#johnzorn — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #johnzorn, aggregated by home.social.
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John Zorn − The Goddess: Music for the Ancient of Days (2010) https://www.youtube.com/watch?v=5ptHkPJbXUQ&list=PLk6mKkLSqvN-ym4AQQyvvT2Ey-z5Hpxvc
This is really relaxing (not joking)
With Ribot, Dunn <3, Wollesen, ...
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John Zorn − The Goddess: Music for the Ancient of Days (2010) https://www.youtube.com/watch?v=5ptHkPJbXUQ&list=PLk6mKkLSqvN-ym4AQQyvvT2Ey-z5Hpxvc
This is really relaxing (not joking)
With Ribot, Dunn <3, Wollesen, ...
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John Zorn − The Goddess: Music for the Ancient of Days (2010) https://www.youtube.com/watch?v=5ptHkPJbXUQ&list=PLk6mKkLSqvN-ym4AQQyvvT2Ey-z5Hpxvc
This is really relaxing (not joking)
With Ribot, Dunn <3, Wollesen, ...
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Remember kids: friends don't let friends "Zorn". Not even once.
A concise and funny article propping up early Zorn experiments as some kind of evil or fucked up taboo. Good stuff! 🤣
"Here is a list of things Naked City sounds like: a jazz “Revolution 9,” a broken tape of a French murder mystery, a rollercoaster on the brink of falling apart, the varsity jazz band in a mental institution, The Wizard of Gore, a man in a red velvet suit whispering something seductive and then screaming in your ear, nothing else."
Wholesome tunes for the entire family to gather around the stereophonic sound system in the living room and listen together to on a cold winter Sunday evening.
"The Sicilian Clan"(linked in the article) is still one of my favorite "smooth" jazz-noir bits after 30+ years.
https://www.treblezine.com/john-zorn-naked-city-gleeful-noise-jazz-experiment/
#JohnZorn #AvantJazz #FreeJazz #music #Jazz -
Morrn 🤘
Another gem from the #JohnZorn label #Tzadik.
Rating: 8,5/10
https://www.deezer.com/de/album/747344441
#RandomMusickMayhem #Rock #Jazz #Fusion #Instrumental #Experimental #ProgressiveRock #Shardik #AlbumsOf2025
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Just this: "…Jim Staley on trombones, Ikue Mori on electronics, and John Zorn on alto saxophone"
For fans of #Jazz a no-brainer. Enjoy!
Rating: 9/10
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My girlfriend just referred to Trevor Dunn as "that guy from John Zorn's band".
...the band she was thinking of? Mr. Bungle
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#TIL how to share a YouTube video at a specific time marker...🤣
It's all about some Post Bop #Klezmer tonight!
Probably the first of my favorite songs from #JohnZorn and his #Masada ensemble.
Also, pretty much one of the first albums of his that I bought along with his Painkiller "Execution Grounds" project. Both blew the top of my head off when I first heard them in 1994.Regretfully, I've never seen any of the iterations of Masada. I was, however, fortunate enough to catch Painkiller on their first tour through Seattle at Moe's Mo' Rockin' Cafe up on Capitol Hill.
This song "Abidan" off the album "Gimel" is much less frenetic, with significantly less #skronk, and more of a slow jazz-noir burn compared to most of their other work. "Hazor"(the 2nd song after this one) is another slowish, kinda swingin' tune.
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Abhorrent Expanse – Enter the Misanthropocene Review
How experimental is too experimental? Tha…
#NewsBeep #News #Music #1.0 #2025 #AbhorrentExpanse #AmalgamMusic #AmbientMetal #AmericanMetal #Aug25 #Bunsenburner #Celestiial #DeathMetal #DissonantDeathMetal #EntertheMisanthropocene #Entertainment #FreeJazz #Grindcore #ImperialTriumphant #JohnCage #JohnZorn #NeptunianMaximalism #noise #Obsequiae #Portal #review #Reviews #TheBlight #UK #UnitedKingdom #ZebulonPike
https://www.newsbeep.com/uk/75769/ -
Abhorrent Expanse – Enter the Misanthropocene Review
By Dear Hollow
How experimental is too experimental? That’s the question Chicago’s Abhorrent Expanse posits. It’s clear from the title: Enter the Misanthropocene enters to play jazz and fuck shit up, and “Bitches Brew” is on its final notes. When the Lord of the Promo Pit designated the quartet as “death-drone,” I was intrigued and gobbled up rights. It was clear from the jump that Abhorrent Expanse was not the death metal act with a mammoth guitar tone I had hoped, but an improvisational free jazz quartet that decides to do extreme metal sometimes, with death metal, grindcore, and, yes, drone metal making short-lived appearances. Pushing the boundary between extreme lofty experimentation and outright nonsense, Enter the Misanthropocene is a sophomore effort that will take you to an abstract and uncompromising world – or straight to the medicine cabinet for an aspirin.
Abhorrent Expanse has a solid lineup, including caliber from Zebulon Pike, Celestiial, Obsequiae, and The Blight – even if its sound feels entirely convoluted. Following the controversial debut Gateways to Resplendence, Enter the Misanthropocene is largely the same, but its scope is larger, significantly reducing its drone content in favor of jazzy noodling, grind intensity, sprawling ambiance, and deconstructed death metal jaggedness. The drone that exists within is a short-lived sprawl that pops up periodically, giving a more abstract feel than its predecessor’s “dissodeath meeting drone metal in a dark alley behind the Kmart” vibe. Forty-eight minutes of whiplash-inducing tonal and tempo shifts, off-key twanging, random stoner sprawls, and an undeserved love for improv awaits – and I need a nap.
Say it with me: improv is bad. I get the whole avant-garde approach that John Zorn would drool over, that an improvised performance is a “never see it the same way twice” kind of deal, but that doesn’t mean it’s good. As we’ve seen with typically good bands like Neptunian Maximalism or Bunsenburner, relying on group chemistry instead of thoughtful songwriting to create a singular experience hardly pans out – and Enter the Misanthropocene is no exception. Moments of avant-garde clarity in which the instruments align shine in the twitching obscure grind (title track, “Assail the Density Matrix,” “Dissonant Aggressors”), short-lived minimalist drone (“Praise for Chaos,” “Dissonant Aggressors,” “Ascension Symptom Acceleration”), haunting ritualism (“Waves of Graves”), and ambient calm (“Kairos”). Death growls are sparse. Enter the Misanthropocene is so free jazz and avant-garde it forcibly drags nonconsenting listeners into what seems like obscenely high art…
…Or incompetent musicianship. Much of Abhorrent Expanse’s sound is rooted in utter nonsense, and one that often gets played really fast. While there’s certainly artistic discomfort aplenty to be found on this record, in which I can see some merit (“Waves of Graves,” “Drenched Onyx”), these are scattered moments among what sound like the plonks and twunks of a novice fiddling with a new guitar at Guitar Center. Atonal noodling and off-beat drumming accounts for the majority of its forty-eight minute runtime, sounding entirely random. The drone-doom moments feel off-beat and misaligned (“Praise for Chaos”), some ambient moments are so subtle and minimalist that they just cover John Cage’s 4’33” for a bit before eventually becoming audible (“Nephilim Disinterred”), and by the end of the ten-minute closer “Prostrate Before Chthonic Devourment” you might feel like you’ve been through a prostrate exam.
The promotion around Abhorrent Expanse relies on similarities to dissonant acts like Portal and Imperial Triumphant – but in order to do that, they’d actually have to write some songs first. Gateways to Resplendence was challenging and avant-garde but anchored to a respectable degree; Enter the Misanthropocene is a leaf on the wind, being blown by one avant-garde gust to another with no semblance of gravity to save it. Its high-art status is a divisive issue, as the directionless noodling can be seen as either a challenging piece of art or four dudes who don’t know how to play their instruments. But isn’t that the nature of art itself? Abhorrent Expanse holds a mirror to art itself, making us question what is drivel and what is erudite – through the improvised off-key noodling of someone who has arguably never picked up a guitar before.
Rating: 1.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Amalgam Music
Websites: abhorrentexpanse.bandcamp.com
Releases Worldwide: August 15th, 2025#10 #2025 #AbhorrentExpanse #AmalgamMusic #AmbientMetal #AmericanMetal #Aug25 #Bunsenburner #Celestiial #DeathMetal #DissonantDeathMetal #EnterTheMisanthropocene #FreeJazz #Grindcore #ImperialTriumphant #JohnCage #JohnZorn #NeptunianMaximalism #Noise #Obsequiae #Portal #Review #Reviews #TheBlight #ZebulonPike
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Abhorrent Expanse – Enter the Misanthropocene Review
By Dear Hollow
How experimental is too experimental? That’s the question Chicago’s Abhorrent Expanse posits. It’s clear from the title: Enter the Misanthropocene enters to play jazz and fuck shit up, and “Bitches Brew” is on its final notes. When the Lord of the Promo Pit designated the quartet as “death-drone,” I was intrigued and gobbled up rights. It was clear from the jump that Abhorrent Expanse was not the death metal act with a mammoth guitar tone I had hoped, but an improvisational free jazz quartet that decides to do extreme metal sometimes, with death metal, grindcore, and, yes, drone metal making short-lived appearances. Pushing the boundary between extreme lofty experimentation and outright nonsense, Enter the Misanthropocene is a sophomore effort that will take you to an abstract and uncompromising world – or straight to the medicine cabinet for an aspirin.
Abhorrent Expanse has a solid lineup, including caliber from Zebulon Pike, Celestiial, Obsequiae, and The Blight – even if its sound feels entirely convoluted. Following the controversial debut Gateways to Resplendence, Enter the Misanthropocene is largely the same, but its scope is larger, significantly reducing its drone content in favor of jazzy noodling, grind intensity, sprawling ambiance, and deconstructed death metal jaggedness. The drone that exists within is a short-lived sprawl that pops up periodically, giving a more abstract feel than its predecessor’s “dissodeath meeting drone metal in a dark alley behind the Kmart” vibe. Forty-eight minutes of whiplash-inducing tonal and tempo shifts, off-key twanging, random stoner sprawls, and an undeserved love for improv awaits – and I need a nap.
Say it with me: improv is bad. I get the whole avant-garde approach that John Zorn would drool over, that an improvised performance is a “never see it the same way twice” kind of deal, but that doesn’t mean it’s good. As we’ve seen with typically good bands like Neptunian Maximalism or Bunsenburner, relying on group chemistry instead of thoughtful songwriting to create a singular experience hardly pans out – and Enter the Misanthropocene is no exception. Moments of avant-garde clarity in which the instruments align shine in the twitching obscure grind (title track, “Assail the Density Matrix,” “Dissonant Aggressors”), short-lived minimalist drone (“Praise for Chaos,” “Dissonant Aggressors,” “Ascension Symptom Acceleration”), haunting ritualism (“Waves of Graves”), and ambient calm (“Kairos”). Death growls are sparse. Enter the Misanthropocene is so free jazz and avant-garde it forcibly drags nonconsenting listeners into what seems like obscenely high art…
…Or incompetent musicianship. Much of Abhorrent Expanse’s sound is rooted in utter nonsense, and one that often gets played really fast. While there’s certainly artistic discomfort aplenty to be found on this record, in which I can see some merit (“Waves of Graves,” “Drenched Onyx”), these are scattered moments among what sound like the plonks and twunks of a novice fiddling with a new guitar at Guitar Center. Atonal noodling and off-beat drumming accounts for the majority of its forty-eight minute runtime, sounding entirely random. The drone-doom moments feel off-beat and misaligned (“Praise for Chaos”), some ambient moments are so subtle and minimalist that they just cover John Cage’s 4’33” for a bit before eventually becoming audible (“Nephilim Disinterred”), and by the end of the ten-minute closer “Prostrate Before Chthonic Devourment” you might feel like you’ve been through a prostrate exam.
The promotion around Abhorrent Expanse relies on similarities to dissonant acts like Portal and Imperial Triumphant – but in order to do that, they’d actually have to write some songs first. Gateways to Resplendence was challenging and avant-garde but anchored to a respectable degree; Enter the Misanthropocene is a leaf on the wind, being blown by one avant-garde gust to another with no semblance of gravity to save it. Its high-art status is a divisive issue, as the directionless noodling can be seen as either a challenging piece of art or four dudes who don’t know how to play their instruments. But isn’t that the nature of art itself? Abhorrent Expanse holds a mirror to art itself, making us question what is drivel and what is erudite – through the improvised off-key noodling of someone who has arguably never picked up a guitar before.
Rating: 1.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Amalgam Music
Websites: abhorrentexpanse.bandcamp.com
Releases Worldwide: August 15th, 2025#10 #2025 #AbhorrentExpanse #AmalgamMusic #AmbientMetal #AmericanMetal #Aug25 #Bunsenburner #Celestiial #DeathMetal #DissonantDeathMetal #EnterTheMisanthropocene #FreeJazz #Grindcore #ImperialTriumphant #JohnCage #JohnZorn #NeptunianMaximalism #Noise #Obsequiae #Portal #Review #Reviews #TheBlight #ZebulonPike
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Abhorrent Expanse – Enter the Misanthropocene Review
By Dear Hollow
How experimental is too experimental? That’s the question Chicago’s Abhorrent Expanse posits. It’s clear from the title: Enter the Misanthropocene enters to play jazz and fuck shit up, and “Bitches Brew” is on its final notes. When the Lord of the Promo Pit designated the quartet as “death-drone,” I was intrigued and gobbled up rights. It was clear from the jump that Abhorrent Expanse was not the death metal act with a mammoth guitar tone I had hoped, but an improvisational free jazz quartet that decides to do extreme metal sometimes, with death metal, grindcore, and, yes, drone metal making short-lived appearances. Pushing the boundary between extreme lofty experimentation and outright nonsense, Enter the Misanthropocene is a sophomore effort that will take you to an abstract and uncompromising world – or straight to the medicine cabinet for an aspirin.
Abhorrent Expanse has a solid lineup, including caliber from Zebulon Pike, Celestiial, Obsequiae, and The Blight – even if its sound feels entirely convoluted. Following the controversial debut Gateways to Resplendence, Enter the Misanthropocene is largely the same, but its scope is larger, significantly reducing its drone content in favor of jazzy noodling, grind intensity, sprawling ambiance, and deconstructed death metal jaggedness. The drone that exists within is a short-lived sprawl that pops up periodically, giving a more abstract feel than its predecessor’s “dissodeath meeting drone metal in a dark alley behind the Kmart” vibe. Forty-eight minutes of whiplash-inducing tonal and tempo shifts, off-key twanging, random stoner sprawls, and an undeserved love for improv awaits – and I need a nap.
Say it with me: improv is bad. I get the whole avant-garde approach that John Zorn would drool over, that an improvised performance is a “never see it the same way twice” kind of deal, but that doesn’t mean it’s good. As we’ve seen with typically good bands like Neptunian Maximalism or Bunsenburner, relying on group chemistry instead of thoughtful songwriting to create a singular experience hardly pans out – and Enter the Misanthropocene is no exception. Moments of avant-garde clarity in which the instruments align shine in the twitching obscure grind (title track, “Assail the Density Matrix,” “Dissonant Aggressors”), short-lived minimalist drone (“Praise for Chaos,” “Dissonant Aggressors,” “Ascension Symptom Acceleration”), haunting ritualism (“Waves of Graves”), and ambient calm (“Kairos”). Death growls are sparse. Enter the Misanthropocene is so free jazz and avant-garde it forcibly drags nonconsenting listeners into what seems like obscenely high art…
…Or incompetent musicianship. Much of Abhorrent Expanse’s sound is rooted in utter nonsense, and one that often gets played really fast. While there’s certainly artistic discomfort aplenty to be found on this record, in which I can see some merit (“Waves of Graves,” “Drenched Onyx”), these are scattered moments among what sound like the plonks and twunks of a novice fiddling with a new guitar at Guitar Center. Atonal noodling and off-beat drumming accounts for the majority of its forty-eight minute runtime, sounding entirely random. The drone-doom moments feel off-beat and misaligned (“Praise for Chaos”), some ambient moments are so subtle and minimalist that they just cover John Cage’s 4’33” for a bit before eventually becoming audible (“Nephilim Disinterred”), and by the end of the ten-minute closer “Prostrate Before Chthonic Devourment” you might feel like you’ve been through a prostrate exam.
The promotion around Abhorrent Expanse relies on similarities to dissonant acts like Portal and Imperial Triumphant – but in order to do that, they’d actually have to write some songs first. Gateways to Resplendence was challenging and avant-garde but anchored to a respectable degree; Enter the Misanthropocene is a leaf on the wind, being blown by one avant-garde gust to another with no semblance of gravity to save it. Its high-art status is a divisive issue, as the directionless noodling can be seen as either a challenging piece of art or four dudes who don’t know how to play their instruments. But isn’t that the nature of art itself? Abhorrent Expanse holds a mirror to art itself, making us question what is drivel and what is erudite – through the improvised off-key noodling of someone who has arguably never picked up a guitar before.
Rating: 1.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Amalgam Music
Websites: abhorrentexpanse.bandcamp.com
Releases Worldwide: August 15th, 2025#10 #2025 #AbhorrentExpanse #AmalgamMusic #AmbientMetal #AmericanMetal #Aug25 #Bunsenburner #Celestiial #DeathMetal #DissonantDeathMetal #EnterTheMisanthropocene #FreeJazz #Grindcore #ImperialTriumphant #JohnCage #JohnZorn #NeptunianMaximalism #Noise #Obsequiae #Portal #Review #Reviews #TheBlight #ZebulonPike
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Abhorrent Expanse – Enter the Misanthropocene Review
By Dear Hollow
How experimental is too experimental? That’s the question Chicago’s Abhorrent Expanse posits. It’s clear from the title: Enter the Misanthropocene enters to play jazz and fuck shit up, and “Bitches Brew” is on its final notes. When the Lord of the Promo Pit designated the quartet as “death-drone,” I was intrigued and gobbled up rights. It was clear from the jump that Abhorrent Expanse was not the death metal act with a mammoth guitar tone I had hoped, but an improvisational free jazz quartet that decides to do extreme metal sometimes, with death metal, grindcore, and, yes, drone metal making short-lived appearances. Pushing the boundary between extreme lofty experimentation and outright nonsense, Enter the Misanthropocene is a sophomore effort that will take you to an abstract and uncompromising world – or straight to the medicine cabinet for an aspirin.
Abhorrent Expanse has a solid lineup, including caliber from Zebulon Pike, Celestiial, Obsequiae, and The Blight – even if its sound feels entirely convoluted. Following the controversial debut Gateways to Resplendence, Enter the Misanthropocene is largely the same, but its scope is larger, significantly reducing its drone content in favor of jazzy noodling, grind intensity, sprawling ambiance, and deconstructed death metal jaggedness. The drone that exists within is a short-lived sprawl that pops up periodically, giving a more abstract feel than its predecessor’s “dissodeath meeting drone metal in a dark alley behind the Kmart” vibe. Forty-eight minutes of whiplash-inducing tonal and tempo shifts, off-key twanging, random stoner sprawls, and an undeserved love for improv awaits – and I need a nap.
Say it with me: improv is bad. I get the whole avant-garde approach that John Zorn would drool over, that an improvised performance is a “never see it the same way twice” kind of deal, but that doesn’t mean it’s good. As we’ve seen with typically good bands like Neptunian Maximalism or Bunsenburner, relying on group chemistry instead of thoughtful songwriting to create a singular experience hardly pans out – and Enter the Misanthropocene is no exception. Moments of avant-garde clarity in which the instruments align shine in the twitching obscure grind (title track, “Assail the Density Matrix,” “Dissonant Aggressors”), short-lived minimalist drone (“Praise for Chaos,” “Dissonant Aggressors,” “Ascension Symptom Acceleration”), haunting ritualism (“Waves of Graves”), and ambient calm (“Kairos”). Death growls are sparse. Enter the Misanthropocene is so free jazz and avant-garde it forcibly drags nonconsenting listeners into what seems like obscenely high art…
…Or incompetent musicianship. Much of Abhorrent Expanse’s sound is rooted in utter nonsense, and one that often gets played really fast. While there’s certainly artistic discomfort aplenty to be found on this record, in which I can see some merit (“Waves of Graves,” “Drenched Onyx”), these are scattered moments among what sound like the plonks and twunks of a novice fiddling with a new guitar at Guitar Center. Atonal noodling and off-beat drumming accounts for the majority of its forty-eight minute runtime, sounding entirely random. The drone-doom moments feel off-beat and misaligned (“Praise for Chaos”), some ambient moments are so subtle and minimalist that they just cover John Cage’s 4’33” for a bit before eventually becoming audible (“Nephilim Disinterred”), and by the end of the ten-minute closer “Prostrate Before Chthonic Devourment” you might feel like you’ve been through a prostrate exam.
The promotion around Abhorrent Expanse relies on similarities to dissonant acts like Portal and Imperial Triumphant – but in order to do that, they’d actually have to write some songs first. Gateways to Resplendence was challenging and avant-garde but anchored to a respectable degree; Enter the Misanthropocene is a leaf on the wind, being blown by one avant-garde gust to another with no semblance of gravity to save it. Its high-art status is a divisive issue, as the directionless noodling can be seen as either a challenging piece of art or four dudes who don’t know how to play their instruments. But isn’t that the nature of art itself? Abhorrent Expanse holds a mirror to art itself, making us question what is drivel and what is erudite – through the improvised off-key noodling of someone who has arguably never picked up a guitar before.
Rating: 1.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Amalgam Music
Websites: abhorrentexpanse.bandcamp.com
Releases Worldwide: August 15th, 2025#10 #2025 #AbhorrentExpanse #AmalgamMusic #AmbientMetal #AmericanMetal #Aug25 #Bunsenburner #Celestiial #DeathMetal #DissonantDeathMetal #EnterTheMisanthropocene #FreeJazz #Grindcore #ImperialTriumphant #JohnCage #JohnZorn #NeptunianMaximalism #Noise #Obsequiae #Portal #Review #Reviews #TheBlight #ZebulonPike
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Abhorrent Expanse – Enter the Misanthropocene Review
By Dear Hollow
How experimental is too experimental? That’s the question Chicago’s Abhorrent Expanse posits. It’s clear from the title: Enter the Misanthropocene enters to play jazz and fuck shit up, and “Bitches Brew” is on its final notes. When the Lord of the Promo Pit designated the quartet as “death-drone,” I was intrigued and gobbled up rights. It was clear from the jump that Abhorrent Expanse was not the death metal act with a mammoth guitar tone I had hoped, but an improvisational free jazz quartet that decides to do extreme metal sometimes, with death metal, grindcore, and, yes, drone metal making short-lived appearances. Pushing the boundary between extreme lofty experimentation and outright nonsense, Enter the Misanthropocene is a sophomore effort that will take you to an abstract and uncompromising world – or straight to the medicine cabinet for an aspirin.
Abhorrent Expanse has a solid lineup, including caliber from Zebulon Pike, Celestiial, Obsequiae, and The Blight – even if its sound feels entirely convoluted. Following the controversial debut Gateways to Resplendence, Enter the Misanthropocene is largely the same, but its scope is larger, significantly reducing its drone content in favor of jazzy noodling, grind intensity, sprawling ambiance, and deconstructed death metal jaggedness. The drone that exists within is a short-lived sprawl that pops up periodically, giving a more abstract feel than its predecessor’s “dissodeath meeting drone metal in a dark alley behind the Kmart” vibe. Forty-eight minutes of whiplash-inducing tonal and tempo shifts, off-key twanging, random stoner sprawls, and an undeserved love for improv awaits – and I need a nap.
Say it with me: improv is bad. I get the whole avant-garde approach that John Zorn would drool over, that an improvised performance is a “never see it the same way twice” kind of deal, but that doesn’t mean it’s good. As we’ve seen with typically good bands like Neptunian Maximalism or Bunsenburner, relying on group chemistry instead of thoughtful songwriting to create a singular experience hardly pans out – and Enter the Misanthropocene is no exception. Moments of avant-garde clarity in which the instruments align shine in the twitching obscure grind (title track, “Assail the Density Matrix,” “Dissonant Aggressors”), short-lived minimalist drone (“Praise for Chaos,” “Dissonant Aggressors,” “Ascension Symptom Acceleration”), haunting ritualism (“Waves of Graves”), and ambient calm (“Kairos”). Death growls are sparse. Enter the Misanthropocene is so free jazz and avant-garde it forcibly drags nonconsenting listeners into what seems like obscenely high art…
…Or incompetent musicianship. Much of Abhorrent Expanse’s sound is rooted in utter nonsense, and one that often gets played really fast. While there’s certainly artistic discomfort aplenty to be found on this record, in which I can see some merit (“Waves of Graves,” “Drenched Onyx”), these are scattered moments among what sound like the plonks and twunks of a novice fiddling with a new guitar at Guitar Center. Atonal noodling and off-beat drumming accounts for the majority of its forty-eight minute runtime, sounding entirely random. The drone-doom moments feel off-beat and misaligned (“Praise for Chaos”), some ambient moments are so subtle and minimalist that they just cover John Cage’s 4’33” for a bit before eventually becoming audible (“Nephilim Disinterred”), and by the end of the ten-minute closer “Prostrate Before Chthonic Devourment” you might feel like you’ve been through a prostrate exam.
The promotion around Abhorrent Expanse relies on similarities to dissonant acts like Portal and Imperial Triumphant – but in order to do that, they’d actually have to write some songs first. Gateways to Resplendence was challenging and avant-garde but anchored to a respectable degree; Enter the Misanthropocene is a leaf on the wind, being blown by one avant-garde gust to another with no semblance of gravity to save it. Its high-art status is a divisive issue, as the directionless noodling can be seen as either a challenging piece of art or four dudes who don’t know how to play their instruments. But isn’t that the nature of art itself? Abhorrent Expanse holds a mirror to art itself, making us question what is drivel and what is erudite – through the improvised off-key noodling of someone who has arguably never picked up a guitar before.
Rating: 1.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Amalgam Music
Websites: abhorrentexpanse.bandcamp.com
Releases Worldwide: August 15th, 2025#10 #2025 #AbhorrentExpanse #AmalgamMusic #AmbientMetal #AmericanMetal #Aug25 #Bunsenburner #Celestiial #DeathMetal #DissonantDeathMetal #EnterTheMisanthropocene #FreeJazz #Grindcore #ImperialTriumphant #JohnCage #JohnZorn #NeptunianMaximalism #Noise #Obsequiae #Portal #Review #Reviews #TheBlight #ZebulonPike
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Ava Mendoza/Gabby Fluke-Mogul/Carolina Pérez – Mama Killa Review
By Angry Metal Guy
By: Nameless_n00b_601
The more experimental a piece of music is, the harder it must work to ground its artistic expression in an emotional or compositional core. Dazzling displays of aural innovation or sonic provocation still need a conceptual throughline—something for even the most open-minded listener to latch onto. As a fan of more “challenging” styles, I find there’s a fine line between music that feels like “artistic expression for its own sake” and music that offers “engaging tunes I actually want to listen to.” Mama Killa is the debut improvisational collaborative album from a trio with an impressive musical pedigree, consisting of guitarist Ava Mendoza (Bill Orcutt Guitar Quartet, Unnatural Ways), violinist Gabby Fluke-Mogul (Zoh Amba, Ivo Perelman, William Parker), and drummer Carolina Pérez (Hypoxia, Castrator). Named after the Incan goddess of the moon, the album promises “eight tracks of high-volume, riff-based guitar-violin improvisation bolstered by thunderous drumming.” Can this newly formed power trio avoid the common pitfalls of experimental music and deliver over 50 minutes of compelling, instrumental free jazz?
Mama Killa offers a set of compositions that resist easy classification. While “free jazz” is likely the closest label, the sound here is a novel fusion of dissonant aesthetics, ambient impulses, Afro-Latin grooves, and avant-garde metal. I’d point to John Zorn’s more metal-focused offerings, or the most recent Mamaleek albums as potential antecedents, but Mama Killa truly sounds like nothing else. Each player draws from their unique background to craft performances that exist at a stylistic crossroads. Mendoza’s guitar work ranges from off-kilter psychedelic blues riffs, effects-heavy noise, and introspective drone, punctuated by ethereal, tremolo-picked leads. Her ingenuity is matched by Fluke-Mogul, whose violin playing is both versatile and unpredictable. She uses an array of techniques and effects pedals to summon everything from shrieking wails to rhythmic plucking and somber melodies. Pérez, meanwhile, brings her death metal roots to the drum kit, incorporating double bass gallops and anchoring the string players with a solid, rock-oriented foundation. While her style may lack the finesse and tight precision of a traditional jazz drummer, her command of dynamics, fluidity, and aggression elevate the string pyrotechnics of her bandmates.
The album and its track list are held together by a close attention to dynamics, allowing the listener to distinguish peaks from valleys in what might otherwise feel like formless terrain. High-intensity, riff-driven tracks like raucous opener “Puma Punku,” the black metal-tinged “We Will Be Millions” and the krautrock-inspired “Nowhere but Here” are spaced out by slower, more contemplative pieces that highlight different elements of the trio’s artistry. “Trichocereus Pachanoi” places Pérez in the spotlight with an undulating drum solo that eventually gives way to Sunn O)))-like waves of guitar drone—a motif expanded in the tense and unsettling “Mama Huaco.” Meanwhile, “Partera Party” centers Fluke-Mogul, who begins with a sparse, exhilarating violin solo before easing into an almost playful groove once the drums enter. This sense of contrast lends Mama Killa a strong pacing. Whenever the trio’s intensity hits a peak, it is soon tempered by several minutes of minimalist reflection. While some of the quieter moments occasionally linger a bit too long, the album overall offers a surprisingly well-balanced listening experience, especially for a genre so rooted in unpredictability.
It helps that Mama Killa features a raw, no-frills production style that not only highlights its careful use of dynamics but also brings sonic clarity to its adventurous performances. Legendary engineer Martin Bisi (Sonic Youth, Swans, Boredoms) captures everything from the subtle hiss of Mendosa’s amps to the soft timbre of Pérez’s cymbal wash, placing the listener firmly in the room without relying on studio tricks that might dilute the emotion of these pieces. This allows the gorgeous violin melody of “Amazing Graces” and the slow-burn, post-rock build of the closer “Mama Coco” to truly resonate. Unfortunately, the production does highlight a somewhat weak vocal performance on 2 tracks (“Puma Punku” and “Nowhere but Here”), where improvised blackened yelps appear to distract from the stellar instrumental parts. This is ultimately a small complaint, but it does detract slightly from an otherwise impressive work.
Mama Killa is an exciting debut that manages to both chart new sonic territory and entertain while doing so. It certainly stands as a challenging work which listeners might not be keen to partake in regularly, but for those willing to embark, Mama Killa offers a unique and varied work of experimental music with a sly thematic core. It’s an album where each contributor’s artistic voice is clearly discernible, and their cohesion elevates this collection of improvised music beyond typical genre pitfalls. If the trio finds time amid their busy musical schedules to release another project, it will be exciting to see how they might further develop an already compelling formula.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: Lossless
Label: Burning Ambulance Music
Website: mendozaflukemogulperez.bandcamp.com
Releases Worldwide: July 11th, 2025#2025 #AvaMendozaGabbyFlukeMogulCarolinaPérez #Castrator #FreeJazz #Hypoxia #JohnZorn #Jul25 #Mamaleek #Progressive #Review #Reviews #Sunn #SunnO_ #Swans
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#NowPlaying In case you thought everything #PeterBrötzmann did was totally confrontational, “Berlin Djungle”, a composition for FIVE clarinetists was recorded live in 1984 with an unbelievable lineup: #ToshinoriKondo, #JohnZorn, #WilliamParker, #TonyOxley, and many others. https://destination-out.bandcamp.com/album/berlin-djungle
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The Jazz-Metal Trio PainKiller’s Classic Lineup Revs Up Again
#MickHarris #BillLaswell and #JohnZorn new album, “Samsara” — their first in 30 years — arrives as Laswell battles health troubles that “opened up a new direction.” -
“Honestly, I don’t even like the term genre. It means nothing to me. Genre is something that exists after the fact. Nobody creating music, who is composing music, puts it into a genre.“ - Brian Marsella
‘MEDIETAS’ out now on Tzadik Records.
#brianmarsella #imaginarium #tzadikrecords #roulette_intermedium #thenewschool #johnzorn #music #art #postgenre #postgenremedia #postgenremusic #interview #newalbum #hasaanibnali #improvisedmusic #jazz
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#Upcoming “Samsara” is a new recording from the original #Painkiller trio of #JohnZorn (saxophone), #BillLaswell (bass), and #MickHarris (electronics). Available via #TzadikRecords, November 15th. https://www.tzadik.com/
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#nowplaying
Eugene Chadbourne "Honey Don't"https://www.youtube.com/watch?v=wrd4vmkokLw
The Good Doctor's 1980 rendition of the Carl Perkins number Featuring John Zorn, Tom Cora, and David Licht
#eugenechadbourne #rockabilly #country #jazz #freejazz #johnzorn #experimentalmusic
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#nowplaying
Eugene Chadbourne "Honey Don't"https://www.youtube.com/watch?v=wrd4vmkokLw
The Good Doctor's 1980 rendition of the Carl Perkins number Featuring John Zorn, Tom Cora, and David Licht
#eugenechadbourne #rockabilly #country #jazz #freejazz #johnzorn #experimentalmusic
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#nowplaying
Eugene Chadbourne "Honey Don't"https://www.youtube.com/watch?v=wrd4vmkokLw
The Good Doctor's 1980 rendition of the Carl Perkins number Featuring John Zorn, Tom Cora, and David Licht
#eugenechadbourne #rockabilly #country #jazz #freejazz #johnzorn #experimentalmusic
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#nowplaying
Eugene Chadbourne "Honey Don't"https://www.youtube.com/watch?v=wrd4vmkokLw
The Good Doctor's 1980 rendition of the Carl Perkins number Featuring John Zorn, Tom Cora, and David Licht
#eugenechadbourne #rockabilly #country #jazz #freejazz #johnzorn #experimentalmusic
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#nowplaying
Eugene Chadbourne "Honey Don't"https://www.youtube.com/watch?v=wrd4vmkokLw
The Good Doctor's 1980 rendition of the Carl Perkins number Featuring John Zorn, Tom Cora, and David Licht
#eugenechadbourne #rockabilly #country #jazz #freejazz #johnzorn #experimentalmusic
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Killing Spree – Camouflage! Review
By Dear Hollow
As the old ball bounces, I guess I’m becoming the jazz guy around here. Hey, did you know that the phrase “jazz” probably comes from the word “jasm,” which is an archaic American phrase that means “drive” or “energy?” Now you do. Either way, when the inimitable GardensTale claimed this one, he was like “what the hell” and asked – no, demanded – that I take it after seeing my work with Mamaleek, that whack-ass La Suspendida project, and Bunsenburner’s redemption arc. But Killing Spree is here to kick ass and take names, like down in NOLA or some shit. Does it jazz? That’s the question. It jazzes, it’s got jasm, and you best fall into the jasm chasm with me, you dig?
French duo Killing Spree consists of saxophonist Matthieu Metzger1 and drummer Grégoire Galichet,2 and Camouflage! is their debut full-length after 2020 EP A Violent Legacy (a collection of Death and Meshuggah covers). While sax in metal is not uncommon, with bands like Ex Eye and Corrections House utilizing it for haunting accents in sludge-worshiping offerings, Killing Spree goes for both the jugular in its death metal focus and for the pecker in wonkily improvised free jazz with a range of moods and auras. Fed through handmade machines and distortion pedals galore, sax becomes both the chuggy downtuned riffs you expect from an album devoted to death metal, and the wonky solos that you know from freeform jazz explosions. Ultimately, Killing Spree offers an album that surprisingly works even if it is weird as shit.
Camouflage! is a tale of two halves. Sparse death vocals appear on intro “A, C and B,” the title track, “Disposable,” and “The Psychopomp,” lending Killing Spree’s first act a distinct death metal vibe, the robustness of the saxophone surprisingly compatible with its mammoth distortion, complete with driving rhythms and pulsing heft. “The Psychopomp” serves as dynamic movement into the second half, chuggy riffs evolving from the configuration of death metal leads to the looseness and freedom of jazz. The second act embraces this freedom, that while death growls and rhythms still pervade, the melodics feel much more apt to Ornette Coleman, John Zorn, or John Coltrane in avant-garde discordance atop bass-heavy sax chugs that feel straight outta sludge. The “All These Bells and Whistles” binary offers a foundation of impossibly heavy staccato “chugs” while freeform improvised wails and robust arpeggios soar atop it, an expression of fluidity that feels ominous, plodding, and hateful. “250 Slaves” is a sidewinder, stealing a similar template for a suddenly major key interpretation, its upbeat rhythms approaching punk. The first half feels a bit like a misdirect, completely locked into its rhythms with a head-bobbing groove, while the second cuts loose into wild jazz ejaculations – Killing Spree is truly fluid indeed.
As you may have guessed, Camouflage! is fuckin’ weird. Aside from the inherent inaccessibility of its music, Killing Spree pushes the envelope of our comfort. Most prominently, upper-register sax wails in tracks like “Disposable” and the first half of “All These Bells and Whistles, Pt. II” are nearly migraine-inducing in their stubborn repetition and lack of variation. Otherwise, the disparate stylings of the two halves feels a bit jarring, even though it is neatly separated by the smooth adjustments across “The Psychopomp” and the clarity of interlude “Toute Cette Violence Qui Est En Moi.” While at its best in the wild-but-not-inaccessible attack of “All These Bells and Whistles,” first-half tracks not only feel less memorable but also too locked into their own rhythms, as “Camouflage!” and “The Psychopomp” grow weary across more gratuitous lengths. However, “All These Bells and Whistles, Pt. I” and closer “Chanson de Cirque – Corrida de Muerte” can feel too freeform in utter abandonment of structure. Because the death growls become expected, the clean singing and talkbox voice of the closer likewise feel jarring for Killing Spree.
Camouflage! is exactly what Killing Spree intends: death metal made of jazz sax. Contrary to the organic acoustics of Onkos, for instance, they embrace the synthetic and industrial in a machine’s distorted voice. Across a frankly protracted forty-six minutes, they finally seem to hit their stride and break out of a robotic rhythm in “The Psychopomp” then get a little too big for their britches by the time “Chanson de Cirque…” rolls around. Does Killing Spree jazz? Yes. Will it give you an orjasm? Remains to be seen.
Rating: 3.0/5.0
DR: 8 | Format Reviewed: 256 kb/s mp3
Label: Klonosphere Records
Website: soundcloud.com/killingspree
Releases Worldwide: September 13th, 2024#2024 #30 #Bunsenburner #Camouflage_ #CorrectionsHouse #DeadSeason #Death #DeathMetal #DeathcodeSociety #ExEye #FreeJazz #IndustrialMetal #Jazz #JohnColtrane #JohnZorn #KillingSpree #Klone #KlonosphereRecords #Kwoon #LaSuspendida #Mamaleek #Meshuggah #NationalJazzOrchestra #Onkos #OrnetteColeman #Review #Reviews #Sep24
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Killing Spree – Camouflage! Review
By Dear Hollow
As the old ball bounces, I guess I’m becoming the jazz guy around here. Hey, did you know that the phrase “jazz” probably comes from the word “jasm,” which is an archaic American phrase that means “drive” or “energy?” Now you do. Either way, when the inimitable GardensTale claimed this one, he was like “what the hell” and asked – no, demanded – that I take it after seeing my work with Mamaleek, that whack-ass La Suspendida project, and Bunsenburner’s redemption arc. But Killing Spree is here to kick ass and take names, like down in NOLA or some shit. Does it jazz? That’s the question. It jazzes, it’s got jasm, and you best fall into the jasm chasm with me, you dig?
French duo Killing Spree consists of saxophonist Matthieu Metzger1 and drummer Grégoire Galichet,2 and Camouflage! is their debut full-length after 2020 EP A Violent Legacy (a collection of Death and Meshuggah covers). While sax in metal is not uncommon, with bands like Ex Eye and Corrections House utilizing it for haunting accents in sludge-worshiping offerings, Killing Spree goes for both the jugular in its death metal focus and for the pecker in wonkily improvised free jazz with a range of moods and auras. Fed through handmade machines and distortion pedals galore, sax becomes both the chuggy downtuned riffs you expect from an album devoted to death metal, and the wonky solos that you know from freeform jazz explosions. Ultimately, Killing Spree offers an album that surprisingly works even if it is weird as shit.
Camouflage! is a tale of two halves. Sparse death vocals appear on intro “A, C and B,” the title track, “Disposable,” and “The Psychopomp,” lending Killing Spree’s first act a distinct death metal vibe, the robustness of the saxophone surprisingly compatible with its mammoth distortion, complete with driving rhythms and pulsing heft. “The Psychopomp” serves as dynamic movement into the second half, chuggy riffs evolving from the configuration of death metal leads to the looseness and freedom of jazz. The second act embraces this freedom, that while death growls and rhythms still pervade, the melodics feel much more apt to Ornette Coleman, John Zorn, or John Coltrane in avant-garde discordance atop bass-heavy sax chugs that feel straight outta sludge. The “All These Bells and Whistles” binary offers a foundation of impossibly heavy staccato “chugs” while freeform improvised wails and robust arpeggios soar atop it, an expression of fluidity that feels ominous, plodding, and hateful. “250 Slaves” is a sidewinder, stealing a similar template for a suddenly major key interpretation, its upbeat rhythms approaching punk. The first half feels a bit like a misdirect, completely locked into its rhythms with a head-bobbing groove, while the second cuts loose into wild jazz ejaculations – Killing Spree is truly fluid indeed.
As you may have guessed, Camouflage! is fuckin’ weird. Aside from the inherent inaccessibility of its music, Killing Spree pushes the envelope of our comfort. Most prominently, upper-register sax wails in tracks like “Disposable” and the first half of “All These Bells and Whistles, Pt. II” are nearly migraine-inducing in their stubborn repetition and lack of variation. Otherwise, the disparate stylings of the two halves feels a bit jarring, even though it is neatly separated by the smooth adjustments across “The Psychopomp” and the clarity of interlude “Toute Cette Violence Qui Est En Moi.” While at its best in the wild-but-not-inaccessible attack of “All These Bells and Whistles,” first-half tracks not only feel less memorable but also too locked into their own rhythms, as “Camouflage!” and “The Psychopomp” grow weary across more gratuitous lengths. However, “All These Bells and Whistles, Pt. I” and closer “Chanson de Cirque – Corrida de Muerte” can feel too freeform in utter abandonment of structure. Because the death growls become expected, the clean singing and talkbox voice of the closer likewise feel jarring for Killing Spree.
Camouflage! is exactly what Killing Spree intends: death metal made of jazz sax. Contrary to the organic acoustics of Onkos, for instance, they embrace the synthetic and industrial in a machine’s distorted voice. Across a frankly protracted forty-six minutes, they finally seem to hit their stride and break out of a robotic rhythm in “The Psychopomp” then get a little too big for their britches by the time “Chanson de Cirque…” rolls around. Does Killing Spree jazz? Yes. Will it give you an orjasm? Remains to be seen.
Rating: 3.0/5.0
DR: 8 | Format Reviewed: 256 kb/s mp3
Label: Klonosphere Records
Website: soundcloud.com/killingspree
Releases Worldwide: September 13th, 2024#2024 #30 #Bunsenburner #Camouflage_ #CorrectionsHouse #DeadSeason #Death #DeathMetal #DeathcodeSociety #ExEye #FreeJazz #IndustrialMetal #Jazz #JohnColtrane #JohnZorn #KillingSpree #Klone #KlonosphereRecords #Kwoon #LaSuspendida #Mamaleek #Meshuggah #NationalJazzOrchestra #Onkos #OrnetteColeman #Review #Reviews #Sep24
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Killing Spree – Camouflage! Review
By Dear Hollow
As the old ball bounces, I guess I’m becoming the jazz guy around here. Hey, did you know that the phrase “jazz” probably comes from the word “jasm,” which is an archaic American phrase that means “drive” or “energy?” Now you do. Either way, when the inimitable GardensTale claimed this one, he was like “what the hell” and asked – no, demanded – that I take it after seeing my work with Mamaleek, that whack-ass La Suspendida project, and Bunsenburner’s redemption arc. But Killing Spree is here to kick ass and take names, like down in NOLA or some shit. Does it jazz? That’s the question. It jazzes, it’s got jasm, and you best fall into the jasm chasm with me, you dig?
French duo Killing Spree consists of saxophonist Matthieu Metzger1 and drummer Grégoire Galichet,2 and Camouflage! is their debut full-length after 2020 EP A Violent Legacy (a collection of Death and Meshuggah covers). While sax in metal is not uncommon, with bands like Ex Eye and Corrections House utilizing it for haunting accents in sludge-worshiping offerings, Killing Spree goes for both the jugular in its death metal focus and for the pecker in wonkily improvised free jazz with a range of moods and auras. Fed through handmade machines and distortion pedals galore, sax becomes both the chuggy downtuned riffs you expect from an album devoted to death metal, and the wonky solos that you know from freeform jazz explosions. Ultimately, Killing Spree offers an album that surprisingly works even if it is weird as shit.
Camouflage! is a tale of two halves. Sparse death vocals appear on intro “A, C and B,” the title track, “Disposable,” and “The Psychopomp,” lending Killing Spree’s first act a distinct death metal vibe, the robustness of the saxophone surprisingly compatible with its mammoth distortion, complete with driving rhythms and pulsing heft. “The Psychopomp” serves as dynamic movement into the second half, chuggy riffs evolving from the configuration of death metal leads to the looseness and freedom of jazz. The second act embraces this freedom, that while death growls and rhythms still pervade, the melodics feel much more apt to Ornette Coleman, John Zorn, or John Coltrane in avant-garde discordance atop bass-heavy sax chugs that feel straight outta sludge. The “All These Bells and Whistles” binary offers a foundation of impossibly heavy staccato “chugs” while freeform improvised wails and robust arpeggios soar atop it, an expression of fluidity that feels ominous, plodding, and hateful. “250 Slaves” is a sidewinder, stealing a similar template for a suddenly major key interpretation, its upbeat rhythms approaching punk. The first half feels a bit like a misdirect, completely locked into its rhythms with a head-bobbing groove, while the second cuts loose into wild jazz ejaculations – Killing Spree is truly fluid indeed.
As you may have guessed, Camouflage! is fuckin’ weird. Aside from the inherent inaccessibility of its music, Killing Spree pushes the envelope of our comfort. Most prominently, upper-register sax wails in tracks like “Disposable” and the first half of “All These Bells and Whistles, Pt. II” are nearly migraine-inducing in their stubborn repetition and lack of variation. Otherwise, the disparate stylings of the two halves feels a bit jarring, even though it is neatly separated by the smooth adjustments across “The Psychopomp” and the clarity of interlude “Toute Cette Violence Qui Est En Moi.” While at its best in the wild-but-not-inaccessible attack of “All These Bells and Whistles,” first-half tracks not only feel less memorable but also too locked into their own rhythms, as “Camouflage!” and “The Psychopomp” grow weary across more gratuitous lengths. However, “All These Bells and Whistles, Pt. I” and closer “Chanson de Cirque – Corrida de Muerte” can feel too freeform in utter abandonment of structure. Because the death growls become expected, the clean singing and talkbox voice of the closer likewise feel jarring for Killing Spree.
Camouflage! is exactly what Killing Spree intends: death metal made of jazz sax. Contrary to the organic acoustics of Onkos, for instance, they embrace the synthetic and industrial in a machine’s distorted voice. Across a frankly protracted forty-six minutes, they finally seem to hit their stride and break out of a robotic rhythm in “The Psychopomp” then get a little too big for their britches by the time “Chanson de Cirque…” rolls around. Does Killing Spree jazz? Yes. Will it give you an orjasm? Remains to be seen.
Rating: 3.0/5.0
DR: 8 | Format Reviewed: 256 kb/s mp3
Label: Klonosphere Records
Website: soundcloud.com/killingspree
Releases Worldwide: September 13th, 2024#2024 #30 #Bunsenburner #Camouflage_ #CorrectionsHouse #DeadSeason #Death #DeathMetal #DeathcodeSociety #ExEye #FreeJazz #IndustrialMetal #Jazz #JohnColtrane #JohnZorn #KillingSpree #Klone #KlonosphereRecords #Kwoon #LaSuspendida #Mamaleek #Meshuggah #NationalJazzOrchestra #Onkos #OrnetteColeman #Review #Reviews #Sep24
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Die drei Filme über John Zorn sehen zu dürfen war wie eine Offenbarung!
Habe ihn leider noch nie live erleben können (im Porgy&Bess einen Tag davor gab es keine Karten mehr für mich).
Sehr empfehlenswert!
Die Filme sind von Mathieu Amalric. Er war auch bei der Filmvorführung anwesend und hat Fragen beantwortet. Spannend ohne Ende.#johnzorn #mathieuamalric #metro #metrokino #jazz #porgyandbess #filmarchiv #filmarchivaustria
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Ah! Fantastic article! Thanks for sharing.
I only had the pleasure of seeing #johnzorn once. In #Seattle, back in '94ish with his band Painkiller (Bill Laswell, Mick Harris & a guest appearance by Evyind Kang) & it blew the top of my head off.
Shortly after, I discovered his mutant-Klezmer ensemble #Masada and have been fascinated by his work ever since. Thanks. #jazz #music #avantgarde
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#johnzorn #masada #joeybaron #gregcohen #davedouglas #freejazz one of the very first masada gigs...
https://youtu.be/I6g2LbUGdhw?si=zmY5o_6PgRmbpxRM -
Today: fun matinee at the Whitney with John Zorn playing live soundtracks to Harry Smith films with Kenny Grohowski, Jorge Roeder, and Ikue Mori. Dreamlike.
#nycfreaks #livemusic #whitney #jazz #johnzorn #nyc #tappedin #cinema #harrysmith #art #museum
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#NowPlaying For their third album, in 1992 the NYC-based instrumental trio #BlindIdiotGod left #SSTRecords, joined #JohnZorn's fledgling, curated Japanese label #Avant, and retained #BillLaswell as producer. “Cyclotron” is a pummeling, hardcore meets spacy dub and funk-inspired album that will leave you sweating and anticipating more. https://www.youtube.com/watch?v=6h9hd8fgav8
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John Zorn, Trevor Dunn, Dave Lombardo (snippet) - 2023-04-02 - Tennessee Theatre, Big Ears Festival https://www.youtube.com/watch?v=bnVtnh0ONu0 #johnzorn #trevordunn #davelombardo #freejazz #slayer #onryoux2
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I heard it’s #FortnightFridayMusic and the theme is #Lonely?
#NowPlaying #JohnZorn #NakedCity ❝I talked about doing a cover of some #OrnetteColeman stuff and #FredFrith said, “Oh yeah, how about that tune Pretty Woman?” Like, he made a slip of the tongue. And I said, “Oh yeah, of course! We’re gonna do that at the same time as Lonely Woman!” Just kinda as a joke.❞ https://www.youtube.com/watch?v=ZBlViimcTnE
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Gestern habe ich »Funny Games« von Michael #Haneke und war dabei über einen Track von John Zorn gestolpert, den ich mehr zur Belustigung als ernsthaft Ende der 80er Jahre gehört habe, ähnlich wie »Scum« von Napalm Death. Damals sind viele Mitstreiter von Zorn im Stadtgarten in Köln aufgetreten: Joey #Baron, Bill #Frisell, Hank #Roberts. Es ist toll, en passant auf Dinge gestoßen zu werden, die ich schon lange vergessen hatte, das wieder hervorzuholen und auf den Plattenteller zu legen. #johnzorn
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at roulette in #brooklyn, tribute to avant-guitarist #DerekBailey with #JohnZorn cheerleading rotating all-star #improv #jazz crew through duos/trios improvising in 5 minute miniatures, often tumbling from extended technique flutters into little wondrous non-forms. always ear-opening to hear #BillFrisell get out/weird, as in deep guitar trio with #MaryHalvorson & #WendyEisenberg, telepathic duo with bassist #BrandonLopez, trio with vibraphonist #PatriciaBrennan & saxophonist #MatanaRoberts.
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History time! :)
#JohnZorn's #Cobra is an important piece in the history of #musicGames (called "#gamePieces" in #experimentalMusic).
Inspired by a #hexGrid #wargame, it's a complex mix of musical mechanics Zorn explored since the early 70s.
Alas, it didn't spawn a flurry of further experimentation. The Golden Age is still ahead of us... ;)
Hex game, 1977:
https://boardgamegeek.com/boardgame/4008/cobra-game-normandy-breakoutOn the premiere event, 1984:
https://roulette.org/event/john-zorn-cobra-premiere/Album (2 diverse takes), 1987:
https://youtu.be/WQy-7E-GIFw -
History time! :)
#JohnZorn's #Cobra is an important piece in the history of #musicGames (called "#gamePieces" in #experimentalMusic).
Inspired by a #hexGrid #wargame, it's a complex mix of musical mechanics Zorn explored since the early 70s.
Alas, it didn't spawn a flurry of further experimentation. The Golden Age is still ahead of us... ;)
Hex game, 1977:
https://boardgamegeek.com/boardgame/4008/cobra-game-normandy-breakoutOn the premiere event, 1984:
https://roulette.org/event/john-zorn-cobra-premiere/Album (2 diverse takes), 1987:
https://youtu.be/WQy-7E-GIFw -
https://en.m.wikipedia.org/wiki/Billy_Martin_(percussionist)
https://www.hellomerch.com/collections/billy-martin-aka-illy-b
https://en.m.wikipedia.org/wiki/Medeski_Martin_%26_Wood
https://www.medeskimartinandwood.com/
Before becoming part of #MedeskiMartinWood, #BillyMartin was part of the #NYC #Brazilian scene in the 1980s. He performed regularly with Pe De Boi, Batucada and several #BobMoses bands for over a decade. Most notably he has developed as a percussionist, and has collaborated with artists such as #JohnZorn, #DJLogic, #DaveBurrell and #MihoHatori. H started his own record label, #AmuletRecords.
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OVER 300 WORKS, MOST NOTABLY AS ONE THIRD OF THE GROUNDBREAKING TRIO, #MedeskiMartinWood.
Comfortable behind a Steinway or Hammond, #Medeski is a highly sought after whose projects range from work with #JohnZorn, #TheWord, #PhilLesh, #JohnScofield, #CoheedCambria, #SusanaBaca, #SeanLennon, #MarcRibot, #IrmaThomas, #DirtyDozenBrassBand & more. Classically trained, Medeski grew up in Ft.Lauderdale, FL as a teenager played with #JacoPastorius before heading north to attend #NewEnglandConservatory.
