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Building on their trademark sound, the band brought in a harpist and string players to their usual line-up, enriching standout motifs; these range from the importance of making time for loved ones, to the feeling of waking up in the middle of the night and missing someone, to the deep bonds shared between mother and child. Since cementing themselves into the vibrant LA soul scene, Moonchild have released two albums and collaborated or toured with highly-respected names in the soul-jazz crowd including Stevie Wonder, Jill Scott, India.
Since finishing the new album, the band are looking forward to announcing a string of tour dates across USA, Europe and Asia. Amber, Andris, and Max bring you music for the soul. Little Ghost. Moonchild recommends:. Moonchild go to album. Paul Jordan OST go to album. Kader Shoman go to album. Moonlight Trio is one of the most current John Zorn's project, and even from participating musicians line-up you can expect this project isn't so pleasant and easy listening, as Masada or The Dreamers.
Mark Patton on vocals, Trevor Dunn on bass and Joey Baron on drums don't sound as very safe team of musicians, and guests are all the same - radical electronics artist Ikue Mori and Zorn himself, playing hard core free jazz attacking sax, between others. Album's music than is what you expected - uncontrolled genius' madness. Possibly last time John's music sounded similar on Naked City releases, but there it was mostly punkish avant hard core.
There, played by Moonchild trio, the music is eclectic mix of free jazz, brutal rhythms rare example when even zeuhl influences could be recognised in Zorn's music , radical avant noise, screaming vocals or just screams , some soundtracks themes, downtown atmosphere - and all mixed in one very theatrical brew!
If you're in mellow well-structured pleasant and comfortable prog for burgers, better leave this album where it is. If you're not very tolerant in what you're listen, and think Bjork music is extremal and almost extremist, better run from this album away. This music will wake you up, will push your blood to circulate faster and your brains to work harder. Great album for those who is ready to listen to it!
Newest to time John Zorn's project is most capable in my opinion between his existing bands for today. This release is their peak, condensed energy, groove and freaky magnetism! Just try to imagine very groovy heavy metal not hardcore! This is it, this album. For those not familiar with Patton vocals abilities I just can say there on this album he sings mostly on Diamanda Galas manner.
Music itself is very groovy, with Trevor Dunn's bass in the front of all sound. But there are no free improvs, generally music is composed according to metal prog rules. Marc Ribot's guitar is a bit on the second plan, but there are plenty of soloing and even scratching.
Beside of groovy nature, album has drive, and all compositions just catch you from very first sounds. Just to finish the picture please note there are many of growling Patton's vocals on this album as well!
I am not a big fan of metal prog, and I like growling even less, but believe me - on this album it works! My rating is 4,5, rounded to 5! Listen to "Warlock" first - it's masterpiece! The basic formula remains the same: Joey Baron lays down his amazing, tasteful, complex drum work, Trevor Dunn plays heavily distorted, rhythmic base-lines, which serve as the foundation for most of the songs, and Mike Patton imitates the psychiatric ward with his vocals. Zorn's sax work really shines here.
As always when he plays I can't listen to anything else. I enjoy what he's done here more than on the previous album, because while he played almost exclusively in the high resgister on Six Litanies, much of the just emulating Patton's vocals, here we see more of a full repitoire from him. A great dynamic that really fits in perfectly with the music. Given the description and what you know of John Zorn, you would think this must be pretty avant-garde, obtuse stuff right?
What makes this album work so well is that most of the time that assumption is dead wrong. When this album is at its best it's sickeningly catchy. Despite the complexity and the manic vocal and saxophone screaming, this comes off as a fun, mindless, summertime rock album in its feel. Joey Baron in particular performs with incredible groove. While a majority of the album is as I described, it also has a much different side.
Six Litanies was the "creepy" album, and The Crucible seems like it was meant to be the "evil" album. Some tracks really slow down the tempo, are heavier and darker, and feature Patton "singing" passages from the necronomicon of Lovecraft lore. The music certainly achieves its goal of being evil, but I think the album drags in these places.
If Zorn continued with the funner side of things this would be a five star album in my mind. It features a "Black Dog"-esque guitar riff which the other performes build around. A nice Led Zeppelin tribute and a fine track. I hope more people check this out as it didn't recieve the attention Six Litanies did. It has some slow points, but when the album moves it's truely great. All three are experienced in the realm of avant-garde musics and having them play music composed by John Zorn is almost mouth-watering.
But, never fear, this album can still pull its own weight, even if its a few pounds lighter than either Astronome or Six Litenies.
First it must be said that this music is not really progressive rock. In fact, there are times where this couldn't even be called rock, in any facet. At times this is avant-garde rock not even avant-rock [yes, I distinguish between the two ;- ], but, for me, a majority of this disc would be classified as straight up avant-garde.
Which is not a problem for me at all. However it needs to be stated that this isn't for the faint of heart you could probably say that for most of Zorn's work though Thus, if you are put off my ample helpings of noise in your music stay away from this one. For me Moonchild flows pretty well all the way through, at least musically. It would seem there is some sort of conceptual connection as well, though if there is it is honestly lost on me.
The main focus here is atmosphere. Bleak, frightening, eerie, nervous, and ominous are the predominant feelings here. This is the music for a soundtrack for walking around a dark labyrinth, not knowing what is coming around each corner Most of this atmosphere is created by the excellent bass playing of Dunn and the at times of suspense at least tasteful, and careful drum beats of Baron.
Likewise, most of the minotaurs are provided by the voice of Patton. Though there are plenty of times where all three of them go at it with fifteen cylinders firing to create the havoc. Admittedly, my favorite voice moments, for the most part, occur when Patton is adding to the atmosphere rather than injecting chaos. The music seems to put a certain emphasis on the vocals, which has its ups and its downsides. This is really an excellent example of using a voice as a instrument rather than just a way to convey a message.
This should not come to a surprise to anyone familiar with Patton's body of work. RBG: Beyond Notorious. Starting in present day and working back through history, each episode in this 6-part series highlights a decade of RBG's life. Hear from RBG herself in a new interview, and some of the people who know her best, including her granddaughter Clara Spera, law school classmate Professor Arthur Miller, and equal pay activist and Supreme Court plaintiff Lilly Ledbetter.