Praxis - Sacrifist
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CD Details
Artist: PraxisEdition: Music CD
CD Release Date: 2006-04-11
Music Label: Subharmonic
Soundtracks:
- Stronghold
- Cold Rolled / Iron Dub
- Suspension
- Rivet
- Deathstar
- The Hook
- Nine Secrets
- Crossing
Music reviews of Sacrifist
Music Review: In Defense of 'Sacrifist'
Rating: 5 Stars
I'm certain that 90% of the world's population would scratch their heads if I ever brought up Praxis in a conversation. I won't elaborate on what Praxis is since anyone with an open mind and an Internet connection can just put the name into a search engine, but I will say that Praxis has never operated within the confines of a band per se. After all, Bill Laswell and Buckethead have always been at the core of Praxis' endeavors (I can't tell you how many times the hands have changed from album to album and even tour to tour). I think that's why their "biggest" outing was 'Trasmutation'. While it is arguable that Praxis defies definition, its diversity was on full display in its most concentrated, albeit conherent, form on said record. You had Bootsy Collins' space bass, Buckethead's mind-numbing guitar licks, and Brain's turntable horseplay to savor on every level. However, die-hards always ignore and/or sometimes attack Praxis' sophomore offering, 'Sacrifist'.
It is because of these attacks that I must speak up for 'Sacrifist' for my own sake, if not for the sake of those impressionable listeners yet to hear the beauty that is 'Sacrifist'. I will say that it is not Praxis' best album, but it is an extraordinary work of art that accomplishes what few works of art manage to do: it divides the audience. I believe that if an album, book, or film is universally praised, it can't be considered art since there is no dissenting voice to challenge its merits. However, 'Sacrifist' has been called weak, messy, confusing, and unlistenable. I am here to say that 'Sacrifist' is all of those things and much more, but what disturbs me are the reviews that imply the lack of redeeming qualities or underlying genius.
Bill Laswell put together a supergroup for 'Sacrifist' in the same context that a depressed housewife loads the best contents of her freezer into a blender for one hell of a delicious (yet fattening) shake. Bootsy Collins, Buckethead, John Zorn, Yamatsuka Eye, Bernie Worrell, and Mick Harris are present on one disc, and the results are controversial. For instance, the whole mood of 'Sacrifist is summed up in 1 minute and 34 seconds by the opening number, 'Stronghold', which is punctuated by meandering sax notes, speed drumming, insane guitarwork, the unrelenting grind of a buzz saw, and the viscious banshee calls of Yamatsuka Eye (who sounds like a troll hopped up on Mountain Dew and PCP). 'Stronghold' soon gives way to a schizophrenic medley reminiscent of the late 70's Canterberry movement, and it is at that point where 'Sacrifist' may put listeners in an uncomfortable position due to its unpredictability. After all, it's hard to pigeonhole the merits of a record that contains speed metal, snippets of jazz, industrial grooves, and psychodelic Hammond organs. So while 'Stronghold' may lead you to decide if the remaining 8 songs are worthy of your attention, the rest of the album is surprisingly progressive and diverse, hence the error in judgement that many critics and elitists reserve when scrutinizing the record as a whole. In fact, if it weren't for the presence of Bootsy and Zorn, I'm sure the critics would have ripped it apart, but such a notion would be a disservice to the other musicians. To be honest, I found the blood-curdling screams of Yamatsuka Eye to be charming and in some instances, hilarious. The absence of Brain is unfortunate, but the unique stylings of Bernie Worrell make up for that in spades.
'Sacrifist' is a short disc, but nothing short of sweet. Each musician featured on the disc is given a chance to shine in his own way, and whether you walk away from the record with a smile or a grimace, you'll be glad you paid 'Sacrifist' a visit. There hasn't been nor will there ever be anything like it.
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