the purpose driven music paradigm - Escape Babylon's Demons
the purpose driven music paradigm - Escape Babylon's Demons
the purpose driven music paradigm - Escape Babylon's Demons
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continued with that as his primary designation. He moved to Manhattan in <strong>the</strong> fall of '79. In 1979 I<br />
began to collaborate with Roberta Friedman and Graham Weinbren on The Erl King. Completed in<br />
1984 it was <strong>the</strong> first Interactive Art work ever produced [2 las er-discs and a touch-sensitive monitor].<br />
In <strong>the</strong> fall of '80 he began touring Europe for <strong>the</strong> first time. In 1980 Fetish Records o f London<br />
released Shake Rattle and Roll – a video documentation of a live performance which turned out to<br />
be <strong>the</strong> first "<strong>music</strong> video" ever commercially released.<br />
In 1992, Z’EV published RHYTHMAJIK: Practical uses of Number, Rhythm and Sound was published<br />
(by Temple Press UK). Regarding this book Murry Hope <strong>the</strong> author of The Psychology of Ritual wrote:<br />
"Z’EV presents an original approach to <strong>the</strong> energies released via <strong>the</strong> rhythmic process...including <strong>the</strong><br />
healing potential of correctly structured rhythms and <strong>the</strong>ir possible value as access codes to those<br />
frequencies unbound by <strong>the</strong> space-time continuum. Dare one suggest that this could be <strong>the</strong> precursor<br />
of <strong>the</strong> long forgotten science of sonics which many believe will resurface in <strong>the</strong> next<br />
millennium?<br />
In '92 he also began collaborations with D.J. DANO (Daniel Leeflang). In 1990 in conjunction with<br />
Konrad Becker we released Trance-Former, which at 150 BMP launched <strong>the</strong> varieties of House<br />
Music known as Hard Core. Many examples of this House Musics were released as singles and<br />
appeared on several CD compilations in Europe. In 1992 <strong>the</strong> English <strong>music</strong> magazine The Wire<br />
included Z’EV’s LP ‘BUST THIS!’ [released in 1988] in its list of <strong>the</strong> 50 greatest percussion records of<br />
all time. In Nov. 1999 John Zorn again commissio ned Z’EV for his Radical Jewish Music series, a<br />
series of translations; sonic, esoteric, metaphoric and allegoric, of <strong>the</strong> Sefer Yetzirah [<strong>the</strong> most<br />
ancient mystical text in <strong>the</strong> jewish corpus]. Z’EV has performed solo <strong>music</strong>s in over 80 cities in 19<br />
countries. Between 1977 and <strong>the</strong> present he’s had 36 releases in all forms of media from books to<br />
cassette tapes to flexi-discs to CDs. (http://rhythmajik.com)<br />
Metaphonics is Z’EV’s latest invention. It’s <strong>music</strong> created to move it’s listeners into<br />
occult altered states of consciousness.<br />
Metaphonics <strong>the</strong>n, is a specific term for what is now generally referred to as Sacred Musics. That is,<br />
a <strong>music</strong> whose intent is to alter consciousness or to transpose between states of consciousness<br />
and/or levels of reality/ies. And this would be in contradistinction to secular <strong>music</strong>s which seek to<br />
entertain. (http://rhythmajik.com/news.html)<br />
Coil’s <strong>music</strong> as a form of magic<br />
Post Industrial bands like Psychic TV and Coil grew out of <strong>the</strong> mid 1970’s Industrial<br />
band, Throbbing Gristle. Coil began between 1982 and 1984 co-founded by Peter<br />
Christopherson and John Balance. (http://brainwashed.com) Along with recording with<br />
Coil, Coil band members thrive as remix/producers and <strong>music</strong> video directors. Coil’s<br />
work is a major focal point in <strong>the</strong> roots of electronic <strong>music</strong> as Peter Christopherson<br />
began his work with Throbbing Gristle in <strong>the</strong> mid-1970‘s. John Balance, a longtime<br />
underworld path worker, has been involved in occult arts since he was 10. Coil’s first<br />
major recording was titled, “How to destroy angels”.<br />
Coil’s hypnotic dance trance or death disco employs specific magical timing and<br />
structures in it’s deep listening technique. Christopherson says, “<strong>the</strong> <strong>music</strong> is meant<br />
to affect <strong>the</strong> head, heart and feet simultaneously. It plays to your desire for pleasure.<br />
Originally, <strong>music</strong> and tribal rhythms were used for ritual <strong>purpose</strong>s-for <strong>the</strong>