"At first blush, the aspect of Beyond Good and Evil that jumped out at me is its overall recording quality and clarity. Some of the Simulacrum studio albums have a slightly muddy mix that hides the details of Medeski’s and Hollenberg’s contributions. But here you can easily follow the lines of both." (bron www.avantmusicnews.com)
"At first blush, the aspect of "Beyond Good and Evil" that jumped out at me is its overall recording quality and clarity. Some of the Simulacrum studio albums have a slightly muddy mix that hides the details of Medeski’s and Hollenberg’s contributions. But here you can easily follow the lines of both." (Avant Music News)
"I really wasn’t expecting to love this as much as I did, but this is one hell of a project. Definitely a great jumping off point into Zorn’s deep cuts if you’ve only heard Naked City or Masada." (albumoftheyear)
"Wie van Bar Kokhba Sextet hun Lucifer houdt of van Dans Dans en nog eens variatie wil, vindt hier misschien wel zijn gading. Wie openstaat voor cross-over met melodische wereldmuziek - in casu Joodse sferen - én een parcours met spannende hindernissen aandurft, wacht hier mogelijks meer dan één ontdekking." (jazzhalo)
"One does not expect to find soulful jams on a recording with the word “Satan” in its title, but in the world of John Zorn such juxtapositions are not uncommon. The ninth outing of Zorn’s power trio Simulacrum, Nostradamus: The Death of Satan shows a more varied and mature cohesion between organist John Medeski, drummer Kenny Grohowski, and guitarist Matt Hollenberg. Indeed, Flowers of Heaven includes a blues vamp over which Hollenberg solos in like fashion, then he and Medeski gently trade leads." (Avantmusicnews)
"This is a new instalment in the prolonged saga of collaborations that John Zorn periodically proposes to an elite of top notch instrumentalists who are entrusted to visit his musical concepts. Now comes the turn for guitarists, and once again the guitar and brilliance of Bill Frisell is here to lead the trio proceedings. In short, very good instrumental music with provocative literary references, there's a certain air to the guitaristic passages in Oregon's music, particularly in the jazzier moments (which are many)." (Prog Archives)
"The third and final CD in composer John Zorn's trilogy inspired by historic figures of Christian mysticism, following works for Francesco d'Assisi and Julian of Norwich, these 10 pieces are conducted by Zorn and written specifically for the acoustic guitar trio of Bill Frisell, Julian Lage and Gyan Riley; an album of breathtaking character and inspired playing." (JAZZmessengers)
"De Amerikaanse componist, saxofonist en labeleigenaar John Zorn brengt via zijn platenlabel Tzadik zo ongelooflijk veel uit dat zelfs welwillende fans soms door de bomen het bos niet meer zullen zien. Naast die grote output wisselen de genres waarin Zorn opereert zich met een schrikbarend tempo af. Voor free jazz, metal of folk draait Zorn zijn hand niet om. De enige gemeenschappelijke deler tussen al zijn werk is dat het radicaal avant-gardistisch van geest is: Zorn belichaamt in die zin het toppunt van compromisloosheid. "Nothing Is As Real As Nothing" is een suite voor drie akoestische gitaren, opgedragen aan de grote (toneel)schrijver en dichter Samuel Beckett. Het uitmuntende trio Bill Frisell, Julian Lage en Gyan Riley spelen binnen een aan folk ontleend muzikaal idioom, uiteraard voorzien van aan Zorns geest ontsproten avant-gardistische contouren. Door de warmte van de drie akoestische instrumenten is het een van de meer toegankelijke werken van Zorn." (Muziekweb)
"This latest effort from John Zorn?s organ-metal trio Simulacrum features 2 long tracks, "Immanence" showcasing guitarist Bill Frisell and the title track as a vehicle for Zorn himself. Simulacrum consists of John Medeski on organ and technical-metal wizards Kenny Grohowski and Matt Hollenberg on drums and electric guitar, respectively. "Immanence" keeps with the general Simulacrum style: complex riffing and runs are punctuated by chaotic breaks and softer interludes. Even in the more energetic passages where Frisell employs distortion, he maintains a distinct spikiness harkening to jazz and rock rather than extreme metal. "Spinoza" begins with Zorn?s signature disjointed lines, including a long, piercing high-pitched blast, joined by heaviness from the trio. The track is a vehicle for soloing, with Zorn, Medeski, and Hollenberg trading leads. When the tempo slows, Zorn?s playing remains edgy. "Spinoza" shines when Zorn relents a bit and engages in a soaring solo over a pounding metal riff." (Avantmusicnews)|
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