To begin, I feel I must inform the reader that I am, by no means, an authority on John Zorn or any of his projects. In fact, the only John Zorn album I own other than "Six Litanies for Heleiogabalus" is "Naked City," providing me with the relative advantage of reviewing this wonderful album totally on its own merits, and not in the context of previous releases. Regardless to the extent that the listeners musical horizon is used to brash dissonance and stark contrasts, nothing outside of John Zorn's catalogue, (nor within it, as far as I know) can prepare you for the experience that "Six Litanies..." delivers. What we are treated to with this release is an odd barrage of noise, weeping organs, almost medieval choral arrangements with a twist of modern minimalism, and of course, Mike Patton.
For the sake of the unprepared listener, it is quite unfair to call "Six Litanies..." Patton's best vocal performance. I bought this album solely on that premise and being a big Mr. Bungle fan, I expected Patton to experiment, but to experiment while singing. Mike Patton does not sing, in the conventional sense, on this album. What you will hear protruding from Patton's versatile vocal chords is a quite cacophonous serving of everything he is capable of doing besides singing, including wordless, screams, shrieks, babbles, chatters, laughs, coughs, screeches and clicks. If this doesn't sound like something you can stomach, then do not purchase this album. There is an 8 minute solo vocal track right in the middle of the album consisting solely of Patton's inhuman nonsense. The absolute unconventionality that Patton's vocals bring to the table bring down this release a bit for me. The cacophony that is Patton is effective for experimentations sake, but is simply not that enjoyable. If you are capable of overlooking this unconventional and inaccessible feature however, you will be rewarded.
After you become accustomed to Patton's unusual vocal approach, it will be easier to appreciate all the other many wonderful things about "Six Litanies..." John Zorn's alto sax attacks surprisingly do not show up as much as I had expected. When they do they are in the noise-experiment sections, and are completely atonal. The noisy parts are largely driven-besides by Patton's vocal assault and Trevor Dunn's distorted and heavy bass riffs. There are several moments where Dunn's bass lines actually begin to groove into a more straightforward beat, adding some diversity into the chaos. The aspect of this album that really makes the chaos shine are the contrasting, slower, atmospheric moments. Absolutely brilliant minimalist work by Jamie Saft (Organ), Ikue Mori (Electronics), and the chorus displaying the beautiful voices of Martha Cluver, Abbey Fischer, and Kirsten Sollek, really turn this album into something completely captivating. While the slower parts are utterly simple compared to the impossible complexity of the dissonant movements, they are nevertheless extremely atmospheric and creepy. Forlorn voices intertwine with mournful organ dirges accented by Ikue Mori's Edgard Varse-influenced electronic soundscaping to create an unusual and original masterpiece in a modern age where it seems that all musical ideas have been mastered. "Six Litanies..." Is definitely a necessity to lovers of experimental music.
December 13, 2007 |  | Heliogabalus Killing 'Em With Roses |  |
Apparently the Roman emperor who inspired this album had an affinity for smothering his dinner guests to death with perfumed rose petals. Imagine it, you're at a Roman "house party" sitting there eating your meal and hanging out with some friends when you notice some pretty rose petals floating down from the ceiling. "Hey that's a nice touch" you think as you raise your cup of wine in approval. The host, Heliogabalus, smiles and raises his cup in acknowledgement. Next thing you know the delicate sprinkling of rose petals has turned into a freakin' downpour. You start to think "Ok now he's overdoing it," but you don't get up because you're at the emperors party and getting up and leaving abruptly would be tantamount to going over and slapping your host in the face. The level of rose petals begins to rise and rise. Next thing you know they've covered your face and you're struggling to get out but the sheer volume of petals overpowers you and you begin to lose the ability to breathe, with the emperor smiling all the while. After a few minutes you and other equally unfortunate guests are motionless each of you with a mouthful of rose petals. As unlikely as that scenario may seem the experience of being killed by rose petals is quite similar to the music contained on "Six Litanies for Heliogabalus". At one moment you are relaxing to the soft chorus of voices accompanied by a calming organ piece. The next minute you are pulled out of your comfort zone and bludgeoned with high pitched screaming, jagged saxophone blasts, distorted bass and chaotic drumming. John Zorn made a good decision to expand the core trio of musicians (Mike Patton, Trevor Dunn and Joey Baron) to not only include himself but multi-talented Jamie Saft, noise maker Ikue Mori and a chorus of female vocalists. If you dug on "Moonchild" or "Astronome" then don't hesitate to get this.
June 26, 2007I agree with the other reviewers on this one. I won't try to sum up what's happening musically, but it's Zorn, so it's polished at both ends - whether frenzy or very melodic. The musicians involved are always a joy to hear, whether with Zorn or their own projects. One other recent release to the Zorn oeuvre worth picking up is The Stone fundraiser album, with Patton and an updated mid-late 60's Miles vibe.
May 21, 2007this might be my favorite album of zorn's because of the risks he takes and the difference of the peices he sews together.mike patton screeching whilst a choir sings beautifully as a keyboard is played ambiently=first-rate avant guarde!furthar proof that when zorn comes to the table..well...you're GOING to get SERVED!!!!
May 17, 2007| | | best metal/improv album in years! | |
I've always appreciated the Zorn/Patton collaborations, but this is my favorite yet. This is up there with the Melvin's Ozma and Steel Pole Bathtubs' The Miracle of Sound in Motion as the loudest records you ever own. I like it, my 3-year old daughter likes it, and even my goat likes it.
Enjoy
April 21, 2007More reviews at Amazon.com ...
