Blasphemy and Other Serious Crimes

Pitom’s Blasphemy and Other Serious Crimes is an album with a distinctive sound that pays homage to Yom Kippur, the Jewish holiday of repentance. “PITOM” in Hebrew means “Suddenly,” which is an apt title for an album filled with penetrating sounds that musically reflect the psychological and divine forces that are associated with the holiday. Pitom’s lineup includes guitarist and bandleader Yoshie Fruchter, bassist Shanir Blumenkrantz, who also produced the album, violinist Jeremy Brown and drummer Kevin Zubek. Pitom’s Blasphemy and Other Serious Crimes is the band’s second release on Tzadik Records.

The album’s opening track, titled “In the Merit of…” starts off with booming guitar play from Fruchter accompanied by Zubek’s pounding drums and then Brown’s swift yet precise violin chimes in, which could totally throw off listeners since the heavy guitar and drum play yields a purely heavy metal sound. Yet, Brown’s exquisite violin play brings a classical bend to the track. As the track continues, the same rhythmic melody is played over and over while at times Fruchter’s guitar lets out high pitched screeches, which could annoy listeners.

The second track is the title track and it lives up to its name as it begins with the raw power of Fruchter’s fierce guitar solo. Zubek’s drums then arrive in sporadic thumps as Brown’s violin erupts with methodical and hypnotic tones. Fruchter’s guitar maintains its hefty presence throughout the track as Blumenkrantz’s bass can be heard faintly in the background.

“Resentful Repentance” is the title of the fourth track which begins with Fruchter’s screeching guitar and Blumenkrantz’s bass. The screeching could signify to listeners how badly Fruchter wishes to convey his regret through music. This could be evidenced further as Fruchter’s guitar play and Zubek’s fiery drum work build to a crescendo only to trail off. But, Fruchter’s shrieking guitar isn’t silenced for long as it picks right back up where it goes on to repeat a somewhat morbid, burdensome groove over and over again, which could again put off listeners.

The fifth track, titled “Stumbling Block,” begins differently than the previous tracks with exact yet quick violin play from Brown. Zubek’s drumming supplements Brown’s adept strumming as Fruchter’s guitar jumps in throughout. As the track commences, Brown’s stirring violin work along with Zubek’s rhythmic drum play continue and then Fruchter’s guitar begins to scream again as Brown’s violin play morphs from practiced notes to screeching right along with Fruchter. Brown’s violin trails off but goes on to return to the track’s opening melody with Zubek’s drums. Then, all of a sudden, Fruchter’s guitar work goes crazy as he builds from low to incredibly high pitched notes. Then, just as quickly, Brown’s violin reappears with a slow groove as Zubek’s drums pound lightly in the background.

“Neilah,” the eighth track on the album, is initiated in a slightly different manner than the previous tracks. Fruchter’s guitar starts off slow with Zubek’s drums and Blumenkrantz’s bass gently in the background. As the track commences, each instrument’s notes get more intense with frequent pauses. The haunting melody trails off as Fruchter’s guitar begins its familiar screeching as Zubek’s drums become louder and Blumenkrantz’s bass can be heard more definitively.

In conclusion, Pitom’s Blasphemy and Other Serious Crimes is an attempt to musically convey through a rough attitude and heavy metal beats, the band’s observation of the Jewish holiday of repentance known as Yom Kippur. It’s a valiant effort, but the frequent sound of guitar screeching on nearly every track, however cathartic it may be for the band, might cause listeners to choose to observe the holiday by purging this album from their repertoire.