| $14.51
back in stock as of
january 24th, 2012
first in stock on
november 22nd, 2006
threads:
sound-poetry
electro-acoustic-composition
free-improvisation
experimental-instruments
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| | | touch (uk) #to:63 cd z’ev “headphone musics, 1-6 b/w as is as” compact disc - headphone musics 1 (9:05)
- headphone musics 2 (7:02)
- headphone musics 3 (9:01)
- headphone musics 4 (7:26)
- headphone musics 5 (8:22)
- headphone musics 6 (8:08)
- as is as (7:22)
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touch # to:63
cd - 7 tracks
56:28
jewel case with artwork and photography by jon wozencroft and tereza stehlikova
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.
biog:
since the 1970’s z'ev worked in a variety of media and was one of the founders of the cultural movement now known as ‘industrial’. he was born in 1951 in los angeles and began playing with percussion at 3, building his first 'drum set' at 6, with formal study of percussion beginning at 8. professional performances begin when he was 12. at that time he also began to study the plastic arts and poetry.
1969-70 z'ev attended the california institute of the arts (villa cabrini campus), enrolled in both the ethnomusicology and critical studies departments. between 1974-6 he developed a unique and influential form of instruments and instrumental techniques, employing hi-tech materials (stainless steel, titanium and pvc plastics) to produce a music based on the orchestration of acoustic phenomenon as opposed to conventional/traditional tuning systems.
in 1980 fetish records in london released "shake rattle and roll" – a video documentation of a live performance which turned out to be the first "music video" ever commercially released. from 1984-91 he completed many collaborative projects with viennese multimedia artist konrad becker in both europe and japan. during this period he also worked (performance/recording) with most of the major european multimedia organizations: bow gamelan, la fura dels baus, and psychic tv.
in dec '89 z'ev became involved with elizabethan drama. two of his plays, based on king lear and entitled "wheels on fire #'s 1 & 2", were published in england in 1990 in "ratio 3" [temple press, uk]. in 1991 "one foot in the grave" [touch # to:13], an audio-visual retrospective of his work from 1968-90 was published. now out of print, the textual parts, press and selected photographs of performances and installations are available online at http://bulletin.touchmusic.org.uk/catalogue/to13.html.
in 1992 "rhythmajik: practical uses of number, rhythm and sound" was published (temple press). murry hope, the author of "the psychology of ritual", wrote: "z’ev presents an original approach to the energies released via the rhythmic process... including the healing potential of correctly structured rhythms and their possible value as access codes to those frequencies unbound by the space-time continuum. dare one suggest that this could be the pre-cursor of the long forgotten science of 'sonics', which many believe will resurface in the next millennium?"
in 1992 he also began collaborations with d.j. dano (daniel leeflang). in 1990 in conjunction with konrad becker he released "trance-former", which at 150 bmp launched a variety of house music known as 'hard core'. many examples of our "house musics" were released as singles and appeared on several cd compilations in europe. in 1992 the english music magazine the wire included his lp ‘bust this!’ [released in 1988] in its list of the 50 greatest percussion records of all time.
in 1993 z'ev composed "heads & tales #'s 1-19" under the project name 'hypercussion' which was recorded at fun city nyc. it was commissioned by john zorn for his avant label in japan [avant 034]. at this time zorn also commissioned an article for a book he was editing comprised of writings by contemporary composers, entitled 'icons'. icons was finally published at the beginning of 2000 by grannary press [nyc]. the article, entitled "the three-fold ear and the energies of enthusiasm" is available online at http://www.t0.or.at/zev/fold.htm [that’s t + zero].
in november 1999 zorn again commissioned a piece from me for his radical jewish music series, a series of translations; sonic, esoteric, metaphoric and allegoric, of the sefer yetzirah [the most ancient mystical text in the jewish corpus] which he is in the process of completing.
more recently he has been working with david jackman [aka organum], and they released the cdep "tinnitus vu" on touch earlier this year [touch # tone 19]. he also contributed to the first in a series of organ works for touch, spire [touch # tone 20, 2004]. |
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