The vibraphone – what an instrument. John Zorn's latest soundtrack, this time for Oren Rudavsky’s romantic comedy ‘The Treatment’, uses the vibraphone as its central player, at times almost bringing to mind those Badelamanti-scored moments in Twin Peaks featuring Audrey Horn swaying suggestively to brush-stroked drums and eerily playful vibes. These pieces drift into humour and straight back out into a slow mournful pace that imbues this work with its resonance, reminding us that despite all the accolades for his Massada ensemble, Zorn has for our money often produced his most engaging work for this reliably mesmerising filmworks series. A good soundtrack to any midnight moment, mischievous or otherwise, 'The Treatment' will be a perfect entry-point for anyone intimidated by this composer's seemingly endless cannon of work.
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The vibraphone – what an instrument. John Zorn's latest soundtrack, this time for Oren Rudavsky’s romantic comedy ‘The Treatment’, uses the vibraphone as its central player, at times almost bringing to mind those Badelamanti-scored moments in Twin Peaks featuring Audrey Horn swaying suggestively to brush-stroked drums and eerily playful vibes. These pieces drift into humour and straight back out into a slow mournful pace that imbues this work with its resonance, reminding us that despite all the accolades for his Massada ensemble, Zorn has for our money often produced his most engaging work for this reliably mesmerising filmworks series. A good soundtrack to any midnight moment, mischievous or otherwise, 'The Treatment' will be a perfect entry-point for anyone intimidated by this composer's seemingly endless cannon of work.
The vibraphone – what an instrument. John Zorn's latest soundtrack, this time for Oren Rudavsky’s romantic comedy ‘The Treatment’, uses the vibraphone as its central player, at times almost bringing to mind those Badelamanti-scored moments in Twin Peaks featuring Audrey Horn swaying suggestively to brush-stroked drums and eerily playful vibes. These pieces drift into humour and straight back out into a slow mournful pace that imbues this work with its resonance, reminding us that despite all the accolades for his Massada ensemble, Zorn has for our money often produced his most engaging work for this reliably mesmerising filmworks series. A good soundtrack to any midnight moment, mischievous or otherwise, 'The Treatment' will be a perfect entry-point for anyone intimidated by this composer's seemingly endless cannon of work.
The vibraphone – what an instrument. John Zorn's latest soundtrack, this time for Oren Rudavsky’s romantic comedy ‘The Treatment’, uses the vibraphone as its central player, at times almost bringing to mind those Badelamanti-scored moments in Twin Peaks featuring Audrey Horn swaying suggestively to brush-stroked drums and eerily playful vibes. These pieces drift into humour and straight back out into a slow mournful pace that imbues this work with its resonance, reminding us that despite all the accolades for his Massada ensemble, Zorn has for our money often produced his most engaging work for this reliably mesmerising filmworks series. A good soundtrack to any midnight moment, mischievous or otherwise, 'The Treatment' will be a perfect entry-point for anyone intimidated by this composer's seemingly endless cannon of work.