| Start: | Apr 14, '07 8:00p |
| Location: | Issue Project Room - Brooklyn |
Please join us for a rare evening featuring:
Z’EV (first NYC show in quite awhile)
& (IPR 'regular') David Linton's
Bicameral Research Sound and Projection System
Saturday, April 14 @ the ISSUE PROJECT ROOM
(issueprojectroom.org) 400 Carrol St Brooklyn
3 sets starting at 8:00 p.m.; $10
1.Z'EV - solo metallic percussion aural hallucinogenics
2.DL - solo audio visual feedback raga on the 60 hrz fundamental
3.Together
While they have known each other for over 25 years sonic etcetera artists David Linton and Z’EV have never before performed together in NYC. Their first appearance together occurred on Nov 11th 2006 in Bremen and a collaborative cd released in conjunction with that performance is available through the German company Die Stadt [diestadtmusik.de]. The evening will begin with some acoustic phenomena from Z’EV, followed by an electronic A/V set by David and end with an electro-acoustic A/V duet. Get set for a historic occasion and rare opportunity to see two seminal artists at the top of their game.
z’ev TEXT/SOUND ARTS
1972 chosen for the SECOND GENERATION show at the Museum of Conceptual Art in San Francisco. Work at this time was primarily Sound and Visual poetries. 1976 concentration on acoustic phenomena, developing a wide range of concussive and percussive instruments, sound scultptures and assemblages devoted to their productions as the basis for subsequent solo work. 1977-8 one of the founders of the so-called Industrial Music/Art Movement codified in the Industrial Culture Handbook published by RE/search in 1983. Began touring – performance/installations in diverse contexts [from Documenta to Amsterdam's Concertgebouw to NYC's Public Theatre and Mudd Club] - currently in over 100 cities in over 20 countries. 1981 produced shake, rattle & roll VHS, this was the first ‘commercial’ music/art video, Fetish Records UK release. salts of heavy metals EP, Lust/Unlust NYC release. production and decay of spatial relations LP, Backstreet Backlash NL release. 1983-94 resided in Amsterdam, continued touring and releasing over 30 collections of musics on lp’s, cassettes and cd’s. 1986-90 Guest teacher in Composition + Improvisation at the Theatre School for New Dance Development, Amsterdam.
Began working with London Spectacle Group, The Bow Gamelan. 1990 work with Dutch house musician DJ DANO resulted in what became known as Hard Core/Gabbber [tempos over 150 bpm]. 1992 my 1988 LP, BUST THIS! chosen by The Wire as one of the 50 best percussion-based records of all time, and my first book Rhythmajik: practical uses of number, rhythm and sound was published by Temple Press UK.
1994-2003 retired from artistic endeavors. July 2003 now out of retirement my focus has been on cooperations and collaborations, resulting in works with: Oren Ambarchi, Nigel Ayres, Joh Irmler/Faust, HATI, David Jackman, KK.Null, David Linton, Francisco Lopez, BJ Nilsen, Stephen O’Malley, Ramona Ponzini, Peter Rehberg, Boyd Rice, Kasper T. Toeplitz, and Chris Watson.
David Linton entered the downtown NY experimental music scene through the art punk garage door at the tail end of the 1970's. Initially - on drums - he performed and recorded with Rhys Chatham, Glenn Branca, Lee Ranaldo, Elliott Sharp, as well as his own collaborative band Interference - among others...
From here he moved - on one hand - to electro-acoustic improvisation and live solo performance on his own customized proto electronic drum kit... and - on the other - into sound score design for dance and theater - producing dozens of works in this vein between the mid 80's & mid 90's. Notable among these - his scores for The Wooster Group & for choreographers Karole Armitage & Stephen Petronio.
By the early 1990's, somewhat bored and disillusioned with the conventions of the Improv, Indie Rock , and Post Modern Dance scenes to which he had contributed for years, David was drawn to embrace Techno and the emergent 'Immersive' movement in electronic music and digital media. This in turn led to a focus on venue/audience development & 'event design' in the course of advocating the new popular modes of realtime audio and visual performance demonstrated in catalytic events like SoundLab (host), Unitygain (organizer/curator), & Unitygain Television (producer/director).
Linton's most recent solo audio-visual performance work with "The Bicameral Research Sound and Projection System" brings things full circle drawing on his over 25 years of experience in the multi media arts to mark the reaffirmation of the pre-eminent organic values embodied in realtime analog processes in the worlds of sound and visual media.
