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z'ev, "Symphony Number Two: Elementalities"
Processed sound of this nature pales in comparison to what z'ev has done in the past. The album begins with a bang, thrusting an assault of metallic sound out of the speakers immediately. As it progresses, and true to the rather esoteric liner notes, this symphony of sorts descends into a calm stillness that does not grab my attention in the same way that much of z'ev's work has before.
Blossoming Noise
Despite the brutish entry "First Movement" makes, Elementalitiesis undoubtedly a more polished and reserved recording than anything I've heard from this multi-faceted percussionist. The source material for this album is from a performance in October of 1990 at the Wang Concert Hall in Amsterdam. It was originally released by Soleilmoon and is here reconsidered by z'ev. The information provided in the rather beautiful and austere booklet relates a connection between the music and the first thirteen verses of Proverbs Chapter 30, which z'ev refers to as "The Oracle of Blood." References to the number 1440 also suggest some relation between this recording and the sometimes mystical attitude taken towards numbers in religion. Each of the movements is provided a single page full of text and each of these pages makes some reference to a mysterious "Her," perhaps of an animal nature. All of the text fits quite nicely with z'ev's processed drums, echoed rattles, and deep reverberations, but it's difficult to understand just how closely they tie into the original performance. There is a sense that z'ev is trying to say something about the nature of re-approaching music and establishing some new connection with it. That connection, however, is never clearly defined nor explained.
The music itself seems stationary, confined to the same series of movements for the duration of its existence. It sounds as though all of the percussive energy z'ev normally releases has been amassed into the same place and allowed to roll down a very steep hill. Sounds unfold out of each other, all of them primarily metallic, but it's difficult to discern just how much of the source material has been edited and how much has been left alone. What is evident is that the music begins to sound tame at some point, turning inward instead of exhibiting the kind of bombast I've heard from z'ev, especially the material available on the collection One Foot In the Grave. Many of the percussive sounds that would have jumped or stung had they been left untouched now sizzle and rumble, unraveling where they might have attacked.
It isn't completely unsatisfying, however, but it is a bit surprising to hear z'ev work in this mode. By "Ninth Movement" it is unclear whether or not this is meant to keep my attention or provide background sound for some other purpose. It is enjoyable, but not ear catching, and it certainly feels less tangible or immediate. The jump from unprocessed, purely percussive performance to edited and processed sound steals an edge away from z'ev that I didn't even recognize as primary to his work until now.
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