A very fun album, but not as original as the first three Submitted on: 2009-05-17
"The Crucible" is Zorn's most recent installment in his "Moonchild" project. Those who are familiar with the group know what to expect: Dunn's dissonant, distorted bass, Joey Baron's hybrid jazz/metal drumming, and Mike Patton's bizarre, non-verbal vocal madness. On this album, Zorn returns to the core group on the original Moonchild album, along with songs of average length. It is, in a sense, conventional insofar as the previous two albums were quite different.
I actually found this album slightly disappointing simply because I felt like I had heard this music before. On the one hand, I love the ensemble and I am happy to have more of the same; but on the other hand, I enjoyed how Zorn kept pushing the group into new territory, whether it was the operatic "Astronome" or the colorful "Six Litanies." Granted, it is different from "Moonchild," but to my ears, it's not substantially different and I don't see it as breaking a lot of new ground, which is, after all, what Zorn is best at.
Take the Naked City albums as an example: the same five guys created seven vastly different albums. I would love to see the Moonchild group do a string of albums in a variety of styles, all with their extreme intensity. I think they were on that path, so "The Crucible" seems like a step backwards.
However, I don't want to be overly harsh. "The Crucible" is a very very good album and it is a lot of fun. It's vintage Zorn, as good as most of his work. It's just not as exciting because it's not as original. Any fan of Zorn's extreme material will surely dig this recording, and if you like Moonchild, you will love this album.
One final notes: Marc Ribot makes a guest appearance on 9 x 9 and it works incredibly well. The track is almost like a conventional rock 'n roll song, but with Zorn's requisite strangeness and some odd meters. Although Ribot's presence could potentially dominate the texture of the group and thus fundamentally change the sound, I think he's a welcome addition, as least on a few tracks. I hope he shows up again on the next album, and for more than one song.
Zorn does it again. Submitted on: 2009-02-13
I have only recently really discovered the Zorn albums with the "moonchild trio" of Patton, Dunn and Baron. Moonchild was ok for me, Astronome again for me was ok. Litanies was a lot better, but this blows all of it right out of the water.
Its got more melody than its predecessors and it definately works to its advantage. Great work by all the band members. Dunn's rocking bass riffs are catchy, smart and really drive the band. Baron as usual does a great job.
Patton takes a back seat for this album and that really is a good thing this time, he doesnt have to always be in the music doing what he does, the music now can finally be without his demonic like sounds and still sound just that. Demonic. Though the "duets" with him and Zorn (on alto sax) sound phenominal.
All in all i give this album 5/5. Solid album throughout and i really cant wait for the next one.
Standout tracks include: Witchfinder, 9 x 9, Shapeshifting
Do it. Submitted on: 2009-01-08
If you've been burned (and if you're reading this, you have) by past Patton/Zorn combos, relax. This one is really good. It's not the noise for noise's sake. It's not a quiet album, or an album with no apparent focus or rhythm. These are four (and a fifth musician, Mark Ribot on the most coherent track), very skilled musicians who have taken the best of their previous three efforts, added a bit of melody and tension without getting repetitive or predictable. In my opinion, it's the perfect album from this group, balanced, well-written, and gives each an opportunity to shine.
Now don't get me wrong, this is still Zorn, Dunn, Lombardo, and Patton. Make no mistake, this is a challenging record. But fans of any of the above will enjoy this one. The play "The Crucible" was seen as a witch hunt by some, and a test of faith to others. Zorn and co. play the accused and shine.
Moonchild with a melody. Submitted on: 2008-12-23
The latest record in the Moonchild project, "The Crucible" deviates from the previous records in the project in that, while its definitely a "loud" album, rather than being thematic-based material, there is a distinct element of melody on the record. In addition, the Moonchild trio of Mike Patton (vocals), Trevor Dunn (bass) and Joey Baron (drums) is augmented by the composer on alto sax and, on one track, guitarist Marc Ribot.
Like Moonchild though, the album consists by and large of intense, loud, rock inspired music-- Patton sings, grunts, screams and mumbles wordlessly alongside Zorn's sax, in its full up "loud music" mode (though perhaps a bit less shrill than on something like Buried Secrets/Guts of a Virgin), all over the top of the rhythm sections fierce performance-- Dunn is aggressive and assertive, filling a role somewhere in between traditional rock bass and guitar through a round, aggressive tone, and Baron is his usual monster, illustrating mastery over his instrument of a capacity not usually seen.
But there are massive differences between this and previous records by this band, and this is obvious from opener "Almadel". As opposed to a rhythmic pulse with Patton raging away on top of it, this one features a dueling improv between vocal and alto not unlike the Dave Douglas/John Zorn duels on Masada, then breaks into a Masada-like theme before expldoing into another dueling improv section. Zorn is downright inspired, railing away with energy and fire, Patton is intriguing and explosive, and the group is anchored by show-stealing performances from the rhythm section. This continues forth throughout the rest of the album, moving through different moods and sounds, from trading screaches a la "Litany II" of Six Litanies for Heliogabalus ("Shapeshifting") to a "Black Dog" (of Led Zeppelin IV (aka ZOSO))-inspired blues rock feature for Ribot (who turns in the requisite brilliant and unpredictable solo) to bop-infused breakneck electric jazz ("Hobgoblin"). Along the way, we also get lots of haunting moods ("Maleficia"), a tribal jazz/rock sax trio performance where Zorn seems to channel late period Albert Ayler over Killing Joke (his soloing brough to mind "New Generation" off Ayler's much maligned New Grass) and at least one drum performance that stopped me in my tracks (closer "Initiate").
Bottom line-- there a lot to love here. It's significantly more melodic than Moonchild, and to its benefit. The closest thing in Zorn's catalog I can equate this to is his take on the Stooges' "T.V. Eye" on Rubaiyat - Elektra's 40th Anniversary (2 Disc Set). This isn't a jump cut record a la Naked City, it's something completely different. I waffled back and forth on 4 and 5 stars, but this is a really superb album. Highly recommended.
rock mystic magick Submitted on: 2008-12-18
With this 4th release in the Moonchild series, John Zorn has made, perhaps the most one yet. This record, more then the other three has a sense of melody and lyricism. One minute into the opening track "Almandel" we hear Mike Patton harmonizing with John Zorn's sax. It is a delight to here, my first impression was that it was not unremaniscent of Brazilian tropicalia from the '60s. That may be my subjective view and after repeated listenings I hear the legacy of Masada more. Either way Zorn is on to something different here, then the 3 previous Patton/Dunn/Baron outings. This album actually has Patton taking a bit of a backseat compared to the previous 3 albums. Not that this is a bad thing, his role is more nuanced and quite frankly more palatable. Litany IV just wasn't my cup of tea. The album is really about Trevor Dunn and John Zorn. The bass playing dominates the tunes so much that Baron's drumming is more of a compliment. Dunn especially shines on "Incubi" and "Witchfinder" , which feature propulsive, heavy grooves. John Zorn's sax playing deserves special mention. His performance on this album is simply stunning. It's perhaps his best outing since the birthday series classic guide to strategy. On "Incubi", a track without Patton, he shines in what I would define as the best example of what "new music" is all about. This smoldering track combines the elements of painkiller and masada in one song in deep soulful way. Fellow downtowner, Marc Ribot, joins on "9 X 9", a rocking song that has a chord progression similar to Led Zeppelin's "black Dog". This song along with "of wonder and certainty" from the Dreamers album represent the new dare I say poppier John Zorn if there is such a thing. All said it is a recommended purcahse for John Zorn, Mr. Bungle and rock fans with avant leanings. Of course not everyone will dig this, but by now my ears are used to Mike Patton's screams that they sound like Brazilian psychedelic music...Enjoy
A very fun album, but not as original as the first three
Zorn does it again.