|
During the late 1980s, Z'ev began to focus on a different kind of improvisation,
one that emphasizes duration rather than tempo. Unfortunately, his achievements
were not documented for a long time.
Opus 3.1 (Soleilmoon, 1999), recorded in 1990, contains twenty brief
sketches for different kinds of percussion patterns.
Ghost Stories (october 1990 - Soleilmoon, 1999), also from 1990, is instead one long
live improvisation that best documents Z'ev's talent.
Heads & Tales (august 1993 - Avant, 1998), credited to Hypercussion,
and Face the Wound (Soleilmoon, 2001) compose a "spoken opera",
one of his most ambitious projects.
His erudite theories on Hebrew philosophy permeate
The Sapphire Nature (Tzadik, 2002), which now targets
trance/meditation.
An Uns Momento (june 1981 - CIP, 2001) collects two works from the 1980s, Life Sentense and Save What?, credited to his alter-ego Uns (white noise and
free-form vocals).
Z'ev's collaboration with Norwegian sound artist Lasse Marhaug yielded
as The Sleazy Listeners (Squirrelgirl, 2003).
The Ghost of One Foot In The Grave (Subterranean, 1997 - Touch, 1991) is a 1968-1990 double-disc career retrospective, proving that the range of his experiments was far greater than mere
percussive-industrial symphonies.
Z'ev (Crippled Intellect, 2004) is the soundtrack to a multimedia installation.
Headphone Musics 1-6 (Touch, 2004) mixes both his percussive/metal approach and his minimalist/droning approach.
Tinnitus VU (august 2003 - Touch, 2004), a collaboration between percussion
noise-meister Stefan "Z'ev" Weisser and industrial/ambient composer
David Jackman, better known as Organum,
is a four-part 16-minute suite that careens through the
agonizing metallic fibrillations of the first movement,
the manic scratching of the second movement,
the subsonic frequencies of the third movement,
and the cascading tinkles of the fourth movement.
All in all, it is another misguided example of long-distance collaboration,
in which one artist (in this case Z'ev) is supposed to create interesting art
by manipulating the ideas and the sounds of another artist (in this case, piano
pieces by Organum).
The result is simply naive, childish and pointless. Pointless because at the
end we don't know much of what either artist wanted to tell us. We only know
that CDs are so easy to manufacture that long-distance
collaborations are becoming more and more fashionable.
A bit more interesting is Tocsin -6 Thru +2 (april 2004 - Die Stadt, 2005), a
subsequent full-length collaboration between the two who actually met in
a studio at least to decide what to do. That one too turned into a long-distance
collaboration, as each musician went back home and then separately worked on
the material to produce the album's tracks.
What a waste of talents.
Number One (Touch, 2005) was a collaboration among Z'ev,
Chris Watson and KK Null that manipulated
source material to create noh-inspired compositions.
Rhythmajik (june 2003 - Small Voices, 2005), a CD that bears the same title as Zev's
1992 book, is inspired to the kabala and, generally speaking, numerology, but,
ultimately, it is another exercise in metallic soundsculpting.
Magistral (Southern Lord, 2007) is a collaboration with
Sunn 0)))'s Stephen O'Malley.
Metaphonics (march 2005) contains one 35-minute piece.
Past Life (october 2005) documents a live performance.
Symphony #2 - Elementalities recycles source materials drawn from Ghost Stories (december 2005).
Z'ev/John Duncan/Aidan Baker/Fear Falls Burning (Die Stadt, 2006)
contains Z'ev Elementonal.
|
(Translation by/ Tradotto da xxx)
Se sei interessato a tradurre questo testo, contattami
|
