It’s a bit too early to tell, but I think the new Bar Kokhba Sextet release on Tzadik’s 50th Birthday Celebration series might just edge Electric Masada’s entry in that series (Volume 4) as my favorite. That’s saying a lot, since the latter was one of my favorite albums from a very, very strong year of music in 2004. But the Bar Kokhba title — in addition to being an amazingly great deal, with three CDs covering three full live sets for under $23 — has all the fire and energy of the Electric Masada, with a wider range of moods and a looser feel. I’ll probably be writing a proper review of it eventually, but for now it’s settling in as another favorite drawing from the Masada songbook. I’m going through a bit of Masada overload, what with the recently-released Sanhedrin and all that, but this 3CD set is just killer.
And, for your entertainment, here’s an incomprehensible but still funny review from an amazon.com user (because really, what’s more entertaining than an idiotic review?):
what`s the problem with john zorn? first of all: he never have sex with his instrument. he dont live at all. so he can play it all. but he plays his demoniac paranoid alto saxphone psico concept. o.k. but…we are not all a jewish audience. so? you only have to buy this record or box sert or whatever but its enoguth for your big loft apartment in NYC. o.k.?
we are all ill inners childs but this guy is too much.
Another new one I got recently is Arch Enemy’s latest, Doomsday Machine, which leans a bit too straightforwardly power-metal for my tastes but is still pretty good. I mention it because there’s also a really funny review on amazon.com of this one, from a reader who was apparently expecting the band’s deceptively angelic-looking lead singer, Angela Gossow, to sound like the chick from Evanescence. I would have paid money to see his face when Gossow’s straight-up death-metal roars hit his ears for the first time.