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Written by Guillermo Escudero   
Sunday, 20 March 2011

Stefan Joel Weisser aka Z'EV born in Los Angeles, California. He’s a poet and musician who have explored the sound possibilities of percussion influenced by traditional world music.He has worked in different art fields since 1963: sound installations, contemporary performance art, modern composition and theatre.He studied world music at CalArts (California Institute of the Arts) and at that time he created his own percussions instruments made out of industrial materials. His recordings have been released by labels such as C.I.P., Cold Spring, Die Stadt, Soleilmoon, Tzadik Records, Subterranean and Touch. Nowadays he lives and works in the UK.Z'EV kindly answer this interview configuring a complete context of his




I think that of industrial music nowadays there is a misinformation; is not “real” as the original when it was created. There are so many bands tagged as “industrial”. What’s your opinion about?

“What was at the beginning of industrial?
First off I need to make clear that I never did, and never will, consider myself (or my work) in any way describable or definable by the term Industrial. That being said, as I was included the Industrial Culture Handbook, this puts me in the continuing position on being called on to speak on its' behalf. So I think at this point, the best I can offer in these situations is some context and critique. Ok then, and to begin then... The Mothers of us all.....”.
Futurism Founded in Italy in 1909.In 1913 Futurist musician Luis Russolo wrote the Art of Noises.Russolo concluded that a Futurist composer should use their creativity and innovation to "enlarge and enrich the field of sound" by approaching the "noise-sound."His ‘six families of noise’:1. Roars, Thunderings, Explosions, Hissing roars, Bangs, Booms2. Whistling, Hissing, Puffing3. Whispers, Murmurs, Mumbling, Muttering, Gurgling4. Screeching, Creaking, Rustling, Humming, Crackling, Rubbing5. Noises obtained by beating on metals, woods, skins, stones, pottery, etc.6. Voices of animals and people, Shouts, Screams, Shrieks, Wails, Hoots, Howls, Death Rattles, Sobs. No surprise that these families basically describe the pallet employed by the seminal Grindcore band Carcass c. 1988-96. One thing I should like to point out is, in fact, how very ancient music incorporating this vocabulary of sounds is. For in the Homeric Hymn XIV - To the Mother of the Gods, c.7-600 BCE, we find perhaps the first listing of this vocabulary of sounds. ‘I praise you, clear-voiced Mousa, daughter of mighty Zeus. I sing to you, O Mother of all Gods and Men. For you are well pleased with the sound of rattles and of drums, with the voice of flutes and the outcry of wolves and bright-eyes lions, with echoing hills and wooded valleys!’
Dada And SurrealismFounded in Switzerland in 1916.The center of the Groups actions took place at the Cabaret Voltaire in Zurich.In 2007 critic Marc Lowenthal wrote:‘Dada is the groundwork to abstract art and sound poetry, a starting point for performance art,…an influence on pop art,[and the Punk ethos through Malcom McLaren’s efforts]…and the movement that lay the foundation for Surrealism.’57 years later 3 artist/musicians in Sheffield England took the name  Cabaret Voltaire to call their band. They were also featured in the Industrial Culture Handbook, and again, Dada was an agknowledged influence of most all of the Artists featured therein.From 1978-82 Cabaret Voltaire’s worldwide releases on Rough Trade were hugely influential in Japan, the USA and Europe. Their work from 1984-94 branched into the nascent Techno and Ambient genres. While the first wave of Surrealists were primarily involved with painting and literature, succeeding generations of artists have continually drawn on its tenets for inspiration.
Edgar Varèse
Born in 1883 Varèse was an incredibly dynamic and influential character in the development of a contemporary, that is continually evolving, Avantgarde. For example, Frank Zappa continually and prominently featured Varèse’s quote from 1921: ‘the contemporary composer refuses to die.’And writer Henry Miller, whom Varèse collaborated with on an unrealized project, described him as ‘The stratospheric Colossus of Sound’. Beginning in 1925 he was incorporating the earliest electronic instruments, the Theremin and then the Ondes Martenot, into his compositions. Ionisation is perhaps his most famous work. Composed 1929-31, it was premiered in New York City in 1933. Written solely for percussion instruments it also features bullwhip, high & low sirens, and a lion's roar. Regarding this work he said: ‘I was not influenced by composers as much as by natural objects and physical phenomena’ and also acknowledged the influence of Russolo’s Art of Noises. At this time he also began attempting to secure the funds to create what would have been the world's first electronic music studio. While this studio was never realized, in 1958 he was involved in the creation of the first contemporary* sound and space installation. Le Corbusier was commissioned by Philips to present a pavilion at the World Fair.He commissioned Varèse to develop his Poème électronique for 400 speakers separated throughout a series of rooms.
Xanakis, who was Le Corbusier’s primary assistant was in overall charge of the project.  Talk about the first ‘super group’. 
I note the Poème électronique as the first contemporary sound and space installation because the tradition goes back to neolithic times. In the late 1960's Acoustic Archeologist Legor Reznikoff of Nanterre University, Paris, examined the caves of Rouffignac in the south of France and showed that paintings are located where the most interesting sound effects are heard. Paul Devereux, in his book Stone Age Soundtracks, cited numerous other examples around the globe of seemingly premeditated placing of petroglyphs or pictographs, including sites where art is painted on concave rock walls that give distinct echoes. A Father to us all..... 
Jean Tinguely
Swiss painter and sculptor who coined the word metamechanics to describe his sculptural machines / kinetic art.  While he considered himself as working within the DADA tradition he was also one of the signitors of the Nouveau réalisme manifesto in Paris in 1960.His best-known work, a self-destroying sculpture titled Homage to New York (1960), only partially self-destructed at the Museum of Modern Art.In 1962, Study for an End of the World No. 2 detonated successfully in front of an audience gathered in the desert outside Las Vegas.Three years later, we come to.... 
The Yardbirds
In 1965 they released their first based in the blues album and then the following year two more, both the prophetically named Shapes of Things, and its follow up; Happenings Ten Years Time Ago. Besides featuring an incredibly advanced use of the studio production techniques available at the time, these two recordings prefigured basically any and everything ever done with the electric guitar since then.  
The Who
My Generation, their first album in 1965 was probably the first Punk record, featuring two anthems to rebellion I Can’t Explain and My Generation. And then in 1969 they released Tommy, the first Rock Opera. An incredibly influential band on a variety of fronts, from Pete Townsend’s physical guitar playing style to drummer Keith Moon’s speed and double bass drum technique. From their stage show featuring the destruction of their instruments to their flamboyant dress period that was an influence on the Glam Rock almost 10 years later.  But one year before that... 
Robert Ashley
1964 was the year Ashley used feedback as the primary sound source/s in his work Wolfman for magnetic tape and amplified voice. In 1973 one of his students, Bob Sheff, was the piano player for the Stooges.
Velvet Underground
1967 also saw the release of their first self titled LP, and in 1968 they released White Light / White Heat.They were heavily influenced by Artist/Composer La Monte Young, the ‘Godfather’ of Drone. One could almost say they were the Rock version of Young’s project The Theatre of Eternal Music, especially seeing as founding Velvet Underground member John Cale was a longtime member of that project. And there is no question that absolutely everyone in the seminal Industrial Culture Handbook was a major Velvet Underground fan. Interestingly, their epic Sister Ray from WL/WH was a major influence on mainstream Rock stars Credence Clearwater Revival. While leader John Fogerty was capable of writing some great Rock & Roll, they were primarily known for their interminable jams that vastly contributed to the ennui of the pre-Punk era. And speaking of Punk… The major centers of Punk in the US were for a very large part coming out of an Art context, i.e., the Mercer Art Center in New York City, Massachusetts College of Art in Boston and the San Francisco Art Institute. This fact combined with Punk’s embracing of the notions of Radicalism and Anarchy, created the opportunity for a wide range of highly energetic and idiosyncratic artists/projects to perform for, and create audiences at, Punk clubs rather than Art Galleries. For example, every individual [except Johanna Went] covered in the seminal Industrial Culture Handbook came from a Fine Art Background.In 1979 a Ska revival arose in the UK around Jerry Damners Two Tone record label. Perhaps the major band to come out of this was Madness. Come the Autumn of 1982 and Madness came to the US for a tour that featured as its slogan the phrase, 'Fuck Art Let’s Dance’. And coincidentally the main venues that would present first wave Industrial artists in New York City [Tier 3], Boston [the Underground] and San Francisco [the Savoy Tivoli] all closed their doors by the end of that year. At which point the first wave of ‘Industrial’ artists lost their place in the Punk movement which itself was quickly loosing its original vision and transforming into the more commercially appealing genre known as New Wave.Three years later, in 1985, both Skinny Puppy and Ministry began releasing music that laid the foundation for what is now known as Industrial Music. However it would be another four years before Nine Inch Nails came along in 1989 and turned this very very much more conservative version of ‘Industrial’ into a true commercial success. And coincidentally, five years later in 1994 NIN released an album entitled Downward Spiral. And then another five years go by and around 1989/90 we see the rise of the genre now known as Noise.But once again this is just reiteration because in 1975, Velvet Underground leader Lou Reed released a double LP, Metal Machine Music that is, in my opinion, absolutely the earliest example of Noise released in the ‘Rock’ context. Unfortunately I the tendency now in these subsequent iterations is to just simply make ‘noise’ rather than to work towards finding ways to develop traditionally non-musical sounds, i.e. ‘noise’ into emotionally compelling sonic/musical structures. Apropos of this sentiment, in 1924 George Gershwin wrote: ‘I frequently hear music in the very heart of noise’.” “What is/was 'industrial': a movement, a scene, a culture, nothing, a music genre...? What basically happened was that V.Vale in San Francisco, who had published the punk magazine Search & Destroy, had been doing interviews over a course of time in the late 70's with, I guess one could refer to as a collection of outsiders in various disciplines who were gaining differing degrees of notoriety. When he published this collection, he entitled it 'the Industrial Culture Handbook', and it is from this, more than the fact that Throbbing Gristle had titled their record label 'Industrial Records', that produced whatever is now known as  things 'Industrial'. Unlike the Futurist, DADAist, Surrealist, Situationist and etc. movements, there was no decision on the artists included in this book to label themselves with this 'Industrial' title. Nor did they ever issue any manifestos and etc. proclaiming any such 'movement'. So basically the world has V. Vale to thank for its creation. What made/makes industrial different from other genres As near as I can tell, absolutely nothing. All of the initial artists involved were basically just reinterpreting Futurist, DADAist, Surrealist, and etc. aesthetics and concerns and making them relevant to their contemporary time. Possible evolution for the future I have no idea. As far as I can tell, 'Noise' is the dominant evolution/off-spring, and as far as I'm concerned it's a total dead-end to nowheres-ville.”

Does improvisation plays an important role in your music?

Part one
My work encompasses Sound and Visual and Textual Poetry, Live Percussion based performance, Sound Sculpture and Installation and Binary-Acoustics [my term instead of electro-acoustic which was tape based as opposed to computer based musics].I think that, bottom line, the genre that best describes/encompasses all the facets that I deal with would be Conceptual Art. I would also add that while Time and Phenomenology are the consistent woof and warp of my work, Rhythm is the Loom. In terms of Methodology however, if there is an overlying ‘system’ I function through, across all the various genres I engage in, I would have to say it derives primarily from a sort of combination of; the Duchampian/Dadaist notion of the ‘Found/Finding’ (and not just in relation to the ‘object’), the Gysonian notion of the Cut-Up, and the Cageian use of indeterminacy. Working backwards through this list then, with regard to Indeterminacy, I completely surrender and give my total trust to whatever Process I’ve chosen for the creation of a particular piece. With regard to ‘finding’. For example, I live in a continual state of being open for the ‘Finding’ (of ‘found’ objects, phrases, and etc.). In fact, my nickname among certain people is ‘the Finder’. For example, on almost every walk I have taken in the last 40 years I manage to finish it with something/s in a pocket that wasn’t there when I set out. And if I do decide to walk into a scrap yard, and if it’s the day that there’s some piece of material with my name on it, then I will get it, and the process of developing an instrument will start. However, since I’ve gone on about finding, I should mention that the process; ‘decide to walk into a scrap yard’ is much more analogous to ‘go fishing’ than to ‘go finding’. Because sometimes the fish are biting, and sometimes they’re not. So to further explain why I have adopted/adapted these systems… the reason, believe it or not, is that they allow for the accruing of non-arbitrary information. I realize this may seem counter-intuitive, and that the indeterminate/chance nature of these systems could seem to some to insure arbitrariness to the process, but over my years of practice I would have to say that, in fact, this does not seem to be the case.
To the obviously following question; ‘what sort of information do I find in the sources that attract me?’ I would simply say, emotional resonance, and what I would refer to as ‘narrative potential’. Because I don’t think that non-representationalism has to absolutely guarantee an absence of ‘meaning’. In this regard both mystical texts and numerological systems are also considered ‘objects’ to be to be culled from in the working process of a particular piece. So basically in any piece I am doing in any genre, I am ultimately striving to achieve a harmony between the poles of: The Form informing the Content and The Content informing the Form. That is, if the processes I engage in are successful, there really should be no discernable difference between the two poles of Form and Content.”

Part two
Even though my current sonic performances are produced with through percussion utilizing ‘extended’ techniques’ and basically traditional mallets, I wouldn’t say that my percussion instruments are ‘constructed’ in any traditional sense. And this probably accounts for the ‘unconventionality’ of my approach. This is compounded by the fact that, for the most part, I don’t see myself applying preconceived notions of ‘music’ to my instruments. Rather, I focus on the process/es required to allow them to ‘speak for themselves’. ‘Round about thirty years ago, when my work first began to be presented internationally, it was quite different from what I do now. At that time I had developed a performance style which was a mixture of Movement and a sort of Marionette.The instruments I used at that time were assemblages of stainless steel and PVC plastics which were strung together and manipulated at a distance (45-90 cm) from my body.Traditionally in the West (barring marching bands and music being danced to) sound-as-music is experienced in a static relationship between a fixed instrumentalist or sound source (loudspeaker) and a fixed audience.”“One important thing to consider in the exceptions is that both happen in contexts where the attention of the listener is focused on a variety of other stimuli. Thus the music, even in the case of it being danced to, is more in the position of an accompaniment. Anyway and in fact, ‘first reflection’, is the single most important factor in determining the quality of the sound that an audience member hears. ‘First reflection’ is basically just that, the secondary sound that reaches the audience not in the direct line from the instrument, but in the indirect line from the first surface the sonic energies of the instrument encounter and that reflect them into the space and back to the listener. And of course depending on the volume of the instrument and the architectural properties of the space the instrument is sounded in, there can be second, third and etc. reflections as well So besides reflection then, interference, refraction and diffraction in the physical space are the other processes that affect a sound's quality and together generate the ultimate sound the listener experiences. But again, where there is a fixed and stable relationship between instrument and listener these variables remain consistent. So when one begins actually moving the sound producer through space, and in a constant and asymmetrical way to boot, the results of each of the affective processes is increased by orders of magnitude, helping to generate copious amounts of acoustic phenomena; standing waves, beat frequencies and etc. . So ‘round about 1984 I pretty much abandoned that performance mode, but not without it having taught me a tremendous amount about sound-in-space. To get to the point then, when I perform live in a solo context I do not consider the acoustic results to be music per se – but rather orchestrations of acoustic phenomena. Without wanting to seem facile, in fact, in this context I have long considered myself more of a phenomenologist than a musician.”“Now regarding the term solo; my performances result from the interaction between 5 aspects; me the instruments, the physical space of the performance, the time and place of the performance, and the energies of the audience. Any change in the any of the last three will result in a totally different performance. And this will not be a matter of ‘improvisational’ variation, but that the actual sound will be different. To delineate; in a very real sense there is a feedback loop whereby my playing is an accompaniment to the sounds which the physical space creates from the sonic energies of my instruments. So this ‘feedback loop’ in fact is based on the quality of my listening. And this listening also extends to the last two aspects as well. One of the especial qualities that a true musician cultivates is their ability to ‘listen’. As such it’s fairly axiomatic that great players are equally great ‘listeners’ as well. That is, listening not just to what they are playing but, more importantly, to what their fellow musicians are playing. And in the ultimate sense, to what their fellow musicians are thinking about playing as well. For I feel that there is an ‘ultra-empathy’ that borders on the telepathic which performing artists, and not just musicians, actively cultivate. As Joseph Jarman, of the Art Ensemble of Chicago, once said about their bass player Malachi Favors, “he’s got big ears”. And this empathic / telepathic listening is employed with regard to both the time and place of the performance and the audience. I’ll treat the audience first. For me there’s really no difference between my ‘tuning in’, shall I say, to any musician/s I might perform with, and my ‘tuning in’ to the audience as a whole. And the more concentrated the listening context, the deeper this tuning can go. And the result of this is an intensification of the emotional and psycho/physio-logical resonance the acoustic phenomena is capable of inducing. With regards to the ‘listening context’; the antipodes here would be say, a club environment on the one hand, and on the other, one of my Yantra Tantra workings which occur in the total dark for a small audience that are lying on mats. This leaves us with the last aspect, that of the time and place of the performance. So first let me lay a bit of foundation here.The sixteenth hexagram of the I-Ching, , is the only hexagram that is related specifically to both sound and music.”“In fact, the image inherent in the hexagram, ‘thunder rising from the earth’, is seen as the prototype of music. Liu I-Ming (b. 1737) was a Taoist adept and a scholar of both Buddhism and Confucianism, and here are three relevant tid-bits regarding culled from his Commentary on the I Ching; "the Earth and Thunder issuing from it with its crashing noise form YÜ”. "The ancient Kings, in accordance with this, composed their music...," and " fell to music to construct a bridge to the world of the unseen...". He also noted that the special property of (translated as either ‘Joy” or ‘Enthusiasm’) is “proper timing in action”. This aspect of ‘proper timing in action’ is unfortunately absent from Western musics and their performance except for remnants in the liturgical cycles of the Eastern and Roman Catholic churches. But in the Hindu musical system of the Raga, for example, each Raga is assigned first to a particular apsarã (nymph), then to a particular season, a particular time of day or night, and sometimes to a particular god/dess or sage as well.”In fact the entire system of the Raga was developed by and through the Rudra-Veena, a string instrument referred to in Indian literature for over 1800 years. Note that the sitar is a much much later instrument and quite ‘pop’ in comparison. Some traditions hold that the Veena was ‘invented’ by Shiva in tribute to his consort Parvati and the sound of the veena is held to recreate her rhythmic breathing. The principal Ragas are said to be six in number and are called ‘Father’ Ragas. They were each given five wives called Ragini.As the system evolved each Ragini was given six sons called ‘Putras’ in order to include still more subtle modes and variations. The total ‘family’ of Ragas resulting from their combinations has been listed as high has 34,848. And the effects ascribed to Ragas vary from curing madness, to causing rain or fire, to bringing the dead back to life and, considering the size of the entire family, everything in between. In fact the raison d'être of Indian music lays in the emotional, psycho- and physio-logical effects that a Raga is capable of inducing. The literal meaning of Raga is ‘tint’, because each Raga is believed to ‘color’ the listener, enabling their entry into the specific state of the Raga. And unlike Western classical music which is composed and written down in advance of being played - classical music in India is improvised by the musicians who perform it.”“So what does this have to do with me?While my performances are not Ragas, nor Chinese Ritual musics, they do share the same basic intentions as both these traditions. As to where my intention and hearing is directed to allow my performance to be in harmony with the specific time and place it is occurring?Most simply put, it is the Earth / Mother Nature herself that I am listening to. And I will use a quote from Plutarchos (c. 45 - 125 CE), better known to history simply as Plutarch to demonstrate this. In his work On the Cessation of the Oracles he wrote: "....Often the body all by itself attains this condition (i.e., enthusiasm) but the Earth (my emphasis) sends up to human beings the sources of many faculties other than this, some of which produce trance....."As to Plutarch’s qualifications for putting forth such a statement, in his later life he served as the senior priest at the temple of Apollo at Delphi, and as such was responsible for interpreting the auguries of the Pythia, the Priestess of Apollo. This site, more simply known as the Delphic Oracle, was the most prestigious and authoritative oracle in the Greek world from 800 BCE to 400 CE. It is interesting to note that the Greek word enthusiasm (echoing the aforementioned ) can be translated as 'possession' or 'inspiration'. And this may be closer to what we mean by ecstasy, itself borrowed from the Greek ekstasis whose actual translation is 'stepping outside oneself'.”
Which are the kinds of sounds you are interested in?

“The short answer is any and all naturally/ acoustically generated sounds, as opposed to electronically synthesized sounds. And the long answer is…. All of my work, in whatever medium I am working with, but especially with sound, is concerned with Time and Phenomena (as in acoustic phenomena and my relationship with what I term the Elemental Realm). So, for me, the primary power of Sound is in its relationship to Time. And this is especially true in regard to Metaphonics, which is the term I use for that family of sounds and performance which are intended to function on a, shall we say, sacred level and facilitate the induction of a Trance state. More specifically this relationship is expressed by sound’s ability to achieve various degrees of Time-Dilation; i.e., relative/subjective experiences of Duration.
As Albert Einstein was related to have said; "When you sit with a nice girl for two hours you think it’s only a minute. But when you sit on a hot stove for a minute you think it’s two hours.  That’s relativity". And it is also Time-Dilation. And this demonstrates that during experiences of Time-Dilation one is taken out of a mechanistic/linear reality and is inhabiting the probability rich relativities of Holographic reality. And I would bet that everyone reading this has had more than a little experience of Time-Dilation. That, at the very least, you have ‘gotten lost’ when listening to music, or while driving, or etc…  So. If we think about worldviews it should not be too hard to imagine the dichotomy which exists between the antipodes of a literal view, on the one hand, and a metaphoric view, on the other. The literal worldview supposes a sort of frozen reality, where any particular idea or action, once reflected on or experienced, would remain absolutely stable. Resorting to Metaphor, we could call this a Photographic or a two-dimensional worldview. The Metaphoric/Metaphonic worldview, on the other hand, supposes a fluid reality. To achieve a representation of this would require something along the lines of a holographic motion picture. A motion picture because things happen in Time, as well as in Space. And Holographic because you would want to be able to walk around whatever notion you were considering. Just to kind of get another angle on it. Because unlike photographs, every part of a hologram contains all the information possessed by the whole. Besides this, the holographic metaphor can account for the vast amounts of frequencies being shared by all our different senses that are sorted out to produce our conventional perceptions. For researchers are continually discovering that each of our senses, and even the individual cells composing our bodies, are sensitive to a much broader range of frequencies than was previously suspected. For instance; our visual systems are sensitive to sound frequencies (which is how my sound work in the dark functions). Our sense of smell is in part dependent on what are now called ‘osmic’, or absorptive frequencies. So since sometime in, or just after, the 18th century, Western Science has functioned from the premise that the only way to understand a physical phenomenon, whether a frog or an atom, was to dissect it and study its separate parts. But in a holographic Multi- as opposed to Uni- verse, this separateness is an illusion, because at the deepest levels of reality everything is infinitely interconnected. Thus, the electrons in each carbon atom in a human being would be connected to the subatomic particles that comprise every other animal, vegetable and mineral on the Earth, and beyond that to every star that shimmers and planet that shines in the sky. In his book, Gifts of Unknown Things, biologist Lyall Watson describes an encounter with an Indonesian shamanness who, by performing a ritual dance, caused an entire grove of trees to disappear and then reappear, off again and on again several times in succession. Obviously Western Science is incapable of explaining, let alone accepting, such events and experiences. But they are ‘explainable’ if what is referred to as ‘consensual reality’ is formulated and functional at a holographic level where all minds are infinitely interconnected. For in such a Holographic Multiverse, there would be no limits to the extent to which the fabric of reality could be altered. Experiences such as Watson's are rare then, only because we have not agreed to share the metaphors that would make them commonplace. So moving onto Stockhausen now The following is a transcription I did of the most relevant segment of a lecture Stockhausen gave in the USA in 1974: (And here is the youtube link if you desire to hear the entire lecture n context; )“If you take a Beethoven symphony and speed it up – and if you are able to speed it up in such a way that you do not at the same time transpose the pitch…..         and we would compress it to such an extent that it would last just 1 second –        then we get a sound which has a particular color – as we say – a particular timbre.        a particular shape, dynamic shape –         and its inner life – which is so highly compressed in time – is what Beethoven has composed. On the other hand if we take any given sound and spread it out – expand it in time – to such an extent that it would last 20 minutes – A sound which lasted when we recorded it for 1 second or 2 seconds – then we will have a music – a musical piece – And its form – its large form in time – will be the expansion of the micro-acoustic structure – that was in the sound.” So there you have it. Time dilation is a process that can allow one to realize the music that is inherent in each individual sound. And but so it is just this “inner life” of sound/s that my work with Digital Audio is built on. When working with Time Stretching softwares – you are starting with a sound and you are ending with the SAME sound – only apprehending it from a perspective of however many orders of magnitude you have rendered it out to. For me this is a process similar to that developed
by the art of alchemy
- and in particular in the work by Paracelsus (Phillip von Hohenheim)
- which resulted in what is known as homeopathy. And that was a continuous distillation of an organic element to
– at a certain point
– arrive at its purely, shall we say, metaphysical attributes. And this is why, when I work with sound in the digital realm, the only softwares I use are time stretchers.” 

Which is the connection with silence in your music?

“Personally I don’t think that there is any real relevance to the concept of silence. There is always some activity that is producing sound, however soft that sound may be in relation to the environment. So take a concert hall for example, In a piece of music, there may be a cessation of instrumental/amplified sonic activity, but there would still be the sound of the concert hall and its environs. So what we are dealing with then I think would be something more akin to a concept of PAUSE, a break in the continuum of sound which would allow for the contrasting of the preceding sound from the following sound. And just one other note would be, As I spoke above about my concentration on the use of time stretching of sounds, it is not the silence in the sounds that I am looking for but the actual spatial qualities within the sound that can become apparent when one stretches them to extremes.” 

Guillermo Escudero
March 2011



Last Updated ( Sunday, 27 March 2011 )
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