Gorguts - Obscura (1998)

| Technical Death Metal | Avant-Metal |

What's in a name? In the case of "Gorguts," not much -- at least by this stage in the game -- save for some preconceptions about what a band with "gore" and "guts" in its name should sound like. Obscura comes much closer to the mark, as this is simply one of the most challenging, difficult albums ever released within the metal genre. In terms of its towering complexity and unprecedented strangeness, Obscura has a lot more in common with Captain Beefheart's avant-rock monstrosity Trout Mask Replica than it does the latest Cannibal Corpse release. Not that Obscura isn't recognizably metal -- the guitar distortion, the double-bass drumming, and the blasting snare beats are all firmly rooted in death metal. What makes this album different is exactly how far Gorguts pushes this death metal foundation. The guitar/bass harmonies are extremely discordant, the guitar leads are full of alien harmonic squeals and other foreign noises (the title track, for example, features a recurring, legitimately atonal melody played via fingertapping), and the drums change tempos and time signatures in spastic, whiplash-inducing fashion. Frontman Luc Lemay's vocals are not standard death metal fare, either: he sounds like he's being put through a torture session, gasping and wheezing as he screams at the top of his lungs. The most agonizing track is the near ten-minute "Clouded," which crawls at a Melvins/Swans pace and has absolutely guttural bass playing to go along with the aforementioned dissonant guitars and painful vocals. As ugly and off-putting as Obscura may initially seem, though, it possesses an underlying sense of logic and structure that does reveal itself upon repeat listens. A number of memorable, if strange, guitar melodies emerge throughout the album and help provide a sense of order and thematic unity amidst the apparent chaos; "Earthly Love" and "Nostalgia" are especially strong examples of this. Obscura's appeal may not ultimately reach far beyond an underground niche audience, but those with the patience and curiosity to tackle this record will be rewarded with a work of great depth and vision.

Catalog: 008 633 129-2 (Olympic)

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Naked City - Grand Guignol (1992)

| Avant-Garde | Jazzcore | Experimental Rock |

| Avant-Classical |

"Unlike some of Naked City's other albums, this could hardly be qualified as a rock or jazz album. In the liner notes Zorn talks about how humanity has a dark side, symbolized by the Grand Guignol, a Parisian theatre that "served up torture, incest, blood lust, insanity, mutilation and death to generations of fervid spectators." The album is Zorn's exploration of our fascination with evil.

The album opens with a series of eloquent and sinister classical pieces. The first, Zorn's "Grand Guignol" is a series of avant-garde vignettes, drums and tortured guitars against a backdrop of silence. It is similar to "American Pyscho" on Radio, except it lacks the cultural references to rock and pop. The rest of the pieces drift along, subtle and dark classical covers performed by a rock quintet. Frisell's eloquent reverby guitar is used to good effect here, as is Fred Frith's use of the volume pedal to float his electric bass in and out of the song. This is some of the most understated and beautiful playing Naked City has ever done.

They are sharply contrasted by the onslaught of tracks 9-41. These tracks make up the other half of Torture Garden, the first half released on Naked City's debut album. They are a brutal, in your face assault of genres augmented by Yamatsuka Eye's ferocious screams, yells and grunts. The material is, in a word, insanity.

This is one of my favorite Naked City albums. It is both dark and contemplative and upbeat and disturbing. This album should appeal to anyone interested in new ways of structuring music who doesn't mind some pretty insane sound. It should also appeal to anyone who enjoys thrash or hardcore music.

PS: This is the remastered version of the album, which includes "Grand Guignol (Vocal Version)", with awesome vocals by the genius Mike Patton!

Catalog: Avan 002 (Avant)
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John Zorn - Rituals (2005)

| Avant-Garde | Contemporary Classical |
| Experimental |

Owls, Windmachines, Gravedigging and Ritual Magick, Zorn’s strange and mystical monodrama for mezzo soprano and ten instruments is presented here in a beautiful new studio recording. Composed for the Bayreuth Opera Festival in 1998, the Rituals premiere was a bit of a scandal, with the audience split down the middle…half outraged detractors, stomping out, whistling and jeering and half cheering supporters. Performed here by a stellar group of Zorn regulars and some very special guests, Rituals is opera at its virtuosic and intimate best. Five movements of magic and alchemy from the crucible of an uncompromising and unpredictable musical maverick.

This album is a total YES, from beginning to end. The music, full of druidism and wizardry, is another of Zorn's classical compositions exploring the magic of sound. This one is less dark and frightening than Magick, yet it goes way further on the path; having ten instruments and opera singers makes Rituals a completely new statement in Zorn's catalogue. The "rituals" are five short pieces, from 7 to 4 minutes. They are little melodic, since they will is to deep-explore the magic connection between each instrument's sound (instead of simply "connecting" them). Yet, the compositions here are really stunning. In a certain way, if Magick was black magic, Rituals is druid's alchemy!

Catalog: TZ 8011 (Tzadik)
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John Zorn - Redbird (1995)

| Avant-Garde | Contemporary Classical |
| Chamber Jazz | Minimalist | Experimental Ambient |

A kinder and gentler Zorn, exploring a sound world not unlike those pioneered by composers Giacinto Scelsi, Morton Feldman and Olivier Messiaen. Acoustic, minimal/ambient music of unusual subtlety and beauty, inspired by, and dedicated to the work of artist Agnes Martin. "Redbird," a hypnotic work for harp, violin, cello and percussion mirrors the detailed and complex painting for which it is named, as a series of chords are ordered and reordered, creating a play of memory and surprise that will leave the listener in a sensual reverie. It's difficult to believe that "Dark River" for four bass drums is actually acoustic music; the interplay of sonorities reminds one more of tape manipulation or the electronic beating of underwater sonar.

Both pieces are extremely minimalist, as the work of Agnes Martin itself. Yet, the simple arrangements retain an extremely hipnotic power. Once the album is on, time seems to shrink as imagination gives its way through thoughts against the music - and when you least expect, 50min of minimalist classical music has just pass through like it was only 10. The album atmosphere is pretty dark, even though its form is gentle and passionate. Redbird is, doubtelessly, one of Zorn's most remarkable works ever. Completely recommended!

Catalog: TZ 7008
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John Zorn - Magick (2004)

| Avant-Garde | Contemporary Classical |
| Experimental |

Further explorations into the worlds of Magick and Alchemy, here featuring the long awaited premiere recording of Zorn's new string quartet. Necronomicon is a transcendent five movement work of unparalleled ensemble virtuosity and formal beauty, brilliantly played by the Crowley Quartet. Also included is an astounding piece of witchcraft and sorcery for two bass clarinets, one of the most difficult yet written for the instrument, performed with passion and precision by two of the greatest players in the world.

Necronomicon is probably my favourite classical work by Zorn. Terrifying strings running in despair and horror, contrasting in both fast and wild arrangements and calm, moody pieces. The work is always dark, but not in a standard way. It's not like an evil night with nightmares, it's more like entering a medieval world full of them. The front cover expresses well either the state of horror and the black wizardry of Necronomicon. It's so damn amazing! Sortilège, the final piece (for two bass clarinets), mostly retains the same atmosphere. It basically sounds like a Necronomicon played on wind instruments. Both pieces don't retain a melodic path, they are more headed to explore each instrument's sound and the magical connection between them.

Catalog: TZ 8006 (Tzadik)
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John Zorn - The Circle Maker (1998)

| Avant-Classical | Chamber Jazz | Post-Bop |
| Jazz Fusion |

This two-disc release captures beautiful and refined music that makes full use of two ensembles' extraordinary musicianship. Drawing from John Zorn's Masada songbook are the Masada String Trio and the Bar Kokhba Sextet. Each ensemble fills one CD with beautiful chamber jazz woven around a heart of Jewish melodies. Zorn skeptics will find the superb and elegant music on The Circle Maker surprisingly stable and accessible. This is a fitting successor to the other Masada works that Zorn doesn't actually perform on — the first Masada chamber project, Bar Kokhba, and Film Works, Vol. 8, whose recording session wrapped up weeks before this weekend date of December 1997. Issachar is the name of the disc on which bassist Greg Cohen, cellist Erik Friedlander, and violinist Mark Feldman perform. Zevulun features the Bar Kokhba Sextet: the Masada String Trio plus drummer Joey Baron, percussionist Cyro Baptista, and guitarist Marc Ribot. All of these musicians are accomplished in jazz and improvised music, and have performed extensively in world and/or classical settings as well. The Circle Maker is a very necessary recording for all appreciators of chamber jazz, new Jewish music, or any of these stellar musicians.

The first disc - Isaachar, featuring Masada String Trio - is my favourite on the set. It resembles a lot the Masada quartet works, with the rhythmic session (bass) and two soloists (violin and cello). It's also one of Zorn's best works ever; the emotion captured by the string arrangements and the sharp-edge improvisation makes this disc a beautiful collection of jazz tunes, flirting with classical and jewish music. Chamber Jazz never sounded so tasty!

Zevulun, disc two, is a little bit weaker. It has more variety, with moments hitting close to Fusion and Surf Jazz, but it doesn't capture the emotional power of the first disc. It also differs a lot from the Masada quartet sound; having a guitar and double percussion on the band gives a totally new tonality to the Masada book tunes. Zevulun is a great disc, in its own way - it just doesn't catch up with the awesomeness of the Isaachar.

Catalog: TZ 7122 (Tzadik)
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Naked City - Absinthe (1993)

| Avant-Garde | Dark Ambient | Musique Concrète |
| Experimental Rock |

Naked City saved the best for last, and the darkest. After they had barrel-rolled through avant-rock, jazz, grindcore, cartoon music, contemporary classical, film music, drone doom, gritty free improvisation and much more, they decided to release their strangest album, Absinthe. A concept album about the drink of the same name, the song names reference various places, people, and things that have to do with Absinthe. I imagine the music is supposed to represent a really bad night in a dark cathedral after drinking a whole lotta Absinthe, and this cathedral is full of Hans Bellmer's deformed dolls, hiding in every corner.

Onto the music. The first track, Val de Travers, shows you exactly what Absinthe is about: it starts of with some disgustingly dissonant chords strummed on an de-tuned guitar (which appears throughout the album). Soon some strange electronic and percussive sounds come in and add to the terror. Une Corresponance is a different beast. You hear machine-like noise repeated in a pattern, with some variations. It repeats for awhile then it all stops and this high-pitched horn-like instrument comes in (not sax) and seems like the most vicious battle cry you would ever hear, it's one of the most scariest moments on the album. Again the album goes in a different direction with La Fee Verte. There is ambiance, water sounds, sampled vocal drones, strange sounds, and a melodic-in-a-darkly-dissonant-way guitar part, implying the music is all composed. All the while there's a steady beat in the distance, which sounds like somebody hitting their knees or something. Fleurs du Mal is really low, and you have to turn the volume up to hear it. This is the most genius point in the album. it's just this droning low pitch... so you turn your volume up, and finally the song is over and suddenly the next song, Artemisia Absinthium, blasts into your ears, a loud, high pitched noise, what sounds like strange insect noises and machinery. The whole song is like this, and is some of the most frightening music you will hear. Notre Dame de L'Oubli is a nice break from the rest of the album, being darkly melodic, and sounding similar to the classical pieces on Grand Guignol, just darker.

Finally we have Verlaine. Part one starts out with a repeated electronic part, with strange percussion behind it, and some neat piano that leads into THE most terror-inducing music I have ever heard: here John Zorn himself provides disturbing high pitched singing that sounds more Basilisk than human, while these female vocal samples phase in and out. The tones are so extremely dark, as the voices, that it is extremely affective, and literally makes me shiver with true fear. The song goes onto a sorta funky beat with a sorta funky bass, and completely un-funky discordant guitar strums. Part two, La Bleue, continues the ambience of Notre Dame de L'Oubli, just more dark sounding. Then, ...Rend Fou, the last moment of Naked City: six minutes of weird electronic static noise, which is actually Frisell and Frith running their guitar jacks over their guitar inputs. What a way to end Naked City.

Catalog: Avan 004 (Avant)
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John Zorn - Dictée/Liber Novus (2010)

| Avant-Garde | Experimental | Electronic | Jazz |
| Musique Concrète | Ambient |

Radical in both conception and execution, Zorn’s studio compositions are among his most personal and unique creations. Owing as much to film as to any musical model, these evocative postmodern tone poems have been described as cinema for your ears. This CD presents two exciting new pieces. The first, Dictée, is a ritualistic homage to Korean/American writer and conceptual artist Theresa Hak-Kyung Cha, whose brilliant work about loss, memory, language and identity is finally receiving due respect. The second piece, Liber Novus is a mythic psychodrama inspired by the legendary Red Book of Carl Jung; scored for keyboards, percussion and sound effects, this is truly Zorn at his best. Two outrageous, intense and poetically beautiful pieces filled with dynamic moments of sonic drama and experimental lyricism on one CD.

Catalog: TZ 7382 (Tzadik)
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John Zorn - The Goddess - Music for the Ancient of Days (2010)

| Cool Jazz | Avant-Classical |

Hey, look, John Zorn just released another masterpiece! What a surprise, how many has he released already this year, last year, and every year before it? You'd have to know exactly how many albums he's released to know that.

Anyways, the Goddess is the third in a series of piano trio albums Zorn's been releasing, the first two being Alhambra Love Songs and In Search of the Mirculous. Miraculous blew Alhambra out of water, and the Goddess does the same to Miraculous. Now we have our good friend Marc Ribot on guitar, doing his signature reverb-drenched playing style, and it definitely adds to the Alhambra Trio's sound. Stylistically the rhythms are more complex then on the first two albums, and the melodies are sort of a balance between the exotic sound of Alhambra and the mystical sound of Miraculous. Anyone who liked the two first albums, the Rain Horse, or generally any of Zorn's "soft" music will totally dig this!

Catalog: TZ 7383 (Tzadik)
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Ìncubi - Les Catacombes Mortes (2010)

| Avant-Garde | Dark Ambient | Noise| Electronic |

In mid-2009, I- John Wight -recorded a dark ambient album named Weltzraghassor. It was my first proper "dark ambient" release, inspired by the film Eraserhead. It was a big step at the time, and had strong Lychian atmospheres, but there were some major flaws. Basically, Les Catacombes Mortes is a completely new creation, yet it fixes all of the flaws of Weltzraghassor and incorporates new sounds and ideas.

The best way to describe this album would be noisy, discordant dark ambient with screeching electronics. It is obvious from the get-go that it is influenced by Naked City's Absinthe. The themes of the music are grotesque living puppets, dark cathedrals and catacombs, industrial wastelands, and surreal atmospheric chaos.

Catalog: VB-28 (Velvet Blue Records)
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