Original scores composed by John Zorn.

Includes liner notes by John Zorn.

ANTON, MAILMAN:

Personnel: John Zorn (alto saxophone); Mark Ribot (guitar); Greg Cohen (bass); Cyro Baptista (percussion).

Recorded at the Baby Monster Studio, New York, New York on July 15, 1996.

MECHANICS OF THE BRAIN:

Personnel: John Zorn (sound effects); Jason Baker (vocals); Mark Feldman (violin); Erik Friedlander (cello); Mark Ribot (guitar); Ikue Mori (drum programming).

Recorded at the Shelley Palmer Studio, New York, New York on March 1, 1996.

THE BLACK GLOVE:

Personnel: John Zorn.

Recorded at the Shelley Palmer Studio on March 31, 1996.

This volume of the Film Works series contains the scores for three films: Anton, Mailman, which was a short film directed by Dina Waxman that was never completed due to loss of funding in its final stages; Mechanics of the Brain directed by Henry Hills, who had worked with Zorn in the past on his sharply edited, meticulous, and sometimes gruesome films; and The Black Glove, a lesbian noir S&M film that was given a moody, subtle feel by its director and star, Maria Beatty. The three scores differed as much as the films for which they were intended. The tracks for Anton, Mailman are upbeat, swingy tunes that sound like they belong behind singing cowboys. The sections for the Henry Hills film are short, sharp, occasionally atmospheric, and definitely darker. And, perhaps most interestingly, instead of revisiting tired, old dungeon themes, the score for The Black Glove stepped even further into the realm of atmosphere by staying within only three sound reproductions: fire, water, and wind. The result is a soundtrack that evokes fear, discomfort, rest, and creepiness without rehashing the clich‚s of yore. Overall, these compositions are a fine addition to the Film Works series. ~ Stacia Proefrock

John Zorn's FILMWORKS VI features music for three films: "Anton, Mailman," "Mechanics of the Brain," and "The Black Glove." The first set of songs is surprisingly laid-back and features the ever-extraordinary guitar work of Marc Ribot backed by the inventive rhythmic support of bassist Greg Cohen and percussionist Cyro Baptista. Though Zorn joins in briefly on alto sax, he wisely allows the spotlight to shine on the beautifully understated playing of these frequent collaborators. Ribot is also on hand for the chaotic music of "Mechanics of the Brain," but here violinist Mark Feldman and cellist Erik Friedlander (playing like a paired-down Kronos Quartet) are in the foreground, with Ikue Mori and Zorn providing background beats and sound effects. Finally, Zorn's elemental score for "The Black Glove" employs only the sounds of fire, water, wind, and footsteps in a minimalist display of sound design. Although the three sets of music are drastically different, it's this diversity that once again reinforces Zorn's status as a major modern composer.