Customer Reviews

Pranzo Oltranzista

5 star:		(10)
4 star:		(4)
3 star:		(2)
2 star:		(0)
1 star:		(3)

 

 

This is a soundtrack of dreams, which seems more surrealist than futurist to me, as surrealism aimed to incorporate subconscious desires into waking life. Pattonheads beware, this sounds more like a John Zorn album than Mr. Bungle, let alone FNM! The musicians are top-notch -- Zorn on sax, Marc Ribot on guitar, Erik Friedlander on cello, William Winant on percussion, and Patton on "voice, sound effects." There is not much vocalizing, let alone singing. Patton is the composer, and contributes musique concrete effects, plus some vocals on a few tracks. The resulting music is uncategorizable -- "I Rumori Nutrienti" features slow, mellow sax over the low rumble of an airplane engine, which is surprisingly relaxing, and "Latte Alla Luce Verde," with vocalizing, sounds like lovemaking.

If you like the paintings of Salvador Dali or Max Ernst, if you like John Zorn, especially his THE BIG GUNDOWN, the album of Morricone film score remakes, if you are open to the possibility of sounds that do not fit in marketing boxes, then you just might like PRANZO OLTRANZISTA!

I think that this album is the answer. A beautiful executed mind meld with Mike Patton and the more avant garde minds of John Zorn and others -- it ebbs and flows like no other, heavy on the atmospheric ambience that comes from the absurdist cookbook from the 1920s that it takes its title and tone from. I have to admit that it is a hard listen, abstract is the way of the day with this album -- moving in and out of a bizarre almost murderous eating frenzy with instruments and vocal abberations from Patton. I like this album, it is much better in ways than Patton's own Adult Themes for Voice - which seemed too lonely, at least this one has more instrumentation -- the few tracks that have John Zorn on a twisted hollow saxophone is worth the price of admission as well as seeing how far Mike Patton can take both the concept and his own vocal stylings in a direction that resembles nothing that he has done before (and that does count both Mr. Bungle & Fantomas albums). It is a landmark album, a brave experiment that after the initial shock of it wears off is a very mind blowing (albeit grating) experience. The family, friends, and girl friend will view it as simply noise -- there is little to no grooving in this album, a few stray moments of calm before noise caves in. Not an album I listen to often, but one that I cherish when I pull it out. Not for everyone, but for the select few that are Patton fans, fans of John Zorn's more out there stuff, and just the ambient noise / avant garde scene - then this might be just what you are looking for. Faith No More, Lovage, and Mr. Bungle fans that thought Disco Volante & the first Fantomas album were more or less noise are suggested to stay far away -- pick up the Tomahawk album and enjoy Patton's lyrical genius, there are no words here, no song structure, merely chaos.

This second offering from former Faith No More singer, Mike Patton is an album with an overall moody sound. Patton recreates a feel from an Italian anarchist cookbook, if you can imagine that happening. Patton composed the songs and performs on them with an all-star cast of friends and acquaintances in the hard rock and experimental jazz arenas. I would advise anyone who is a fan of patton's work with Mr. Bungle or anyone who is looking to broaden their musical taste horizons to purchase this album.

Before going any further, I want to make clear where I'm coming from-- I'm actually a John Zorn fan who became interested in Patton due to his work with Zorn. I think this makes me a rarity in the Patton world, and effects my opinion of his work somewhat. Having stated that, I can talk about this record a bit.

Its hard to discuss songs on "Pranzo Oltranzista", because the emphasis is not on the songs, instead, its really on the composition or even the performance in many ways. The pieces themselves are rather diverse, everything from cello/piano interludes mixed with screaming sax and voice, purely sound effects, jazz-ish pieces, more noise oriented instrumental performances, pseudo-ambient, etc. What the album lacks is the sort of conventional formats-- there's no songs per se, no real structure in that sense.

But what there is really is worth looking into-- the album is filled with an abstract beauty, and while some of it may not make sense at first (or fiftieth) listening, like much of John Zorn's best work, rewards will become apparent with repeated listens. When I first heard this, I wasn't sure about it, but given the list of musicians (Erik Friedlander, Marc Ribot, William Winant, and John Zorn, among the most brilliant at their respective instruments) with Patton, I did devote an appropriate amount of time to it. I've found quite a bit on this record that is truly brilliant, be they as delicate as "I Rumori Dal Apertivo", or have the heightened anticipation feel of "Scoppioningola", or the beauty mixed with explosiveness of "Carne Cruda Squarciata Dal Sunno Di Sassofono", or just the delicate ambient beauty of "Latte Alla Luce Verde" and organized chaos of "Bombe a Mano" juxtaposed against each other.

Yeah, its nothing like Faith No More or Mr. Bungle, or Fantomas for that matter, and its even nothing like Zorn's work, contrary to many comments, but its a unique record with a lot to offer. Give it a try, if it doesn't set in, put it away and try again in a couple months-- I think with relative open-mindedness and reasonable diversity in taste of music, this one will make sense.

This cd is completely different than Mike Patton's first solo cd. Namely because this cd is NOT solo. There are other musician's here...just not your typical musicians. This cd is similar with his first in that it invokes a mood and a variety of moods and atmospheres, but maybe in a more traditional manner...but still not traditional.
The theme of a cookbook. Each song being a recipe. Imagine a darkly lit kitchen somewhere on the shady side of a city street, with a mad artist cooking, candles lit, and the sound of a jazz band playing in another room...that doesn't always play jazz.
You can hear the vegetables being chopped, the pans clanging, the water running, dishes breaking...all in mystery. It's definitely at night, it's definitely mysterious.
Once again, another album that cannot be background, although you could use this more easily as background in comparison to Mike's first cd. But this shouldn't be background. This needs to be focused on. What do you see as you listen? What do you feel? More importantly with this cd: What place are you being taken to?
John Zorn is playing sax on this cd. What does that mean, you ask? It means you will hear sax being played in a totally different way...as Mike Patton stretches the limits of his voice and the sounds of everyday life, Zorn stretches the limits of his saxophone.
This cd is much more accessible than Mike's first one to the average normal listener of music. This could more easily be called music. Mike is using his voice as an instrument here, but not as much as he did on the first cd. Mike is also using sounds here...but they're not reserved for outer space or some underground electronics club. The sounds seem familiar, yet not. I can't explain. You have to listen.
But call me crazy...you will notice something different here. As if this is a movie. A movie that you've never seen before, are very captivated by once it begins, and one that makes you shudder, intrigued, and pleased all at the same time.
I have not listened to many cds that can actually take you to another place. This one does just that.
If you really like this, get Mike's other band FANTOMAS "DELIERIUM CORDIA" cd. Another place to go to.
enjoy

Here's the deal: I'm not gonna tell you that this album is good or bad, or whether to buy it or not. This kind of esoteric avant garde sound gets processed differently by different people, therefore I'm not gonna tell you if this is "good" or not. I'm just gonna tell you how I felt listening to it. Basically I think all the time Patton spent hanging around with John Zorn inspired this. If you know anything about Zorn's discography, you'll know that you can get one cd that's grindcore and jazz, then another that's an hour of duck calls being played underwater. As Forest Gump would say, "John Zorn's like a box of chocolates...you never know what you're gonna get". Well, this second Patton solo album is very much like one of Zorn's "nothing" albums; An album that's similar to watching an episode of the Teletubbies, where you sit through the whole thing, then afterwards say, "that was it?" That's how I felt anyway. I've listened to it about 4 or 5 times all the way through and I'll be damned it I can sit here and remember one note from the cd. Actually, I remember some chewing noises. Now, I love whacked out avant garde as much as the next guy, but I guess I just need something a little more with my craziness. But you know, I have nothing but the highest respect for Mike Patton for doing this(and his first solo album). Obviously this album is something he felt strongly about and really wanted to do. I mean, he isn't gonna race to the top of Billboard for this. I admire the man greatly even if I don't love everything he puts out. He's one of the most innovative, creative musicians out there right now. If Zappa were alive, I'm sure they'd be buddies. But ultimately, you be the judge.

I am a devout Patton addict, and this is the only album he's made that I really needed to grow on. When I first heard it I was actually kind of disgusted. It just came off as tedious noise. But with more and more listens, I began to fall in love with it's insanity. Like any Patton project, It takes much warming upto. You begin to learn that Patton's maniacal music is not something you get into, it gets into you. And the apex of this experience is Pranzo Oltranzista. A ploddingly bizarre 31 minutes from the musical maverick himself, alongside some very talented musicians. (sound familiar? think again.)

Each song describes an outlandish recipe, which actually all fit the song structures. Patton's noisy effects pack everything under his hat (even the kitchen sink!) and they cackle and splinter into nightmarish clamors of surreal jazzy sculptures. The music is like a breathing contention of so much at once. I would not reccomend this to anyone actually. Everyone I show it to just gets really turned off at it's raw eccentric display.

This is a display of Pattonism that is filled ot the gills with his unconventional quest to change the face of music as we hear it. I'd love to see a general music psychologists reaction to this album. Because honestly their is nothing quite like it.

The songs all seem to follow a crazy pattern of cooking or eating. The second track which opens with a light classical tone but submerges into an all out freakshow of noise. alike 'Contorno Talttile (Per Russolo)' which begins with the sound of chopping vegtables and eerie silent film string music, then succuming into a medley of dishes, just the noise they make. And 'I Rumori Nutrienti', What sounds like a twirling airplane engine hovers above some spectral saxophone that's oddly alluring. And the most freakish of the mix; 'Latte Alla Luce Verde' A haunting piece that acts like a soundtrack to a nightmare.

While the heavy oddity of Pranzo may be quite difficult to get past, once you do it becomes a beautiful experience. When Patton hit's he's usually with a band. But his solo work has proven he's a very ecclectic individual. If you are going to get this album I reccomend a suitably quiet enviroment. Or try it at a dinner date. Also try drawing or writing with it too, makes for a very creative time. It brings very surreal imagery to my head, like a mannequin washing dishes, or a blinded man chewing on lightbulbs in a glass house. Just very cool, creepy stuff.

To put it bluntly; If David Lynch we're to eat some mushrooms and create a musical, this album would be the soundtrack.

Only for the really open-minded

After purchasing this album expecting it to be like his debut solo album, I was pleasently surprised to hear other insturments and some method(though very little) to the madness. Definetely one of those albums that you must listen to a bunch before you get used to it, this album is still worth the money. Like I said, an aquired taste.....

experimentation with very little if any guidelines is what makes this so beautiful.i discoveredthis record almost a year ago by shear accident and almost everyone i know hates it.they are to used to'structure' and as great a thing structure can be it isn't ment to be applied to everything all the time.this is a great piece of work from patton i was fortunate to see mrbungle not to long ago and meet mike for a little amount of time but it was worth every second.meeting one of the only people i look up to and respect that is alive,it was nice.it is odd.not for the everyday FnM fan.

This CD shows off Patton's ability to write and organize the complexity of experimental music. Track 2 is amazing and provides a great overview of the albums style. For serious John Zorn/Mike Patton fans only.