Mike Patton & Ictus Ensemble: Laborintus II

Laborintus II might be really high-minded, and really challenging, but it's totally bizarre fun too. It may well be the most unsettling thing you listen to all year, but what else would you expect from Mike Patton?

Mike Patton & Ictus Ensemble

Laborintus II

Label: Ipecac
US Release Date: 2012-07-02
UK Release Date: 2012-07-02

Do you know what’s an important task for music criticism in the early 21st century? Getting to grips with the relationship between classical music and popular music, that’s what. It’s important to appreciate that, these days, the boundary between the two forms is rather porous – it’s totally acceptable for symphony orchestras to lend their services to a diverse range of acts, from heavy metal to Detroit techno, and there’s a wide range of post-classical music that blurs the lines between modernist minimalism and more traditional forms with ambient and electronic touches. Basically, we need to take all the talk of classical music’s “elitism” and all the postmodern talk of the (no doubt, long gone) emancipatory potential of pop music off the table. Then again, that raises the issue of our use of language when we start talking about aesthetics in a non-academic setting – we need to ask how we can talk about one form of music in the context of the other without having to do, y’know, musicology.

The presence of Mike Patton on Laborintus II provides us with just such an opportunity. His musical ambitions have always transcended the limitations of pop even if he himself is a rock star of sorts, and he’s gone from fronting metal bands to creating avant-metal reinterpretations of film soundtracks to collaborating with weird beard jazz guy John Zorn. On Laborintus II, Patton collaborates with Belgian Dadaist classical bunch the Ictus Ensemble. The record itself is a re-wiring of Luciano Berio’s composition from back in 1965, which is itself based on the poetry of Communist Dante scholar Edoardo Sanguineti. It’s essentially a mad piece of musical theatre, and it might just turn out that Laborintus II is the strangest off-off Broadway production ever devised – a timely take on Sanguineti’s critique of the commodification of everything in the whole wide world.

Laborintus II is composed of three parts that, here, last for just over half an hour. But you need to keep its theatrical origins in mind, and it isn’t exactly clear if it works as a standalone record if we have to abstract it from the context of its performance. But that doesn’t stop it being an immensely challenging (and exhausting and, well, fun) thing to listen to. In fact, it could well be the most unsettling thing you listen to all year, so the best thing you can do is try to chart the topography of this racket.

Three female voices float in and out of earshot throughout, variously cooing and howling and wailing like demented Sirens. The percussion, meanwhile, is like a frazzled takedown of things like, you know, rhythm and timing. It clatters away, building the tension brick by awkwardly-angled brick before breaking it all down again. But then, at around the four-minute-mark in part one, things start to sound a bit like Bitches Brew -- there’s a turbulent shuffle of free jazz cymbal work that very nearly pins down a fluttering flute, which leads us back up the garden path into musical chaos.

It’s a weird musical argument that constantly emphasises its own unpredictability, its own weird instability. One instrument is always interrupting another: trumpets and trombones sputter all over each other, playing messed up, honking fanfares, while those shrill female voices are knocked out of focus by woodblocks, sleigh-bells and what is either a gong or just a colossal cymbal. But then, halfway through part two, just after it sounds like Patton is yelling about the virtues of the dictatorship of the proletariat, an orchestra springs up and plays a series of hyperactive Looney Tunes figures. And even though the music veers into Raymond Scott-territory, Patton still reels off some seriously creeptacular incantations.

At times, Patton sounds grim, medieval, almost priestly. Picture the scene he’s narrating: the plague of neoliberalism is ravaging Europe; victims find their necks bulging with bulbous, pus-filled cists (with mouths) that charge 1743% APR for quick personal loans; the government say that the only cure comes in the form of a confusingly bitter medicine made of swingeing austerity measures and conspicuous consumption; ex-members of the Italian Communist Party march through town, self-flagellating in penance. It sounds rather familiar, really, doesn't it?

But the problem with all of this is that is pretty much impossible to work out what is going on without being a native Italian speaker. If you don’t have access to a translation of the text, you’re kinda screwed. Then again, the whole thing is totally nuts, and it really is a lot to take in. But then again, Laborintus II engages our brains as well as our ears, forcing us into asking some pretty big questions on a political front as well as on an aesthetic front. It tries to get us to completely rethink the categories we use to talk about music, and about using that music as a critique of social domination. But who is this music for? Is it for the adventurer in modern music? Yes. Is it for gloomy neo-Marxian critical theorists? Yep. Is it for teenage Faith No More fans? Sure, why not? It makes us open our eyes and our ears and our mouths and our noses to super mega proper musical imagination in a way that might even outwit the logic of late capitalism. Right on time, too.






Literary Scholar Andrew H. Miller On Solitude As a Common Bond

Andrew H. Miller's On Not Being Someone Else considers how contemplating other possibilities for one's life is a way of creating meaning in the life one leads.


Fransancisco's "This Woman's Work" Cover Is Inspired By Heartache (premiere)

Indie-folk brothers Fransancisco dedicate their take on Kate Bush's "This Woman's Work" to all mothers who have lost a child.


Rodd Rathjen Discusses 'Buoyancy', His Film About Modern Slavery

Rodd Rathjen's directorial feature debut, Buoyancy, seeks to give a voice to the voiceless men and boys who are victims of slavery in Southeast Asia.


Hear the New, Classic Pop of the Parson Red Heads' "Turn Around" (premiere)

The Parson Red Heads' "Turn Around" is a pop tune, but pop as heard through ears more attuned to AM radio's glory days rather than streaming playlists and studio trickery.


Blitzen Trapper on the Afterlife, Schizophrenia, Civil Unrest and Our Place in the Cosmos

Influenced by the Tibetan Book of the Dead, Blitzen Trapper's new album Holy Smokes, Future Jokes plumbs the comedic horror of the human condition.

Love in the Time of Coronavirus

Fire in the Time of Coronavirus

If we venture out our front door we might inhale both a deadly virus and pinpoint flakes of ash. If we turn back in fear we may no longer have a door behind us.


Sufjan Stevens' 'The Ascension' Is Mostly Captivating

Even though Sufjan Stevens' The Ascension is sometimes too formulaic or trivial to linger, it's still a very good, enjoyable effort.

Jordan Blum

Chris Smither's "What I Do" Is an Honest Response to Old Questions (premiere + interview)

How does Chris Smither play guitar that way? What impact does New Orleans have on his music? He might not be able to answer those questions directly but he can sure write a song about it.


Sally Anne Morgan Invites Us Into a Metaphorical Safe Space on 'Thread'

With Thread, Sally Anne Morgan shows that traditional folk music is not to be smothered in revivalist praise. It's simply there as a seed with which to plant new gardens.


Godcaster Make the Psych/Funk/Hard Rock Debut of the Year

Godcaster's Long Haired Locusts is a swirling, sloppy mess of guitars, drums, flutes, synths, and apparently whatever else the band had on hand in their Philly basement. It's a highly entertaining and listenable album.


What 'O Brother, Where Art Thou?' Gets Right (and Wrong) About America

Telling the tale of the cyclops through the lens of high and low culture, in O'Brother, Where Art Thou? the Coens hammer home a fatalistic criticism about the ways that commerce, violence, and cosmetic Christianity prevail in American society .


The Dance of Male Forms in Denis' 'Beau travail'

Claire Denis' masterwork of cinematic poetry, Beau travail, is a cinematic ballet that tracks through tone and style the sublimation of violent masculine complexes into the silent convulsions of male angst.


The Cradle's 'Laughing in My Sleep' Is an Off-kilter Reflection of Musical Curiosity

The Cradle's Paco Cathcart has curated a thoughtfully multifarious album. Laughing in My Sleep is an impressive collection of 21 tracks, each unapologetic in their rejection of expectations.


Tobin Sprout Goes Americana on 'Empty Horses'

During the heyday of Guided By Voices, Tobin Sprout wasn't afraid to be absurd amongst all that fuzz. Sprout's new album, Empty Horses, is not the Tobin Sprout we know.


'All In: The Fight for Democracy' Spotlights America's Current Voting Restrictions as Jim Crow 2.0

Featuring an ebullient and combative Stacey Abrams, All In: The Fight for Democracy shows just how determined anti-democratic forces are to ensure that certain groups don't get access to the voting booth.


'Transgender Street Legend Vol. 2' Finds Left at London "At My Peak and Still Rising"

"[Pandemic lockdown] has been a detriment to many people's mental health," notes Nat Puff (aka Left at London) around her incendiary, politically-charged new album, "but goddamn it if I haven't been making some bops here and there!"


Daniel Romano's 'How Ill Thy World Is Ordered' Is His Ninth LP of 2020 and It's Glorious

No, this is isn't a typo. Daniel Romano's How Ill Thy World Is Ordered is his ninth full-length release of 2020, and it's a genre-busting thrill ride.


The Masonic Travelers Offer Stirring Rendition of "Rock My Soul" (premiere)

The Last Shall Be First: the JCR Records Story, Volume 1 captures the sacred soul of Memphis in the 1970s and features a wide range of largely forgotten artists waiting to be rediscovered. Hear the Masonic Travelers "Rock My Soul".

Collapse Expand Reviews

Collapse Expand Features

PM Picks
Collapse Expand Pm Picks

© 1999-2020 All rights reserved.
PopMatters is wholly independent, women-owned and operated.