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John Zorn, "IAO: Music in Sacred Light"
Tzadik
"The name IAO is Kabbalistically identical to the Beast and his numberis 666." John Zorn's new album consists of a seven-movement suite thatbrings his obsessions with Alchemy, Metaphysics and the work of KennethAnger to the fore. Continuing Zorn and Tzadik's tradition of excellentpackaging, the CD is accompanied by a series of postcard-styledinserts, each bearing Kabbalistic signs, arcane scribblings and creditsprinted in a lovely but nearly undecipherable typeface. Musically,"IAO" is a consolidation of Zorn's recent artistic developments: thecomplex writing of "Madness, Love and Mysticism", the electronicexperimentation of "Songs from the Hermetic Theatre" and thefascination with easy listening/exotica explored on "The Gift" havebeen beautifully integrated into his syncretic style. The firstmovement, "Invocation," sets a strange scene: a knife is sharpened andwater or blood is splashed about as someone chants off in the distanceand Jamie Saft plays spooky organ. "Sex Magick" is more of CyroBaptista's astounding trance drumming, such as was heard on "Taboo andExile". The mesmeric, time-obliterating property of the piece isremarkable and it would, indeed, be a perfect compliment to the titularactivity. "Sacred Rites of the Left Hand Path," the third movement,combines Saft's jazzily syncopated piano with electronic sounds in atune filled with both whimsy and threat. "The Clavicle of Solomon" isthe deeply weird piece that follows, made up of high-frequency digitaltones and creepy microtonal melodies. The erotic resurfaces in thefifth movement, "Lucifer Rising," for female chorus. It is led by theincredibly sexy-voiced Jennifer Charles (of the wonderful group ElysianFields), who vacillates between menacing, incantatory and ecstatic asshe moans, groans, shudders and whispers through the piece. The aptlytitled "Leviathan" follows, a death metal monstrosity that collapses inon itself under the enormous weight of Bill Laswell's thunderous bass,becoming a howling vortex of noise sucking up backwards cymbals andMike Patton as he shreds his larynx. "IAO" then settles into the finalmovement, the dark and peaceful "Mysteries", which has a feeling ofresolution about it. As a whole, this record succeeds brilliantly. Itis, like all the best albums, its own sound-world to be explored, aworld of great mystery and wonder. Part of its genius is in itsconstruction. While Zorn never restates a theme, he consistentlyreturns to specific moods. In "IAO" the form is forgotten and thefeelings become the form.
"The name IAO is Kabbalistically identical to the Beast and his numberis 666." John Zorn's new album consists of a seven-movement suite thatbrings his obsessions with Alchemy, Metaphysics and the work of KennethAnger to the fore. Continuing Zorn and Tzadik's tradition of excellentpackaging, the CD is accompanied by a series of postcard-styledinserts, each bearing Kabbalistic signs, arcane scribblings and creditsprinted in a lovely but nearly undecipherable typeface. Musically,"IAO" is a consolidation of Zorn's recent artistic developments: thecomplex writing of "Madness, Love and Mysticism", the electronicexperimentation of "Songs from the Hermetic Theatre" and thefascination with easy listening/exotica explored on "The Gift" havebeen beautifully integrated into his syncretic style. The firstmovement, "Invocation," sets a strange scene: a knife is sharpened andwater or blood is splashed about as someone chants off in the distanceand Jamie Saft plays spooky organ. "Sex Magick" is more of CyroBaptista's astounding trance drumming, such as was heard on "Taboo andExile". The mesmeric, time-obliterating property of the piece isremarkable and it would, indeed, be a perfect compliment to the titularactivity. "Sacred Rites of the Left Hand Path," the third movement,combines Saft's jazzily syncopated piano with electronic sounds in atune filled with both whimsy and threat. "The Clavicle of Solomon" isthe deeply weird piece that follows, made up of high-frequency digitaltones and creepy microtonal melodies. The erotic resurfaces in thefifth movement, "Lucifer Rising," for female chorus. It is led by theincredibly sexy-voiced Jennifer Charles (of the wonderful group ElysianFields), who vacillates between menacing, incantatory and ecstatic asshe moans, groans, shudders and whispers through the piece. The aptlytitled "Leviathan" follows, a death metal monstrosity that collapses inon itself under the enormous weight of Bill Laswell's thunderous bass,becoming a howling vortex of noise sucking up backwards cymbals andMike Patton as he shreds his larynx. "IAO" then settles into the finalmovement, the dark and peaceful "Mysteries", which has a feeling ofresolution about it. As a whole, this record succeeds brilliantly. Itis, like all the best albums, its own sound-world to be explored, aworld of great mystery and wonder. Part of its genius is in itsconstruction. While Zorn never restates a theme, he consistentlyreturns to specific moods. In "IAO" the form is forgotten and thefeelings become the form.
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