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CD
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CSR 196CD
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Z'EV completes an alchemical exploration of concord and dissonance that began with the cosmological equations of Sum Things (CSR 101CD, 2009) and then clasped the elemental quintet of air, water, fire, earth, and spirit in A Handful of Elements (CSR 182CD, 2013). Now, with Eleven Mirrors to the Light, Z'EV plays with the intersection of light and dark, catching waves of luminescence between prisms and mirrors that fragment particles into shimmering washes of sound. Z'EV's trademark percussion transforms into glistening soundscapes and drones, one part subterranean and another subatomic.
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CD
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CSR 182CD
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With A Handful of Elements industrial music pioneer Z'EV returns to the "dense, carefully laid and deep drone works" (Adnoiseam.net) of Sum Things (CSR 101CD). However, for this release, he has drawn deep from his 40 year-old sonic archive (from live performances both instrumental and vocal, to a range of soundscapes from around the world), producing soundtracks to accompany you to the other side of ambient, through the door between your eyes.
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CD
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CSR 101CD
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2009 release. Through an element darkly... In the fall of 2005, Z'EV began dipping deep into his archives and selecting recordings to produce -- Sum Things/A Possible Form for Cold Dark Matter, a project reflecting his take on the "dark ambience" genre. Composed between December 2005 and March 2006, these six pieces endeavor to transport the listener deep into their long-forgotten memories of the primal forces at the dawn of creation. Each piece is based on a single sound source. Absolutely no effects of any kind, not even equalization, were applied to the source recordings. Instead, Z'EV relied solely on the stretching of the duration and pitch of the samples and then edited and mixed the results down into the heart of space. Hear then, the state of the art in elemental musics.
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CD
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SR 275CD
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Sub Rosa presents works by industrial music pioneer, Z'EV. The physical vibrations of the objects in his works with both text and sound has been influenced by the Middle Eastern mystical system best known as Kabbalah, as well as -- but not limited to -- African, Afro-Caribbean and Indonesian rhythms, musics and cultures. He has studied Ewe music, Balinese gamelan, and Indian tala. From 1959-1965 he studied drumming with Arnie Frank, then Chuck Flores and then Art Anton at Drum City in Van Nuys, CA. In 1963, he abandoned Judaism and began his life-long relationship with World religions and esoteric systems. 1964 saw the beginning of his initial attempts at writing poetry and explorations of both two and three-dimensional artforms. After studying at CalArts from 1969-1970 with poets Emmett Williams and Michael S. Bell and writer/critic Sue-Ellen Case, he began producing works using the name S. Weisser, primarily concentrating on visual and sound poetries. In 1975, he was included in the "Second Generation" show at the Museum of Conceptual Art in San Francisco. In 1976 he moved from Los Angeles to the Bay Area, ending up with a storefront studio on MacArthur Boulevard in Oakland, pretty much midway between the headquarters of the Black Panther Party, (who dissolved that year), and the Hells Angels (still extant). A primary reason for this move was his association with the San Francisco Alternative exhibition space La Mamelle (run by Carl Loeffler and Nancy Evans). In 1977 he presented his first solo percussion performance under the project title "Sound of Wind and Limb." In 1978 he began developing an idiosyncratic performance technique utilizing self-developed instruments formed from industrial materials such as stainless steel, titanium, and PVC plastics. Critic John Buckley described his performances in this era: "the instruments are collections of objects ... strung together with ropes and swung at varying speeds and directions to produce a fairly astonishing range of pitches and timbres. And the moves the guy goes through to manipulate these instruments are, for grace and athleticism, strong stuff. Z'EV is also interesting for the close correlation of visual and musical aspects, since the physical vibrations of the objects you see are the same as those picked up by the ears as sound. Also, since the rhythms of the work are dictated by the performer's every and any movement, an inevitable integrity unifies the act." This release presents pieces from the artist's early sound experiments: "As," recorded in 1978 at the KPFK radio station in Los Angeles; "If," recorded in 1982 at Savoy Tivoli in San Francisco; and "When," recorded in 1983 at Shaffy Theatre, Amsterdam.
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LP
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SR 229LP
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Sub Rosa presents works by industrial music pioneer, Z'EV. The physical vibrations of the objects in his works with both text and sound has been influenced by the Middle Eastern mystical system best known as Kabbalah, as well as -- but not limited to -- African, Afro-Caribbean and Indonesian rhythms, musics and cultures. He has studied Ewe music, Balinese gamelan, and Indian tala. From 1959-1965 he studied drumming with Arnie Frank, then Chuck Flores and then Art Anton at Drum City in Van Nuys, CA. In 1963, he abandoned Judaism and began his life-long relationship with World religions and esoteric systems. 1964 saw the beginning of his initial attempts at writing poetry and explorations of both two and three-dimensional artforms. After studying at CalArts from 1969-1970 with poets Emmett Williams and Michael S. Bell and writer/critic Sue-Ellen Case, he began producing works using the name S. Weisser, primarily concentrating on visual and sound poetries. In 1975, he was included in the "Second Generation" show at the Museum of Conceptual Art in San Francisco. In 1976 he moved from Los Angeles to the Bay Area, ending up with a storefront studio on MacArthur Boulevard in Oakland, pretty much midway between the headquarters of the Black Panther Party, (who dissolved that year), and the Hells Angels (still extant). A primary reason for this move was his association with the San Francisco Alternative exhibition space La Mamelle (run by Carl Loeffler and Nancy Evans). In 1977 he presented his first solo percussion performance under the project title "Sound of Wind and Limb." In 1978 he began developing an idiosyncratic performance technique utilizing self-developed instruments formed from industrial materials such as stainless steel, titanium, and PVC plastics. Critic John Buckley described his performances in this era: "the instruments are collections of objects ... strung together with ropes and swung at varying speeds and directions to produce a fairly astonishing range of pitches and timbres. And the moves the guy goes through to manipulate these instruments are, for grace and athleticism, strong stuff. Z'EV is also interesting for the close correlation of visual and musical aspects, since the physical vibrations of the objects you see are the same as those picked up by the ears as sound. Also, since the rhythms of the work are dictated by the performer's every and any movement, an inevitable integrity unifies the act." Here are two pieces from the artist's early sound experiments: "As," recorded in 1978 at the KPFK radio station in Los Angeles, and "If," recorded at Savoy Tivoli in San Francisco. On clear vinyl.
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2CD
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DIESTADT 091CD
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...vs. Reproduction and Decay of Spatial Relations. "Celebrating the 25th anniversary of the very first Z'ev studio album which originally came out on Backlash in 1981, Die Stadt is proud to announce the re-release of Production and Decay of Spacial Relations for the first time on CD. It features the original seven tracks from the vinyl plus six 'recodings' entitled 'Reproduction and Decay of Spatial Relations' made by Z'ev in May/June 2005. Back in the day, Z'ev used to bring boxes over from Holland when he would come back to New York City which he would sell to Bleeker Bob (a famous record shop situated in the East Village of NY) who told him: 'this is the best industrial record ever and I sell it to every Japanese buyer who comes into the store.' The CD is housed in a reproduction of the original LP (!) cover and comes with a special handmade insert. First edition of 500 copies. Total playing time: 79:57 min. The first edition of 500 copies also includes a bonus CD with never before released archive material all recorded in 1982."
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CD
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TO 063CD
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"In 1967 Z'EV took a tape music class at the UCLA night school. The leader of the course was Joseph Byrd who was the founder and theoretician of the first electronic rock band; The United States of America. So while it's almost 40 years now that he has been involved in the production of electro-acoustic music, Headphone Musics marks the first release of a product exclusively featuring this form of music. All of the source material is drawn from the collection of cassette tapes Z'EV has amassed over the last 30 years -- sounds and soundscapes he has either recorded himself or witnessed, or tapes that have been given to him by various peoples on his travels or been received by him through the mail from fans etc. Technically he remains a bit orthodox in that basically he still plies the old tools of the tape manipulation trade in the current digital sphere. What this means is that he concentrates on editing, phase relationships, time dilation, and inherent and 3rd harmonic distortion as his only means of processing the information he is transforming. There is no looping involved, although #2 features a recording he made in 1984 using his controlled-skipping Lenco turntable. 'As Is As' is a live recording of a sound poem Z'EV produced and performed under the name 'S. Weisser' at a Sound Poetry Festival in 1976 at the La Mamelle art space in San Francisco. It was produced using 2 reel to reel tape decks, 3 cassette decks, and 2 microphones."
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