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Last Active 07-23-14 8:27 pm
Joined 07-08-07

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John Zorn Spy vs. Spy: The Music of Ornette Coleman
One of the most chaotic albums I have ever heard. Two saxophones, two drummers, and a bassist playing Orenette Coleman tracks at blistering speeds, blurring the line between jazz and hardcore. The musicianship is stellar throughout, and I dig the boomy production style. That said, the track sequencing here is wrong: the first two-thirds of the record comprise twelve turbulent, nearly impossible to follow numbers, and the final third (comparatively) slows things down, with more accessible tunes. The flow of the album is thus compromised-- a more even distribution of accessible amongst inaccessible would render both parties more distinct; as it
John Zorn Taboo and Exile
The second in Zorn's Music Romance series. The first was Music for Children which, funnily enough, represented childhood. This one (according to Allmusic, at least) is about that space in between childhood and maturity where everything is uneasy and you are caught between two worlds (the record title is thus illuminated: taboo, in that inhibitions are ingrained in this period of development, and exile, as in the feeling often associated with it; also, perhaps that taboo creates exile? I'm getting carried away here...) The music is, suitably, darker (for the most part) and more hypnotic than on Music for Children, but it stil
Ne Obliviscaris Citadel
Citadel addresses the main problem with Portal of I: length. This is a more focused, tighter, and less intimating record than its predecessor, and I applaud NeO for their restraint. Furthermore, "Painters of the Tempest" is the best song they've ever done. I suppose my own waning interest in progressive metal is partly to blame for why I don't enjoy this more- Citadel is a very, very strong record as a whole, and I have simply heard so much progressive metal over the last few years that I have exhausted myself of much interest of the genre. Many of the metal parts on here just bore me. Nonetheless, Citadel
John Zorn The Gift
This isn't actually a Dreamers' record (it's the third in Zorn's Music Romance series), but it certainly sounds like a Dreamers' record; and I keep giving them 3's, because while there's nothing wrong with any of them, they just tend to fade into the background too often for any sort of regular listening. There are a few exceptions to this rule on The Gift: "Mao's Moon" is absolutely gorgeous (one of my favourite songs by this group), "La Flor del Barrio" is excellent, and "Train to Thiensan" possesses some really cool sound effects. There is a strong surf vibe on much of on the material this record which, while present on some other
Naked City Leng Tch'e
Leng Tch'e: or, death by 1,000 cuts. The ancient Chinese torture method, only outlawed as recently as 1905. That is what this record attempts to capture, sonically, and it's hard to imagine an album doing a better job. Leng Tch'e is a disturbing, heavy listen, consisting of one thirty-one minute avant-garde sludge metal song; essentially, the exact opposite of the genre-hopping that characterized the band's earlier work. While the song starts off with only guitar feedback and other background sounds, it develops into a slow, oppressively dark riff, and then Yamatsuka Eye is screaming and John Zorn's sax is squealing, and then... it's
John Zorn O'o
In the same vein as The Dreamers, which makes sense, because after the release of that album, Zorn formed a band called The Dreamers (named after the album) and released this record. O'o (the title refers to the extinct bird species) is a slightly more focused effort than The Dreamers, though as aforementioned, the styles are similar: easy-listening jazz stuff. The album does sometimes drift into the background, but stand-outs like "Little Bittern" and "Kakawahie" are attention-grabbing, and the record is never poor-- just occasionally somewhat uneventful. 3.4
Jimmy Eat World Clarity
A huge step up from Static Prevails. Clarity is a wonderfully constructed record, varietous enough to hold attention but maintaining a consistent theme and flow. The production is fantastic. The strings are integrated excellently. The performances are great (particularly Jim Adkins, who has taken over all of the lead vocal duties [besides the up tempo "Blister"]). The record isn't all excellent-- "Goodbye Sky Harbor" goes on for way too long, "Crush" doesn't do much for me, and "Lucky Denver Mint" is mostly uninteresting-- but Clarity is nonetheless a masterful work, which I highly recommend. 4.4

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shoutbox » all posts 
  • BMDrummer wouldn't a 4.4 be closer to 4.5?
    November 6 11:22 PM
  • Veldin Enjoying all the Zorn soundoffs, keep 'em coming!
    November 4 11:23 PM
  • Mythodea Haha, has been so long since I wrote to you that I'd forgotten what my mesage was about! Anyway, you're welcome. I'd appreciate it a lot if you would give me your opinion on the album afterwards!Cheers.
    October 4 01:52 PM
  • Mythodea dude, saw your sound off for Blade Runner. If you like his music, check 1492: Conquest of Paradise OST. It's one of the best albums in my life.
    September 16 03:18 AM
  • danielcardoso Nah, I'm just kidding man. I don't play in Anathema, I don't even play keyboards ;) I do play guitar and harmonica in a local Portuguese band called Invictus, we're starting to make a name for ourselves :)
    August 6 01:14 PM

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