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Z'ev, "Live, 03.01.86"
C.I.P.
Sandwiched between two sheets of metal, numbered out of an edition of333, and signed by Z'ev, Crippled Intellect Productions has released anexcellent 10" of a percussive singularity. The two performancesrecorded on this release are of the kind that are rarely played live orrecorded in the studio. Side A begins with Z'ev suggesting that some"travelling music" be played and what follows is a series of metal onmetal rhythms that, on the whole, don't seem to fit a single rhythmictime signature nor suggest any kind of ethnic reference. The entirepiece feels like an experiment in time; it is as though the pulsingthat consistently finds its way into this piece is moving time along ina new way and the texture of the instruments on top of eachother createa new terra firma to experience this time on. Whether the travellingZ'ev was suggesting was of a mystical kind or merely a trip across landand sea, the movement of these apparent non-rhythms slowly builds intoa piece that creates the illusion of recognition — the rhythm wasalways there in my mind, Z'ev simply showed it to me. Side B beginswith the humming of metal sheets. They are surprisingly melodic and, astime carries on, they begin to resonate in a rubbery way, bouncing in aperfect wave form and releasing their ghost in the form of a beautifulmoan. It sounds as though Z'ev must've added some kind of extrainstrument to this performance or somehow mixed scrap pieces with therest of his instrumentation because their is the constant effect ofmetal rolling about slowly over this wave of sound made by the metalsheets. Z'ev doesn't seem to be in control of this extra element allthe time, but the result is amazing. It's hard to imagine how Z'evcould make music like this solely from percussive elements. The secondtrack on the second side is a comparatively more straight-forwardexercise in diversity. Z'ev opens by banging away at some kind of metalpipe that changes tones here and there; it's either that or Z'ev ismoving like a speed demon between multiple metal drums, each of whichcarry a different tone. The rhythms on this track are more definite,but I find it difficult to keep time with Z'ev and his sense ofdirection and composition. The instrument used on this side isincredibly beautiful and at times sounds like an incredibly low steeldrum that emits the most powerful of sounds.At times it seems as if the rhythm is weaving like a snake through Z'evand his hands. This is undeniably a kind of work that I have neverheard from anyone else. Z'ev's music is unique beyond compare and hiscomplete mastery of texture and sound only adds to the unique characterof his drumming.
Sandwiched between two sheets of metal, numbered out of an edition of333, and signed by Z'ev, Crippled Intellect Productions has released anexcellent 10" of a percussive singularity. The two performancesrecorded on this release are of the kind that are rarely played live orrecorded in the studio. Side A begins with Z'ev suggesting that some"travelling music" be played and what follows is a series of metal onmetal rhythms that, on the whole, don't seem to fit a single rhythmictime signature nor suggest any kind of ethnic reference. The entirepiece feels like an experiment in time; it is as though the pulsingthat consistently finds its way into this piece is moving time along ina new way and the texture of the instruments on top of eachother createa new terra firma to experience this time on. Whether the travellingZ'ev was suggesting was of a mystical kind or merely a trip across landand sea, the movement of these apparent non-rhythms slowly builds intoa piece that creates the illusion of recognition — the rhythm wasalways there in my mind, Z'ev simply showed it to me. Side B beginswith the humming of metal sheets. They are surprisingly melodic and, astime carries on, they begin to resonate in a rubbery way, bouncing in aperfect wave form and releasing their ghost in the form of a beautifulmoan. It sounds as though Z'ev must've added some kind of extrainstrument to this performance or somehow mixed scrap pieces with therest of his instrumentation because their is the constant effect ofmetal rolling about slowly over this wave of sound made by the metalsheets. Z'ev doesn't seem to be in control of this extra element allthe time, but the result is amazing. It's hard to imagine how Z'evcould make music like this solely from percussive elements. The secondtrack on the second side is a comparatively more straight-forwardexercise in diversity. Z'ev opens by banging away at some kind of metalpipe that changes tones here and there; it's either that or Z'ev ismoving like a speed demon between multiple metal drums, each of whichcarry a different tone. The rhythms on this track are more definite,but I find it difficult to keep time with Z'ev and his sense ofdirection and composition. The instrument used on this side isincredibly beautiful and at times sounds like an incredibly low steeldrum that emits the most powerful of sounds.At times it seems as if the rhythm is weaving like a snake through Z'evand his hands. This is undeniably a kind of work that I have neverheard from anyone else. Z'ev's music is unique beyond compare and hiscomplete mastery of texture and sound only adds to the unique characterof his drumming.
