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Z’EV live A/V performance @ Festival Aural

Z'EV at Festival Aural

Substrata makes possible the visit of the legendary North American percussionist and sound artist: Z’EV, he is going to perform at Festival Aural on December 16th.
He is going to present an A/V piece, product of his research in topics as: resonance, psychoacoustics, trance, cymatics, synchronicity and frequency.

Active since the decade of 70’s he is one of the artists that gave birth to the industrial music movement in 80’s
The live ritual within the frame of this festival is curated by Elnicho’s Eric Namour and is going to take place at Faro de Aragon
Located in: Av 517 S/N, Gustavo A. Madero, San Juan de Aragón I Sección, 07969 Ciudad de México

You can see the full program of the festival here:

Z’EV is an American poet,percussionist,and sound artist. After studying various world music traditions at CalArts, he began creating his own percussion sounds out of industrial materials for a variety of record labels. He is regarded as a pioneer of industrial music.

Z’EV was a strong presence in the New York City downtown music scene in the 1980s and 1990s, performing with Elliott Sharp, Glenn Branca, and doing solo performances at The Kitchen, The Knitting Factory, Danceteria, and other venues where experimental music flourished.

In 1983, critic Roy Sablosky wrote: “Z’EV doesn’t just break the rules, he changes them.” Journalist Louis Morra wrote in 1983: “Z’EV is a consummate example of contemporary performance art, as well as modern composition and theater.” and, “Z’EV realizes many of modernist art’s ultimate goals: primitivism, improvisation, multi-media/conjunction of art forms, the artist as direct creator.”

His work with text and sound has been influenced by Kabbalah, as well as African, Afro-Caribbean and Indonesian music and culture. He has studied Ewe music, Balinese gamelan, and Indian tala.

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. 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. 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.



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MoE Tour and Gig in Mexico City

The Norwegian iconoclast avant-garde noise rockers: MoE visited Mexico for the third time.
Also the band recorded songs for an upcoming album at Testa Estudio based in León Guanajuato.
With financing and management by Conrad Sound, Music Norway, Arts Council Norway, Amat Escalante, Universidad de Guanajuato, Museo de la Ciudad de Querétaro, Festival Aural, El nicho and Substrata.

The complete schedule was

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Waves of Redemption a benefit project for the victims of 7S,19S and 23S

Waves of Redemption Cover

We’ve released the compilation “[Waves of Redemption] Contemporary sounds in solidarity with Mexico” on November 2th with the aim for helping in reconstruction labours in indigenous communities that was affected by the Earthquakes with epicentres in Chiapas (September 7th), Puebla (September 19th) and Oaxaca (September 23rd)
Waves of Redemption is an international compilation with artists working into the contemporary music, alt-classical, experimental music and sound art fields.

The people can look more deeply to this project at:

The artists where invited to donate one unpublished track or to record something new.
The artists that donated tracks (for the digital edition) are: Angélica Castelló, Carl Michael Von Hausswolff, Rogelio Sosa, Z’EV, Francisco López, Joachim Montessuis, Carmina Escobar, Richard Skelton, Dirk Serries, Kristoffer Lo, Mario Díaz de León, Lori Goldston among many more.

This project was presented at SOMA México.

The main goal of this compilation is to aim for funds for reconstruction labours by the Mexican NGO: Cooperación Comunitaria.
As a permanent project we are going to present live performances, talkings and non-traditional projects with the aim of raising funds for a physical edition that is going to include texts by renowned mexican researchers and artists, also the revenues of this album is going to be directed to reconstruction labours in Oaxaca.

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Sustain (01)

First edition of our a-temporal contemporary experimental music cycle to be celebrated continously within the frames of México City (Or anywhere else)

March 17th
Carmina Escobar – Caja Negra (Introspección 0)
Phill Niblock – Trabajando (Una and Dos)/Sur (Una and Dos)
Sustain Carmina escobar

March 18th

Rogelio Sosa – Interior III
An electroacoustic, acousmatic multichannel experience.
Sustain Rogelio Sosa

March 19
“Foghorn”: a doccumentary about Kristoffer Lo’s The Black Meat by André Løyning.
Sustain André Loyning

Special Thanks to: Phill Niblock, Kristoffer Lo, Tito Rivas, Paola Ascencio, Javier Lara, Rodrigo Casas, Patricia Gomez Martinez, Sharon García, Lillian Müller, Alma Delia Mendez , Daniela Pinilla, Paulina Granados, Miguel Ángel Dávalos, Mara Arteaga, Rogelio Sosa, Andrés Oriard, Humberto Zamorate, Discos Mono, André Løyning.

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Discordia TRES: Ruina

Substrata. / Cultura Surplus
Discordia TRES: Ruina
Rogelio Sosa “3.14”
Alexander Bruck “Still and Moving Lines of Silence in Families of Hyperbolas”
Talking: El espacio y los Seres Sonoros
Alejandro Hernández Gálvez (Arquine)
Architecture and morality
Thanks to: Gabriel Mestre, Edgar Orlaineta, Andreina Aragoneses.