Flew Ting - Musique

Z'EV Born Stefan Joel Weisser At 7 58 A.M. On February 8 1951 In Los Angeles California Is An American Text-Sound Artist And Mystic Who Is Perhaps Best Known For His Work As A Catacoustic Reflected Sound-Based Percussionist.
He Has Worked As A Professional Musician Since 1963 And Is Regarded As A Pioneer Of Industrial Music 1 In 2008 Columbian Critic Edgar Mauricio Ramirez Diaz 2 Described Him As “Without A Doubt One Of The Most Influential Persons In The Whole Post-Industrial History Of Contemporary Music.”
His Work With Both Text And Sound Has Been Influenced By The Middle Eastern Mystical System Best Known As Kabbalah Although Not Of The Jewish Variety As Well As - But Not Limited To - African Afro-Caribbean And Indonesian Rhythms Musics And Cultures. He Has Studied Ewe Ghana Music Balinese Gamelan And Indian Tala. 3 Z'ev Requests 3 That People Note Either "Z'EV" Or "z'ev" Are Acceptable Typographies For His "brand Name" Context Depending But That "Z'ev" Most Emphatically Is Not. After Studying At CalArts With Poet Emmett Williams He Produced Works Using The Name S. Weisser Primarily Concentrating On Visual And Sound Poetries. In 1972 He Was Included In The "Second Generation" Show At The Museum Of Conceptual Art In San Francisco.
Beginning In The Early 1970s He Developed A Personal Technique Utilizing Self-Developed Instruments Formed From Industrial Materials Such As Stainless Steel Titanium And PVC Plastics. Initially These Instruments Were Assemblages Of These Materials Used With A Movement-Based Performance Style That Was A Form Of Marionette Although With The Performer Visible. He Has Since Come To Refer To This Performance Mode As 'wild-Style' A Term Originally Related To Graffiti. 1 . Critic John Buckley 4 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.
During The Mid-70s He Began Performing Under The Name Z'EV Which Comes From The Jewish Name His Parents Gave Him At Birth Sh'aul Z'ev Bn Yakov Bn Moshe Bn Sha'ul .
In November And December 1980 Z'EV Opened A Series Of UK And European Concerts In The First Headlining Tour Of The British Group Bauhaus. 5 On That Tour And His First Solo Tour Of Europe Immediately Afterwards Z'EV Introduced Intense Metal Based Percussion Musics To The UK And Europe. Critic Jason Pettigrew Current Editor-In-Chief Of Alternative Press Magazine Attests To Z'EV's Pioneering Use Of Metal Found Object As Percussion Writing "Consider Your Music Collection. Neubauten? Test Department? Z’EV’s Been There First.’ 6 While But One Of The Progenitors Of The "industrial Movement" 1 He Was Also Fairly Solely Responsible For Delivering The ‘tribal’ Impulse And Esthetic Into The Western/European Cultural Milieu Developing Between The Years 1978-1984. Citation Needed In 1981 'Shake Rattle & Roll' A VHS Video Documenting His First Wild-Style Performance On The East Coast Produced By Video Artist John Childs Was Released By Fetish Records In The UK And Was The First ‘music’ / Art Video To Be Commercially Released.
In 1982 Z'EV Was Part Of An Ensemble For The Performance And Recording Of Composer Glenn Branca's Symphony No. 2 The Peak Of The Sacred . 7 Since 1984 He Has Been Concentrating On Performing In A More Traditional Mallet-Percussion Style Albeit With Highly Idiosyncratic And "extended" Mallet Percussion Techniques And His Self-Made Or Adapted Instruments.
Both Performance Modes Wild-Style And Mallet Percussion Have Been Described 8 As Cacophonous When Considered In Traditional Western Musical Terms Because Of The Dense Elemental Acoustic Phenomena Z'EV's Instruments Produce. In Point Of Fact Z'EV Doesn't Actually Consider 3 5 9 The Results As "music" Per Se But More As Orchestrations Of Highly Rhythmic Acoustic Phenomena.
It Is Also Worth Noting That Z'EV Does Not Consider 3 5 9 His Performances As Solos But Rather As The Unique Inter-Reactions Between Himself And His Instruments The Particular Physical Space Of The Performance The Particular Time And Geographic Location Of The Performance And The Energies Of The Audience. While The First Two Traits Will Of Course Remain The Same A Change In Any Of The Last Three Will Result In A Totally Different Performance.
In 1990 He Began Working With Amsterdam House Musician DJ Dano. Their Work Also In Conjunction With Austrian Media Artist Konrad Becker Was Instrumental In The Emergence Of The Genres Known As Gabber And Hard Core. Citation Needed His Recordings Have Been Released By Labels Such As C.I.P. Cold Spring Die Stadt Soleilmoon Tzadik Records Subterranean And Touch.
Z'EV Spends As Much Time As Possible In Peckham England With Conceptual Artist Barbara Steveni And Is Contactable At Rhythmajik {at} Yahoo {dot} Com. read less