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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. --- Released, Sub Rosa

Z'EV – as/if/when

Broken Music is an essential compendium for records created by visual artists. The publication was edited by Ursula Block and Michael Glasmeier and originally published in 1989 by DAAD. Broken Music focuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989. It also includes essays by both editors as well as Theodor W. Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Knizak’s “Broken Music.” The centerpiece of the publication is a nearly 200-page bibliography of artists’ records. Works chosen for the publication revolved around four criteria: (1) record covers created as original work by visual artists; (2) record or sound-producing objects (multiples/editions/sculptures); (3) books and publications that contain a record or recorded-media object; and (4) records or recorded media that have sound by visual artists. Artists documented in the volume include Vito Acconci, albrecht/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner. Ursula Block is a curator living in Berlin, Germany. From 1981 until 2014, she ran gelbe Musik, a gallery and record shop in Berlin that featured work by artists at the crossroads between music and art. Michael Glasmeier is a professor, writer, and editor living in Berlin, Germany. Since the early 1980s, he has curated dozens of shows that explore the intersection between the visual arts, music, film, and language.

Broken Music

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Honoured to present this new work by Japanese improvisor, producer, and singer-songwriter, Eiko Ishibashi. This mysterious "live session" sees her paring back her song-craft in favour of a multifaceted suite of synthetic sound and rhythm, pushing and pulling her work in radical new directions. The work opens with seething, dense layers of synthesis, driven skyward by the powerful dual percussion work of Tatsuhisa Yamamoto and Joe Talia. Elsewhere she embraces scattering electronics, allowing programmed and indeterminate elements to trip over themselves. As the session progresses, iridescent organ laments and spiraling synth arpeggios emerge, collapse and dissolve, birthing moments of lava-hot extra-terrestrial funk. This is Eiko going truly "out": loosening, expanding, falling off the grid and into deep unknown terrain. We're here for it. "Actually, I'm still afraid to play music live. But the feeling of jumping off a cliff, the feeling of being able to go far from my consciousness, the feeling of resetting to go to creation again, the feeling that my world is inevitably opened by customers and people I meet at live performances... these feelings, I wouldn't get anywhere else.  I am deeply grateful that I was able to have such experiences with the help of many live music venues and their staff in Japan and overseas. I hope to see you again in good spirits.I will do my best until then.The live performance I did at cafe oto was also an unforgettable one.I want to come again. Thank you for the opportunity. "   - Eiko Ishibashi <Japanese Text > 沢山の国内外のライブハウス、スタッフの方々に助けられ、育てられて今の自分があります。 崖から飛び降りるような感覚、自分の意識から遠いところに行けるような感覚、そこからまた創作に向かうためのリセット感、お客さんやライブで出会う方々によって自分の世界が否応なく開かれる感覚は他では得られないものです。 元気な姿でまたお会いできたら嬉しいです。 それまで精進致します。 cafe otoのような素晴らしい場所がこの状況を乗り越えて存続していきますように。 このような機会をくださってありがとうございました。 石橋英子 -- EIko Ishibashi: Synth, Piano, Voice, Flute, Vibraphone, Sound CollageTatsuhisa Yamamoto: DrumsJoe Talia: DrumsMastered by Jim O'Rourke

Eiko Ishibashi – Live at Incubus

The name is new, but the four members of The Cutmen all come from such storied backgrounds that it s reasonable to call them a supergroup. M (AKA Reeve Malka), the multi-talented leader of ensemble, has his fingers in more pies than can be listed here, but a brief overview includes recordings with Jarboe (Swans) and membership in Orchestre Noir and Sol Invictus. He runs his own label Infinite Document, co-runs the Sol Invictus label Tursa Records with Tony Wakeford, and offers his mobile engineering and studio services to bands of all genres World-famous percussionist Z'EV needs no introduction. His career spans more than 30 years, 50 albums, countless performances, and collaborations with Glenn Branca, Organum, Merzbow and Psychic TV. Stephen Flinn has been playing professionally as a percussionist and drummer for more than 20 years, performing across America, Europe and Japan. He collaborated on an album with cyberpunk author Kenji Siratori, and has been written about in numerous jazz publications. Giles Leaman began his professional career 30 years ago as a member of the Penguin Cafe Orchestra, and has recorded with Rip Rig & Panic, Thomas Dolby, The Drones, Echo City, and a special performance of Brion Gysin s Cut-Up Poetry in London. He builds musical instruments, teaches, and performs regularly. The music of The Cutmen is made from found sounds and unconventional instruments (including several built by Giles), skillfully arranged and performed in an engaging and playful style that constantly surprises and pleases the ear, as if one was tasting a salad made of previously unknown but delicious herbs and flowers. The songs are spacious and refined, and the overall atmosphere is one of measured and deliberate restraint rather than frenetic chaos. You can't call it experimental music because it s fully realized and complete. --- Soleilmoon Records, 2011

The Cutmen – Seconds Out

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TAKUROKU

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Thursday 18 November 2021

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Sunday 8 August 2021

Strange Attractor Press Presents: In A Sound World with Marie Roux, R.W.M. Hunt and David Toop – MATINEE

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Laila Sakini + Flora Yin Wong + The Sprigs

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BLURT

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