About as reliable a stamp of quality as you'll ever see on an album cover, the name John Zorn has become synonymous with challenging yet utterly desirable music - with the latest in his composer series unlikely to change that. It's a beauty! Citing the likes of Debussy, Jean Cocteau and Boulez for inspirational duties, Zorn could easily have been sucked down into a pungent bog of pretencious-bollickus but thanks to a pair of well -honed ears he’s managed to avoid any such pitfalls. Opening with the spiky orchestration of ‘Orphee’, Zorn whips a frenzied hail-storm of flute, harp, viola, harpsichord and electronic detritus into sprightly little beast; bringing to mind the last snow before a spring thaw. Similarly, ‘Frammenti Del Sappho’ coaxes a stunning range of emotions from five female vocalists whose larynxes entwine around a copse of Renaissance Minimalism, whilst the three ‘Walpurgisnacht’ movements are totally cohesive yet friably distinct. Cover your mouth when you Zorn...
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About as reliable a stamp of quality as you'll ever see on an album cover, the name John Zorn has become synonymous with challenging yet utterly desirable music - with the latest in his composer series unlikely to change that. It's a beauty! Citing the likes of Debussy, Jean Cocteau and Boulez for inspirational duties, Zorn could easily have been sucked down into a pungent bog of pretencious-bollickus but thanks to a pair of well -honed ears he’s managed to avoid any such pitfalls. Opening with the spiky orchestration of ‘Orphee’, Zorn whips a frenzied hail-storm of flute, harp, viola, harpsichord and electronic detritus into sprightly little beast; bringing to mind the last snow before a spring thaw. Similarly, ‘Frammenti Del Sappho’ coaxes a stunning range of emotions from five female vocalists whose larynxes entwine around a copse of Renaissance Minimalism, whilst the three ‘Walpurgisnacht’ movements are totally cohesive yet friably distinct. Cover your mouth when you Zorn...
About as reliable a stamp of quality as you'll ever see on an album cover, the name John Zorn has become synonymous with challenging yet utterly desirable music - with the latest in his composer series unlikely to change that. It's a beauty! Citing the likes of Debussy, Jean Cocteau and Boulez for inspirational duties, Zorn could easily have been sucked down into a pungent bog of pretencious-bollickus but thanks to a pair of well -honed ears he’s managed to avoid any such pitfalls. Opening with the spiky orchestration of ‘Orphee’, Zorn whips a frenzied hail-storm of flute, harp, viola, harpsichord and electronic detritus into sprightly little beast; bringing to mind the last snow before a spring thaw. Similarly, ‘Frammenti Del Sappho’ coaxes a stunning range of emotions from five female vocalists whose larynxes entwine around a copse of Renaissance Minimalism, whilst the three ‘Walpurgisnacht’ movements are totally cohesive yet friably distinct. Cover your mouth when you Zorn...
About as reliable a stamp of quality as you'll ever see on an album cover, the name John Zorn has become synonymous with challenging yet utterly desirable music - with the latest in his composer series unlikely to change that. It's a beauty! Citing the likes of Debussy, Jean Cocteau and Boulez for inspirational duties, Zorn could easily have been sucked down into a pungent bog of pretencious-bollickus but thanks to a pair of well -honed ears he’s managed to avoid any such pitfalls. Opening with the spiky orchestration of ‘Orphee’, Zorn whips a frenzied hail-storm of flute, harp, viola, harpsichord and electronic detritus into sprightly little beast; bringing to mind the last snow before a spring thaw. Similarly, ‘Frammenti Del Sappho’ coaxes a stunning range of emotions from five female vocalists whose larynxes entwine around a copse of Renaissance Minimalism, whilst the three ‘Walpurgisnacht’ movements are totally cohesive yet friably distinct. Cover your mouth when you Zorn...