite the addition of Ribot, it sounds like a rehash of previous Moonchild and Zorn themes to me. The three apparitions tracks are the familiar chaotic, dissonant works reminiscent of his file card techniques and other improvisations; I will probably never listen to them again. The Book of Los was promising, as it led me to hope the album would build on the more melodic direction of The Crucible. Alas, not so.
Unlike the above mentioned Moonchild albums, Ipsissimus doesn't seem to have a unifying theme. The artwork and Book of Los track indicated a William Blake inspiration, but I don't hear it. It really just sounds like a random collection.
And I must say, with apologies from a fan: I'm getting tired of Mike Patton. In some contexts he fits perfectly (Astronome and Six Litanies, for example) but here I just find him annoying. I believe future Moonchild works would benefit from his absence.
Really, though, I think the problem is Zorn himself. He may be a genius, but even geniuses can produce mediocre work. When a genius is in the position to release whatever he or she wants, self-editing is critical. Zorn now seems to be giving us absolutely everything he does without self-critique; just look at the size of his discography.
Again, the album isn't bad. If this is your first exposure to Zorn or Moonchild it may sound new, exciting and inspiring.
Maybe I'm not hearing the magic in this release. If anyone has any thoughts or keys to understanding it please let me know.
2 of 3 people found the following review helpful
Moonchild returns!
25 Oct 2010
Format:Audio CD
Should I keep praising the genius of Mr. John Zorn and the über awesomeness of the Moonchild project? Just look at the line-up below and you know you're going to get something crazy and beautiful at the same time. Every one of the previous Moonchild albums had met that criteria and Ipsissimus is no exception. Patton squeals, shouts, shrieks, sings like the demi-god he is; Marc Ribot keeps on playing something both energetic and surprising in music that heavy and uncompromising; Joey Baron is still the master of the skins and fuels this fire with all his amazing drive; Trevor Dunn keeps distilating his heavy-as-hell basslines as if his life depended on it! And don't get me started on the contribution of Master John...
You've got it, this is still the Moonchild formation that we've all come to know and love. I don't feel like getting too much into the album content as I don't want to spoil the surprise but know that it's probably the easier the Moonchild formation has ever been while maintaining its usual level of craziness. Essential? Do I really have to tell you?
You've got it, this is still the Moonchild formation that we've all come to know and love. I don't feel like getting too much into the album content as I don't want to spoil the surprise but know that it's probably the easier the Moonchild formation has ever been while maintaining its usual level of craziness. Essential? Do I really have to tell you?
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