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MOONCHILD TRIO

RIO/Avant-Prog • United States


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Moonchild Trio biography
Moonchild Trio is newest to time (2009) John Zorn's associated musical project. Trio's line up consists of drummer Joey Baron ( Masada, Electric Masada, Masada String Trio), vocalist Mike Patton (Faith No More, Mr.Bungle, Hemophiliac, etc) and bassist Trevor Dunn (Mr.Bungle, Electric Masada, Secret Chiefs 3). Trio's music is composed, produced and often conducted by John Zorn. In some albums there are participated John Zorn as musician as well as some his associates (Ikue Mori, Marc Ribot, etc.)

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MOONCHILD TRIO top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.80 | 17 ratings
Moonchild
2006
4.15 | 19 ratings
Astronome
2006
3.98 | 40 ratings
Six Litanies For Heliogabalus
2007
3.27 | 6 ratings
The Crucible
2008
5.00 | 2 ratings
Ipsissimus
2010

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MOONCHILD TRIO Reviews


Showing last 10 reviews only
 Six Litanies For Heliogabalus by MOONCHILD TRIO album cover Studio Album, 2007
3.98 | 40 ratings

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Six Litanies For Heliogabalus
Moonchild Trio RIO/Avant-Prog

Review by snobb
Special Collaborator Honorary Collaborator

4 stars Third in the line of Astronomic-related trilogy, this Moonchild trio's album is the best of all three.

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. Believe me, most radical Bjork's screams sound as Moon Safari (nowadays Take That) comparing with "Six Litanies...".

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!

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 Ipsissimus by MOONCHILD TRIO album cover Studio Album, 2010
5.00 | 2 ratings

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Ipsissimus
Moonchild Trio RIO/Avant-Prog

Review by snobb
Special Collaborator Honorary Collaborator

5 stars This is it! Most interesting Zorn-associated album of year 2010 and strong candidate to my year's top-5!

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!), played by NY downtown avant -jazz musicians with Mike Patton on vocals. 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!

P.S. Listen to "Warlock" first - it's masterpiece!

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 The Crucible by MOONCHILD TRIO album cover Studio Album, 2008
3.27 | 6 ratings

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The Crucible
Moonchild Trio RIO/Avant-Prog

Review by Equality 7-2521

3 stars The fourth of the Moonchild trio (Mike Patton, Trevor Dunn, Joey Baron) shows us that Zorn will continue to experiment and augment the basic line-up. This time we have John Zorn participating as a full member on alto-sax as usual, and Marc Ribot stoping by to lay down guitar on "9x9".

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.

"9x9" is a different track entirely. 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.

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 Moonchild by MOONCHILD TRIO album cover Studio Album, 2006
2.80 | 17 ratings

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Moonchild
Moonchild Trio RIO/Avant-Prog

Review by Man With Hat
Collaborator Jazz-Rock/Fusion Team

3 stars The beginning of something great.

Moonchild is the first album written by Zorn for the trio of Mike Patton, Trevor Dunn, and Joey Baron. All three are experienced in the realm of avant-garde musics and having them play music composed by John Zorn is almost mouth-watering. Unfortunately, things would start kind of slow, as this album is not as impressive as the other works by the Patton/Dunn/Baron trio. 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...sometimes there appears nothing but another dark room, other times a myriad of minotaurs jump and attach you from all angles. 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. It is doubtful that Patton ever says (or sings/screams/etc) a single English word on this album. 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.) Again, it just has to be said...Patton can do amazing things with his voice. There are some moments on this disc where I just have to shake my head and am nearly convinced that something else must be making the noises this man can conjure up from his throat. Mainly this focus on the vocals is an upside because with the voice as the third instrument they work cohesively as a trio, instead of a duo with a singer. The main downside is both Dunn and Baron are not the emphasis, which is unfortunate because both of these man perform quite well throughout the disc. (Perhaps this fact is just to emphasize the atmosphere Dunn and Baron are creating.)

As I've stated earlier most of the music flows pretty well for me thus its hard to isolate particular songs that I enjoy more than others. Nevertheless, special mentions must be made for 616, Equinox, and Sorceress (which features some divine drumming from Baron...easily the best drum work on the album IMO). Lowlights? A few. The greatest criticism of Moonchild is a lack of diversity. Many of the songs are in the same vein thus there is some aire of monotonousness. Especially as songs like Moonchild and The Summoning are not as captivating as other parts of the album.

All in all this is a good release by the "power trio" of Patton/Dunn/Baron. However, this is not one of Zorn's best works and should probably be kept for the last album (out of this trio's three albums). I struggle a bit in deciding on a rating however. For my personal scale of rating albums (which is based solely on the music itself) this would be a solid 3 stars. However, this is prog-rock archives, and as I said this is pretty far from prog-rock. I'll rate this a three stars with a warning of for the purposes of this site its much closer to 2.5 stars than three. This is recommended only for fans of any of the main protagonists or avant- garde music in general, and of course avant-garde rock (but not really avant-rock). 2.5 stars, rounded up.

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 Six Litanies For Heliogabalus by MOONCHILD TRIO album cover Studio Album, 2007
3.98 | 40 ratings

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Six Litanies For Heliogabalus
Moonchild Trio RIO/Avant-Prog

Review by Pnoom!

4 stars Rating: A

If you don't know what a litany is, there's no shame in that. I didn't either when I first picked up John Zorn's Six Litanies for Heliogabalus. Finally, though, I cracked open my dictionary and discovered that litany has two meanings:

1. a prayer consisting of a series of supplications and responses said alternately by a leader and a group. 2. a lengthy recitation

Both are helpful in understanding John Zorn's Six Litanies for Heliogabalus. The entire CD is structured as a series of calls and responses between the abrasive, heavy drum-bass-vocal trio of, respectively, Joey Baron, Trevor Dunn, and Mike Patton (you might recognize the latter two from Mr. Bungle) and soothing organ and choir dominated sections. Even on a smaller scale, though, this call-and-response format applies, such as at the end of "Litany I," where Mike Patton on vocals and John Zorn on saxophone trade off, Patton babbling (as usual), followed by John Zorn make his sound like a very musical cat in its death throes. The second definition applies specifically to "Litany IV," a purely vocal piece where we are treated to what indeed is "a lengthy recitation" courtesy of Mike Patton.

This still doesn't explain what Six Litanies for Heliogabalus sounds like, however. Six Litanies is a continuation of, a departure from, and an improvement on John Zorn's Moonchild and Astronome CDs. Like those two, Six Litanies features Baron, Dunn, and Patton, but Six Litanies works from a far more varied palette than just those three (who were the sole performers on Moonchild and Astronome). Six Litanies also includes jazzy organ, a beautiful female choir, John Zorn's own saxophone, and Ikue Mori's famous electronics.

This is the key reason why Six Litanies for Heliogabalus is an improvement on Moonchild and Astronome. Those CDs were amazing when chugging full throttle (as Six Litanies often does), but they had softer sections that felt a bit too much like noodling, and which occasionally failed to engage the listener. On Six Litanies, these sections are absent, instead replaced by the organ, choir, and electronics sections, which are atmospheric, beautiful, and above all captivating. Not only do they provide a needed break from the otherwise non-stop action, the keep the listener actively engaged, and they stand up in their own right, not just in context.

And, of course, I still haven't explained what this CD sounds like, except perhaps for the choir sections. In the bass, drum, and vocal dominated sections, the drum and bass hold down an ever shifting groove while Patton wails maniacally over the top. It's almost impossible to tell that only a bass is used, as it covers a wide range (including a tremendous amount of distortion). All of these sections are challenging and avant-garde - Zorn isn't the founder of extreme avant-garde for nothing - but because it is groove based (and because of the choir sections), Six Litanies actually contains quite a few hooks.

The only fault with Six Litanies for Heliogabalus is that Patton's vocals can get in the way of the music at times (this is rare, but it does happen a few times), though his solo piece is awesome, particularly where he imitates themes from the first three litanies solely with his voice. On the whole, Patton's vocals are amazing, but I feel that if Zorn were to take the format established here but use saxophone exclusively (no vocals), or at least make the saxophone more dominant and the vocals less so, I feel he could produce his best CD. Until then, that honor belongs to Naked City, with Six Litanies a not-so-distant third (Spillane tops it by a hair, but isn't as good as Naked City). A masterpiece, recommended to anyone with an adventurous ear. Among the best CDs released in 2007.

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 Six Litanies For Heliogabalus by MOONCHILD TRIO album cover Studio Album, 2007
3.98 | 40 ratings

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Six Litanies For Heliogabalus
Moonchild Trio RIO/Avant-Prog

Review by Shakespeare

4 stars Probably the best possible review for this gem are these simple two words: Very loud! But, to keep my honour as a reviewer, I must offer this masterpiece a full review. This is the third production from the Moonchild/Astronome line-up, with Trevor Dunn, Joey Baron, and Mike Patton at its core. Zorn actually appears on this album, with his sax, unlike the previous two. Also, a host of other musicians, including organist Jamie Saft, appear.

Six Litanies is comprised chiefly of haunting neo-classical, clashing with brutal metal, and insane vocal work. To be fair, there's a great deal of electronic music, and free jazz, of course, but the classical and metal are arguably at the forefront. I feel terrible calling these loud sections metal: but that's probably the easiest thing to do. It's really just heavy sections, played with lots of distortion, and rhythmic complexity, though not exactly metal. For the remainder of this review, when I use the term metal, all I'm referring to is a high point on the volume scale.

The vocal work has but three gears. One is extremely intrusive, and is typically in the spotlight here. The fourth track, aptly named Litany IV, is an eight minute opus of extraordinary complexity. It is so incredibly complex it sounds improvised, which it likely is to a small degree. However, a great deal of it is tightly composed, since Mike Patton performs it nearly the same during live performances. The second gear is nearly inaudible, where Mike and a troupe of female vocalists simply make sounds of soft laughter or haunting humming. An angelic chorus, the avatar of this album, is sung in this gear. The most obvious use of the second gear is during the second track, where giggling hovers over soft, keyboard led playing. The third gear is completely off, when the instruments take centerstage. Throughout the entire album, the only distinguishable word is, Heliogabalus. Besides that, all vocal work is entirely wordless.

The metal sections are actually quite interesting. There is, of course, a rhythmic emphasis from Joey Baron on drums, and Trevor Dunn on bass, but they are sometimes quite rudely interrupted by a hailing of squealing sax and vocal squealing from Patton. But both aspects always have a very musical quality, and sound great. I always found that avant-garde music perceives music on a very honest and very human level. Like visual art, there is no universal goal other than creating something that is pleasing to the eyes. Sure, there are rules of art that can be followed or disregarded, but in the end, all that matters is the glee that your pupils experience. The same goes for music: often the arrangements are precise, and following set rules, but very often, Zorn forgets all that and merely generates what notes would please the inner ear the most.

If you've got a lot of friends interested in more mainstream music, then I strongly suggest getting this album merely to scare the [&*!#] out of them. Even if you don't expect to ever develop an appreciation for this experimental genre of sound, you will be guaranteed to win every, Who has the weirdest song on their iPod, contest. Trust me: many friends have claimed to have found the most bizarre band ever, only to have me violently stick my phones in their ears and play any song on this album, and utter, You win.

Choir and organ sometimes threaten to transform the music to something beautiful, and even succeed on occasion. But fear not! The ravaging lows from the rhythm section and the piercing highs from the vocals and saxes destroy their progress in a mere second. And after defeating the beauty that briefly appeared, the rhythm section and the voices scuffle for spotlight. In this sense, Six Litanies is a perpetual battle between three factions. I must admit, I thought myself very experienced when it came to enjoying avant-garde music, but this album took much time for me to appreciate. But once it did, I loved it to an extreme degree. I proudly proclaim this a masterpiece of modern music, and my personal favourite of 2007. Zorn manages to force chaos and beauty to co-exist, to merge, to fight, to oppose, and to match. All six tracks are excellently loose and aggressive, and are similarly beautiful and haunting.

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 Six Litanies For Heliogabalus by MOONCHILD TRIO album cover Studio Album, 2007
3.98 | 40 ratings

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Six Litanies For Heliogabalus
Moonchild Trio RIO/Avant-Prog

Review by Equality 7-2521

4 stars Since I began listening to John Zorn I felt that his rock trio affair of Astronome and Moonchild rested near the bottom tier of his works. They were still very entertaining and well composed, but overall I felt they contain about the same elements of his superior works without the great variety of them. Perhaps Mr. Zorn began to feel the same way because for Six Litanies he embellishes the Dunn/Patton/Baron team with a female choir, organ, electronic effects, and the trademark Zorn sax.

Despite the strong prominence of vocals, and the purely vocal track "Litany IV", I wouldn't hesitate to describe this as an instrumental album. Besides some chanting of "Heliogabalus" by the female choir, I don't believe a single word is spoken throughout. If you would have any doubt about the validity of calling vocals an instrument, Six Litanies will be the album to convince you. The whispers and chants of the female choir offer a perfect backdrop and provide much of the romantic atmosphere of the album throughout the chaos of the musicians playing. Mike Patton contributes a variety of squeaks, squeals, snorts, and breathing that will amaze you firstly for how inhuman they are. They'll amaze you even more so once you begin to appreciate the great care with which they are placed in the tracks. Honestly, anyone could hire a lunatic to scream randomly throughout an album for weirdness' sake, but their placement and use in the selections speaks volumes of Zorn's compositional ability. Most enjoyable are the great trade-offs and unison lines of Patton's high pitched shrieks and Zorn's trademark sax.

The brutality and technicality of Dunn/Baron duo can be compared to Meshuggah. Combined with the insanity of Zorn and Patton, Six Litanies hardly makes for an accessible record. The album is heavy and quite impenetrable at first. However, it's certainly one of Zorn's finest releases making it also one of the finest releases of its time.

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 Six Litanies For Heliogabalus by MOONCHILD TRIO album cover Studio Album, 2007
3.98 | 40 ratings

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Six Litanies For Heliogabalus
Moonchild Trio RIO/Avant-Prog

Review by 1800iareyay
Prog Reviewer

4 stars After reading some glowing recommendations on the forums, I decided to check out John Zorn, and where better to start than with his latest album, Six Litanies For Heliogabalus? The final album fo Zorn's astronomy trilogy, Litanies cracks with all the energy of RIO and Avant-Prog, thanks to Zorn's incredible arrangements and the contributions of Mike Patton and Trevor Dunn from RIO revivalists Mr. Bungle. Litanies is without a doubt the heaviest album of the year, even more so than Devin Townsend's Ziltoid, which is full of ambience to offset some of the metallic onslaught. This sounds like Meshuggah with a saxophone and the craziest vocalist of all time.

Litany I has intricite guitar, bass, and sax riffs over thundering drums, complete with Patton screaming over everything. To call Patton's vocalizations "singing" is generous; he foregoes lyrics and even language itself in order to simply shriek, growl, grunt, and everything else that doesn't involve words. The frantic sound is interuppted by a more mellow section before Zorn leads them to the end with his wild sax. Litany II opens with a crunching bass riff courtesy of Trevor Dunn, the second most talented man in Mr. Bungle. This one is more mellow (with the exception of the first two minutes) with some hammond organ and a more conventional bass and drum beat and some spoken vocals. Patton's entrance shatters the mellowmess with more of his "vocals." Litany III is an avant epic that starts with Hammond and drums, leads into more chaotic avant jazz, gives way to more whispered material, then all hell breaks loose again, before a choir enters made up of the three female vocalists Zorn brought in (I admit this caught me off guard, since it was teh closest thing to "normal" music I'd heard on the album), which ends with more screaming and some great improv from Dunn's distorted bass (often it sounds more like a downtuned guitar than a bass).

Litany IV is an 8 minute unaccompanied solo where Patton lets loose. If you thought what he was doing so far was bizarre, just wait until you hear this. He does things with his vocals cords that I've never heard anyone else even consider doing. He gibbers frantically in a manner that reminds me of the wild boy Donny from the 90s animated show The Wild Thornberrys (strangely enough, the gibbering boy was voiced by the Red Hot Chili Peppers' Flea). He goes from the high pitched pseudo-scatting to take a moment to catch his breath (nearly thrity seconds, but it's all for effect). He laughs like a hyena, jostles his Adam's Apple to make bizarre noises, imitates a pig's snorts, grunts, shrieks, and all kinds of effects and imitations with his voice. The only thing that can even come close to real singing (on this track or the rest of the album) is at around 4:00 minutes when he breaks into an semi-operatic falsetto. Still no words, but if nothing else it reminds you that Patton can actually sing, he just choose to push teh boundaries of vocal cords (I have no problem with that). Litany V throws the instruments back into the fray for more frantic jazz, complete with another choir section. The album closes with Litany VI, which essentially takes pieces from the previous five tracks and combines them as a nice summary of things.

Zorn might just wind up the Frank Zappa of the 21st century. He is wildly prolific (check out his page here on PA, it justs goes on and on), and he is a master of the avant-garde compositon. Six Litanies is for me the RIO release of the year, even over Sleeytime Gorilla Museum's excellent In Glorious Times. Once again, the partnership between Zorn and Patton pays off well as the two feed off one another as the pioneers and masters of metal in opposition. The only issue I have is that V and VI have a little bit too much in common with teh previous tracks and don't explore new territory like the first four litanies did. They are still masterfully composed however, they just didn't throw me for a loop like the rest of the album. Still, fans of the avant-garde must pick this up as soon as possible.

Grade: B+

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 Six Litanies For Heliogabalus by MOONCHILD TRIO album cover Studio Album, 2007
3.98 | 40 ratings

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Six Litanies For Heliogabalus
Moonchild Trio RIO/Avant-Prog

Review by MikeEnRegalia
Special Collaborator Honorary Collaborator

5 stars This is the third album of the stars/astronomy related trilogy ... and it's my favorite one. It has just the right mix of melodic elements and what I'll call "chaos" in the track reviews - the parts that consist of relatively free improvising, only conducted/guided by Zorn. See the track comments for further details!

Litany 1: The track begins in the "usual" way ... heavy, complex riffs which remind me of Meshuggah, with Patton's insane "vocals" on top. Half way through there is an interruption with subdued harmonic vocal parts, only to be continued with a free-jazz saxophone part and finally near silence with faint whispering and hammond organ bits.

Litany 2: The second track begins much like the first began, but at 0:50 the controlled chaos is suddenly interrupted by a straight beat ... only for a few seconds, then experimental parts continue. This is repeated once, until a calm, melodic part starts (2:30), dominated by Doors-like Hammond organ and cool jazz drums/bass with conversation-like vocals (several voices, much laughter) in the background. That continues for several minutes, with the bass taking the (improvising) helm. But at 6:30 Patton's vocals introduce a return to the controlled chaos.

Litany 3: This begins with organ and bass, followed by slight chaos, then organ and bass again with Patton whispering mystical latin words ("Heliogabalus" among others). At 5:20 there's an outburst of chaos again which totally reminds me of the Fantomas debut. At 6:00 we get something new: Strange angelic choir parts on top of near silence (whispering/breathing and effects). Then at 8:00 it's chaos time again with extreme screams, only to be followed (8:30) by a cool jazz rock part with an organ solo and much bass improvisation.

Litany 4: This track is dominated by Patton's "vocals" ... he does a magnificent job here. It's difficult to describe exactly what he does ... essentially he is describing sceneries/stories with vocal effects. It doesn't include words in the original sense - at least not English words or of any other language. It includes heavy breathing, whispering, screaming, shouting, growling (rarely), whistling, groaning, suffocating, coughing, puking, laughing, giggling ... at one point he's even imitating a gun fight, pigs or police officers (I know, it doesn't make sense). All that sometimes at lightning speed (a bit like scatting), sometimes totally calm and reduced.

Litany 5: This is a bit like the first track, but it also features the angelic choir / organ calm parts, which makes it a bit more interesting to me.

Litany 6: Much like the previous track, and a good combination of all the other litanies.

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 Astronome by MOONCHILD TRIO album cover Studio Album, 2006
4.15 | 19 ratings

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Astronome
Moonchild Trio RIO/Avant-Prog

Review by MusicForSpeedin

5 stars John Zorn never ceases to amaze me.

This is the most progressive sound out there.

John says he imagines this CD to be like a drug trip if listened to in a dark room with headphones. I think he is right. This music is brutal! Just listening to the things Patton is doing with his vocals make me wonder how this man hasn't died yet. The stamina of Patton is unparalleled.

Anyway, this is an Opera. As in any opera "Astronome" is designed to tell a story, although you really can't make heads or tails out of what is going on. The only hints you get are from the titles of the songs. On first listen, the album seems to just be like Moonchild ,but the more I've listened to it, the more I seem to get a grasp of the concept. It is an amazingly diverse album! While this album in indeed dominated by many brutal sections, there's a lot of odd melodies floating about. For example, 13 minutes into act two the dynamic of the entire piece changes from something that sounds like it is worthy of music to listen to in an insane asylum to something that would be played at the local supermarket (The same thing also happens at about 5:90 in act 3). The gentle atmosphere is maintained until the end of the track with some fantastic bass work by Dunn.

All musicians on this album prove to be masters of their instrument.

Zorn proves to me once again that he is possibly the only composer to rival the works of FZ.

This album is the greatest album of 2006 IMHO and probably won't be bested for quite some time. This album will leave you speechless if you have the patience to listen to it. The only down fall of the album may be that it is TOO progressive for its time...thus it gets a 4.5 stars ,but I will round up...5/5 stars.

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Thanks to snobb for the artist addition.

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