jasonzeh.com
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On the Ruins of the Great Black Swamp
Wednesday, January 10, 2018
Monday, August 26, 2013
Sound Sample/Video Sample
Sound and Video Sample 2013 from Jason Zeh on Vimeo.
https://vimeo.com/73114426
This is a mix of elements from various tracks combined with clips from the A Vacant Lot To Be In Artist edition VHS.
https://vimeo.com/73114426
This is a mix of elements from various tracks combined with clips from the A Vacant Lot To Be In Artist edition VHS.
Saturday, August 10, 2013
Sunday, July 28, 2013
Crow With No Mouth 2013 Needs Your Help.
Saturday, July 27, 2013
Polarity Review From Musique Machine
Review from Musique Machine
Jason Zeh - Polarity [Handmade Birds - 2012]
A
simple but professional package, here, from Handmade Birds: a neatly
printed inlay card, with introductory notes from Zeh; and a red cassette
with on-body printing. The tape contains one long track on each side,
both based around recordings of the electromagnetic fields produced by
tape machines. Zeh picks up these fields using telephone coil mics,
which convert them into audio signals. My small experience of using
these mics, has normally resulted in pretty static, crackling drones and
hums; so I'd wager that Zeh is achieving his sounds from mixing and
layering his multiple tape machines' fields, as well as eq-ing.
Side A is a very static, strong drone; recorded live in October 2011. Constructed out of several layers of tones and hums, it pursues a straight line more-or-less until its end. Zeh tweaks his materials very subtly, with his main techniques pulling them in two quite different directions. The first of these is towards beating tones and throbbing pulses; the piece begins with a gently throbbing low end, and throughout the track these modulations rise and fall - though never with any overwhelming strength (thus maintaining the tension of the drone). The second direction goes the opposite way entirely: rather then playing layers against each other, Zeh somehow coaxes singing tones from them. Thus, tibetan bowl-like drones emerge from the main body of sound; before diminishing, and returning. The piece ends with the sounds of tape reels, amplified by contact mics; these rather decrepit rhythms carry the track to its close, with Zeh creating a nice stereo-bouncing effect.
The second side of the tape, according to Zeh's inlay notes, was created by subjecting recordings of electromagnetic fields to a "variety of tape-based processes of manipulation." The track begins, perhaps unpromisingly, with the sound of slurring tape - and then Zeh brilliantly grinds this sound into the ground. He doubles it, layers it; makes it resonate and reverberate - it really is a masterful piece of work. In terms of what's actually occurring, you might imagine (at the most basic level) someone manipulating a loop; but perhaps a more helpful notion is someone like John Butcher constantly producing a very short passage on the sax (trilling, even), with equally constant variations of tone, timbre and melody. There's a relentless, vigorous exploration of the initial slurring sound - in fact, Evan Parker would be the more obvious saxophone parallel, given his spiralling repetitions. Zeh teases out all kinds of colour, making the track growl and vibrate; building it into buzzing maelstrom with malevolent traces, before it decays down into a warbling drone. After this, Zeh breaks it further; till the listener is left with scratchy, hesitant whines and murky rumbles, slowly playing out in an ocean of tape hiss. Its quite mesmeric.
Whilst the first side of Polarity is undeniably competent and enjoyable, it's the reverse offering that truly makes a name for Jason Zeh. There are a few projects that properly explore the use of tapes and tape machines - rather then simply using recorded sounds on tape as source material - and it's sometimes an area that produces rather austere works, given the limitations of the "instruments." Polarity, though, shows Zeh to be capable of creating great colour, from the barest of sounds. I'm loathe to saddle him with the burden of "the acousmatic Evan Parker," but in case his future reveals that: you heard it here first.
Jason Zeh - Polarity [Handmade Birds - 2012]
 |
Side A is a very static, strong drone; recorded live in October 2011. Constructed out of several layers of tones and hums, it pursues a straight line more-or-less until its end. Zeh tweaks his materials very subtly, with his main techniques pulling them in two quite different directions. The first of these is towards beating tones and throbbing pulses; the piece begins with a gently throbbing low end, and throughout the track these modulations rise and fall - though never with any overwhelming strength (thus maintaining the tension of the drone). The second direction goes the opposite way entirely: rather then playing layers against each other, Zeh somehow coaxes singing tones from them. Thus, tibetan bowl-like drones emerge from the main body of sound; before diminishing, and returning. The piece ends with the sounds of tape reels, amplified by contact mics; these rather decrepit rhythms carry the track to its close, with Zeh creating a nice stereo-bouncing effect.
The second side of the tape, according to Zeh's inlay notes, was created by subjecting recordings of electromagnetic fields to a "variety of tape-based processes of manipulation." The track begins, perhaps unpromisingly, with the sound of slurring tape - and then Zeh brilliantly grinds this sound into the ground. He doubles it, layers it; makes it resonate and reverberate - it really is a masterful piece of work. In terms of what's actually occurring, you might imagine (at the most basic level) someone manipulating a loop; but perhaps a more helpful notion is someone like John Butcher constantly producing a very short passage on the sax (trilling, even), with equally constant variations of tone, timbre and melody. There's a relentless, vigorous exploration of the initial slurring sound - in fact, Evan Parker would be the more obvious saxophone parallel, given his spiralling repetitions. Zeh teases out all kinds of colour, making the track growl and vibrate; building it into buzzing maelstrom with malevolent traces, before it decays down into a warbling drone. After this, Zeh breaks it further; till the listener is left with scratchy, hesitant whines and murky rumbles, slowly playing out in an ocean of tape hiss. Its quite mesmeric.
Whilst the first side of Polarity is undeniably competent and enjoyable, it's the reverse offering that truly makes a name for Jason Zeh. There are a few projects that properly explore the use of tapes and tape machines - rather then simply using recorded sounds on tape as source material - and it's sometimes an area that produces rather austere works, given the limitations of the "instruments." Polarity, though, shows Zeh to be capable of creating great colour, from the barest of sounds. I'm loathe to saddle him with the burden of "the acousmatic Evan Parker," but in case his future reveals that: you heard it here first.
Saturday, July 20, 2013
from Aquarius Records.
ZEH, JASON "A Vacant Lot To Be In"
"The resurgence of the cassette as a viable media may provide an additional context for the work of Jason Zeh, as his gritty drone-noise constructions are entirely based on the contact points between magnetic tape and the tape heads that read / translate that magnetic information into sound. His approach to sound often deals with the dis...location of this contact point, which is akin to the way that Christian Marclay, Gum, or Phillip Jeck approach the turntable. Zeh might wield sandpaper to abrade the tape itself, magnetized razor blades to slice the tapes, leaving irradiated coronas of electrical hum near the edit, and even smearing globs of dirt into the gears and mechanics of the tape deck. All of these very tactile methods impart very tactile results, and as such, A Vacant Lot To Be In is much more akin to Chop Shop's obliterated tape saturation than the somber self-immolation found on William Basinski's Disintegration Loops. Both tracks on this vinyl only release rise through scabrous crumplings into a steady arcing mass of high-voltage dronework whose phase shifting patterns give the impression of an electrified sea of ferric oxide churning through tidal forces. One of the sides builds towards an intense crescendo of turbulent, boiling, junked noise, while the flip eerily navigates an insectoid minimalism. Zeh's work is very strong and deserves as much acclaim as we can muster, especially given his relatively low profile. Highly recommended for fans Joe Colley, Hive Mind, Mike Shiflet, and the more industrially slanted aspects of contemporary sound art. Oh yeah, limited to just 300 copies."
ZEH, JASON "A Vacant Lot To Be In"
"The resurgence of the cassette as a viable media may provide an additional context for the work of Jason Zeh, as his gritty drone-noise constructions are entirely based on the contact points between magnetic tape and the tape heads that read / translate that magnetic information into sound. His approach to sound often deals with the dis...location of this contact point, which is akin to the way that Christian Marclay, Gum, or Phillip Jeck approach the turntable. Zeh might wield sandpaper to abrade the tape itself, magnetized razor blades to slice the tapes, leaving irradiated coronas of electrical hum near the edit, and even smearing globs of dirt into the gears and mechanics of the tape deck. All of these very tactile methods impart very tactile results, and as such, A Vacant Lot To Be In is much more akin to Chop Shop's obliterated tape saturation than the somber self-immolation found on William Basinski's Disintegration Loops. Both tracks on this vinyl only release rise through scabrous crumplings into a steady arcing mass of high-voltage dronework whose phase shifting patterns give the impression of an electrified sea of ferric oxide churning through tidal forces. One of the sides builds towards an intense crescendo of turbulent, boiling, junked noise, while the flip eerily navigates an insectoid minimalism. Zeh's work is very strong and deserves as much acclaim as we can muster, especially given his relatively low profile. Highly recommended for fans Joe Colley, Hive Mind, Mike Shiflet, and the more industrially slanted aspects of contemporary sound art. Oh yeah, limited to just 300 copies."
Monday, June 10, 2013
NMASS Podcast
This Podcast contains some tracks from many of the New Media Art and Sound Summit participants. My contribution is a track off of my forthcoming cassette release on Banned Production. I am really hoping that my copies will be here on time for my tour. Check it out.
It includes the tracks (not necessarily in order):
Coppice - Compound Form
Jason Zeh - A Series of Objects 2
Bryan Day - Moon Crumbs
Melmann - Igual y Dulce
the Dialtones - Johannes
Vanessa Rossetto - Cebra
Brent Fariss - 4 Environments Collapsing
Brekekekexkoaxkoax - “Dugmahrak”
Derrick Fore and Mohadev Bhattacharyya - Last 3 times
Cinders - Lonely Eskimo
The Space - Gusts
It includes the tracks (not necessarily in order):
Coppice - Compound Form
Jason Zeh - A Series of Objects 2
Bryan Day - Moon Crumbs
Melmann - Igual y Dulce
the Dialtones - Johannes
Vanessa Rossetto - Cebra
Brent Fariss - 4 Environments Collapsing
Brekekekexkoaxkoax - “Dugmahrak”
Derrick Fore and Mohadev Bhattacharyya - Last 3 times
Cinders - Lonely Eskimo
The Space - Gusts
Saturday, June 8, 2013
Tuesday, June 4, 2013
NMASS
June 15, 2013
Salvage Vanguard Theater, Austin, TX
Church of the Friendly Ghost’s "New Media Art and Sound Summit 2013"
Flyer by Melissa Seely
INC Tour in Lawrence Kansas
The International Noise Conference US Tour of 2013 is coming to Lawrence, KS.
Wed. June 5th
10:00 pm
8th st. Tap Room
801 New Hampshire st.
Laundry Room Squelchers
This Is My Condition
Sack Lunch
Folkicide
Kind Horse
Llambs
C.A.S.H.E.D.
Jason Zeh
Hellsage
Brandon Evans
Conceal & Carry
15 Minute Rapid-Fire Sets!
Come see your favorites and only have to listen to your least favorites for 15 minutes!
Monday, June 3, 2013
Pivot Arts in Chicago
Find info about the artists here.
7pm, June 19th
As part of the Pivot Multi-Arts Festival, Coppice is partnering up
with the Buena Park Neighborhood Association and High Concept
Laboratories to create and curate experimental sonic experiences in a
defunct cleaners in uptown. The show will feature visual art created by
current HCL Sponsored Artist Nora Maité Nieves.
Pivot Arts develops new work and presents performances throughout the year culminating in a large-scale, multi-arts festival. Our vision is that of a vibrant community where unique collaborations between artists, businesses and organizations lead to the support and creation of innovative performances.
Pivot’s inaugural Multi-Arts Festival is a celebration of innovative performances in our community. This year’s festival reignites the spirit of the Vaudeville Era by performing in unique and historic spaces throughout Uptown and Edgewater! Top Chicago innovators including: Manual Cinema, Molly Shanahan/Mad Shak, Mucca Pazza, and Theater Oobleck lead celebration of multi-disciplinary performances in a former Vaudeville Theater, an at-one-time Charlie Chaplin film studio and other exciting spaces.
Summer 2013 lineup.
LIZ MCCARTHY
ABBÉY ODUNLAMI
ROBERT HONSTEIN
SCOTT BARTON
TIRTZA EVEN
Everything is Terrible/CHANNEL 2020
THE INCONVENIENCE
EXIT GHOST
NORA MAITÉ NIEVES
THEATRE SEVEN OF CHICAGO
Refractions at a Steep Angle of Incindence
7pm, June 19th
4101 N. Broadway Ave.
$10 Suggested Donation.
RSVP to info@pivotarts.org
As part of the Pivot Multi-Arts Festival, Coppice is partnering up
with the Buena Park Neighborhood Association and High Concept
Laboratories to create and curate experimental sonic experiences in a
defunct cleaners in uptown. The show will feature visual art created by
current HCL Sponsored Artist Nora Maité Nieves.Pivot Arts develops new work and presents performances throughout the year culminating in a large-scale, multi-arts festival. Our vision is that of a vibrant community where unique collaborations between artists, businesses and organizations lead to the support and creation of innovative performances.
Pivot’s inaugural Multi-Arts Festival is a celebration of innovative performances in our community. This year’s festival reignites the spirit of the Vaudeville Era by performing in unique and historic spaces throughout Uptown and Edgewater! Top Chicago innovators including: Manual Cinema, Molly Shanahan/Mad Shak, Mucca Pazza, and Theater Oobleck lead celebration of multi-disciplinary performances in a former Vaudeville Theater, an at-one-time Charlie Chaplin film studio and other exciting spaces.
Summer 2013 lineup.
COPPICE
JASON ZEH
JASON SOLIDAY
N.N.N. COOK
TROY SCHAFER
LIZ MCCARTHY
ABBÉY ODUNLAMI
ROBERT HONSTEIN
SCOTT BARTON
TIRTZA EVEN
Everything is Terrible/CHANNEL 2020
THE INCONVENIENCE
EXIT GHOST
NORA MAITÉ NIEVES
THEATRE SEVEN OF CHICAGO
Saturday, June 1, 2013
Selfies and Stills
Tuesday, May 28, 2013
Just putting this here so I don't forget
EXiS Call for Entries!
10th EXPERIMENTAL FILM and VIDEO FESTIVAL in SEOUL 2013
Annual international experimental film and video festival EXiS 2013 is waiting for your innovative film and videos! EXiS is the biggest premier showcase of experimental media works in Asia.
■ FESTIVAL DATES
Sep 5 ~ Sep 12 2013, Seoul, Korea
■ ENTRY DEADLINE
June 1st, 2013 (Postmark)
... ■ What We Look for:
Experimental film or video work in any format and in length.
■ Requirements
1) Films completed after: September 1 2012
2) Preview Tape (1/2” video cassette or any region DVD)
3) Country of production: all countries
4) Entry Form (both mail & e-mail)
5) 1 photo of artist & 3 production photos (e-mail only)
- NO ENTRY FEE
■ Where to Send:
Attn. Programmer at EXiS office Mapo-gu Soegyo-dong 475-13
Wonchun Bldg. 6th Fl. Seoul, Korea (121-842)
When mailing, please write “without commercial value, for cultural purposes only” on the envelope.
* PLEASE NOTE – Submitted Materials Will NOT Be Returned.
서울국제실험영화페스티벌 HOST_무빙이미지포럼 Moving Image Forum
Executive Body_EXiS 2013 Organization Committee
EXperimental Film And Video Festival in Seoul EXiS2013
Tel. +82(2) 3141-1841
Fax. +82(2) 3141-1842
email. entry2013@ex-is.org
10th EXPERIMENTAL FILM and VIDEO FESTIVAL in SEOUL 2013
Annual international experimental film and video festival EXiS 2013 is waiting for your innovative film and videos! EXiS is the biggest premier showcase of experimental media works in Asia.
■ FESTIVAL DATES
Sep 5 ~ Sep 12 2013, Seoul, Korea
■ ENTRY DEADLINE
June 1st, 2013 (Postmark)
... ■ What We Look for:
Experimental film or video work in any format and in length.
■ Requirements
1) Films completed after: September 1 2012
2) Preview Tape (1/2” video cassette or any region DVD)
3) Country of production: all countries
4) Entry Form (both mail & e-mail)
5) 1 photo of artist & 3 production photos (e-mail only)
- NO ENTRY FEE
■ Where to Send:
Attn. Programmer at EXiS office Mapo-gu Soegyo-dong 475-13
Wonchun Bldg. 6th Fl. Seoul, Korea (121-842)
When mailing, please write “without commercial value, for cultural purposes only” on the envelope.
* PLEASE NOTE – Submitted Materials Will NOT Be Returned.
서울국제실험영화페스티벌 HOST_무빙이미지포럼 Moving Image Forum
Executive Body_EXiS 2013 Organization Committee
EXperimental Film And Video Festival in Seoul EXiS2013
Tel. +82(2) 3141-1841
Fax. +82(2) 3141-1842
email. entry2013@ex-is.org
A Vacant Lot To Be In Reviewed in The Wire
Jason Zeh
A Vacant Lot To Be In
Crippled Intellect Productions LP
Those who grew up with the cassette as the principle means for portable listening and file exchange find its resurgence a bit puzzling. How many beloved tapes died from the tape snapping or getting melting in the sun from leaving it on the car dashboard or the physical mechanism itself jamming? For Jason Zeh, those failings are exactly what he seeks to extract through his visceral collages from discarded tape machines and malfunctioning cassettes. While many of his previous recordings have employed the mangled sounds of crumpled and even burnt tape, A Vacant Lot To Be In focuses on the electro-magnetic properties of the tape machine, as Zeh shoves magnetic pieces of metal into the mechanism to interfere with the signal flow. The result is ominously insectoid humming and scabrous noises that increase in density and velocity over both pieces of this vinyl, collapsing into a exhausted smolder of corroded drone and hiss.
A Vacant Lot To Be In
Crippled Intellect Productions LP
Those who grew up with the cassette as the principle means for portable listening and file exchange find its resurgence a bit puzzling. How many beloved tapes died from the tape snapping or getting melting in the sun from leaving it on the car dashboard or the physical mechanism itself jamming? For Jason Zeh, those failings are exactly what he seeks to extract through his visceral collages from discarded tape machines and malfunctioning cassettes. While many of his previous recordings have employed the mangled sounds of crumpled and even burnt tape, A Vacant Lot To Be In focuses on the electro-magnetic properties of the tape machine, as Zeh shoves magnetic pieces of metal into the mechanism to interfere with the signal flow. The result is ominously insectoid humming and scabrous noises that increase in density and velocity over both pieces of this vinyl, collapsing into a exhausted smolder of corroded drone and hiss.
Monday, May 27, 2013
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