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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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Conversación en torno a Yodok

Conversación en torno a Yodok

Lauro López-Sánchez M: Considerando que uno de los principios fundamentales en la música es la composición, es decir, el orden y estructura intrínseco a toda pieza musical. Durante siglos el canon europeo había establecido variantes estables en torno a las estructuras musicales, pero en los últimos cincuenta años se ha detonado una diversidad de variantes ilimitada. En cierta medida los medios de reproducción han acelerado la propia producción musical; a su vez sus formas de entender e interpretar una estructura musical. La academia ya no es el lugar de gestación exclusivo de producción de pensamiento musical. El disco de Yodok es un ejemplo versátil en cuanto a su aproximación al pensamiento musical, ya que en él convive la claridad que brinda la academia, pero por otro lado una libertad desmedida que sugiere una manera propia de pensar la música y realizarla. El disco nos sugiere un acercamiento racional pero que excede lo racional. Las estructuras que se desarrollan sugieren otra estructura donde los elementos no componen, es decir no están con-puestos, arreglados, o ensamblados. Es a la inversa, responde a una condensación de elementos que liberan su propia descomposición, más como una composta. Continue reading Conversación en torno a Yodok

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Dirk Serries (Be)

Dirk Serries


  • Dirk Serries (Be) – Electric guitar , sound processing, amps

For more than 30 years the Belgian guitarist and composer Dirk Serries has developed a unique signature sound as the result of the deep exploration into genres such as drone, ambient, dark ambient, industrial, shoegaze, noise and recently free improv.
From the 80’s he released several albums under the pseudonym Vidna Obmana until 2007, the year in which he decided to close that chapter to continue evolving his sound iwth numerous projects and collaborations.

His solo works are inspired by the process of introspection that reflects abstract sound compositions formed by sustained droning layers, walls of sound and texture saturation using electric guitar as the main source for eroding the sound waves by various analog electronic devices and types of amplification.
Serries creates almost cinematic ambient soundscapes that have the power to carry us to indomitable abstract planes.

Dirk Serries is the name behind projects such as Fears Falls Burning, Continuum and Microphonics. Along his career, Serries has worked with artists such as: Asmus Tietchens, Steve Roach, Justin K. Broadrik (Godflesh, Jesu), Aidan Baker, Steven Wilson (Porcupine Tree), Steve Noble, John Dikeman, Collin Webster, among others and toured with bands such as My Bloody Valentine, Mono (Jap), Low, Jesu among others.

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