Krynge - Tuf Kld Spd Rcr (1988)

ZH27

• Avant-garde 
• Experimentalism 
• Abstract 
• Noise 
• Psycho-acoustic 
• Non-music 
• Freeformfreakout

Comment: just having read that the French president Emmanuel Macron has a helicopter on standby to evacuate him while France is controlled by a huge part of the nation, by the so-called yellow vests. While listening to this project of Zan Hoffman, and this half-hour issue (he reimagines recordings of his home taping friends like Swinebolt 45, and Minoy). I guess something analogously horrible and terrifying may be happening in the head of the leader now. Especially if there is up a comparison to the situation what happened in Romania exactly 29 years ago or what happened in France 229 years ago. In the latter case, the king did not have a helicopter and his attempt to run away with carriage failed. Musically it is a haphazard yet threateningly ecstatic blend of drumming, chimes and windbells, accidental electronic impulses, steam trumpets, buried shrieks and overamplified speeches, accelerated sounds of engines. Black noises are varied with torrents of howling brown noise attacks, yeah, it seems to be the frank analogue stuff. The issue which was initially released on ZH27 was re-released by the German imprint Attenuation Circuit in 2013 and providing a couple of minutes more music and a bit different content than the original one. The history repeats itself in a bit different manner.

Zanstones 80 – T T T T T T T T (2000)

ZH27

• Improvised noise 
• Avant-garde 
• Experimentalism 
• Leftfield 
• Electronic 
• Psycho-acoustic 
• Drone 
• Acousmatic music

Comment: you are not wrong – indeed, you see 8 Ts in front of your sight. It is obviously the most laconic and uninformative title ever I have encountered since one album and artist's name of just consisting of one very long hyphen only (he or she was probably Japanese by having released a couple of issues on Rack And Ruin Records). Unlike as laconic as the title of it used to be this 31-minute album is speckled with different dots and spans, disparate intentions and blackish and grayish mixed shades. More profoundly, the main line is based on noisy improvisations and around it used to gravitate string-tinged plucks, gathered small noise smithereens, acrimonious autotune-alike vocal threads, bold drones and rough and acute electronic dodges towards. One can hear the pulsations at different frequencies like some kind of electricity permeating the main course. Most sonic blocks are deliberately discolourized and eroded to get stand into a classical noise music feel. Regarding this classic sense you can partake in the intermittent case of continuation and disruption. The mind-provoking and freeing outing is an authorised work in the discography of ZH27 (these are the initials of Zan Hoffman who has issued a noise and experimental music legacy under his own imprint since 1984). This is a bullshit collector of your thoughts. What does it mean? It does mean nothing.

Here Be Monsters – Thousands Are Still Asleep (1992)

ZH27

Archive.org

• Sound collage
• Ambient
• Avant-garde
• Experimentalism
• Noise
• Psycho-acoustic
• Non-music
• Leftfield
• Plunderphonics
• Industrial music
• Drone
• Electronic music

Comment: this issue consists of one long-running almost 31 minute composition. However, the whole is a medley of different artists` works and disparately stylized compartments. More profoundly, there are up such artists as Minòy, PBK, Adam Bohman, Agog, Crow, De Fabriek, Factor X, Kazuhiro Ohtsuuka, Merz, Mystery Hearsay, Seiei, Jack, Sismoid, Tuf and Van Der Veens. Musically it used to trudge from rattling rhythmical bumps and hisses at different frequencies and word samples to dreamy microscopic noises and sublime electro-acoustic panning. Now and then one might perceive it like an open immense room with many alleyways which is unlocked for all pedestrians coming around and having different musical tastes. On the other side, such a sort of art might switch him/her to be a subject of stampeding perceptions. The mishmash includes a pile of bewildering sonic effects and hazy progressions. For instance, therein is represented singing of oriental heritage though being switched upside down. By the way, the issue embarks on and finishes off with the snippet. Of course, it is very sympathetic the half-hour is replete with lush analogue fabric and threads thereof giving a more softened touch to the sound even though many sounds are designed in an ominous and abrasive mode. In general, there are up two possibilities considering the title – either it is thought to wake up or soothe the listener into profound yet somewhat deranged sleep. Here Be Monster is the project of Zan Hoffman and the issue had initially been released in 1992 (under his own ZH27 imprint). On the whole, beyond the fact of having historical value (the aforementioned artists were a substantial part of the underground cassette movement in the 80s) on its own the whole is a sequence of mind-boggling snippets where chaos is just an instrument to move toward a more universal integrity. Additionally to (re)discover and support old yet underrated artists I recommend to listen to such platforms and imprints as Bob Chaos, Museum Of Microcassette Art, CS Industrial 1982-2010, Cassette Art Classics, Haltapes and read such blog as Die or D.I.Y?. 

Minoy/Zannoy - Deaf Mix for Jake Hobo (1986/2004)

zh27

/Freeformfreakout, Spoken word, Noise, Sampledelic, Psycho-acoustic, Electronic, Sound art, Experimentalism, Avant-garde, Plunderphonics, Non-music, Acousmatic music/

Comment: these 44 minutes are another instance of huge legacy which is left by Keith Bowsza (1951-2010) aka Minòy. The US-based artist who released his music mostly in the 80s, however, finished off producing music in 1992. Later on, he was being known under the name Haint by taking on the black and white photo paintings. Deaf Mix for Jake Hobo is a collaboration album with another US-based noise/experimental/sound art musician Zan Hoffman. As the title might suggest the duo deals with hearing and perception problems. Moreover, these 44 minutes used to disorientate the listener because of involving a shitloads of abrupt turns and changes in sonic fabric and colours. It includes many samples pulled out from unknown sources. However, these loans are intertwined in a way to yield new, uncannily frightening contexts and mind-shifting impulses. In a word, it is an example of sample-based art, however, reflecting upon neuropathic problems which excruciated Keith Bowsza throughout his lifetime. At times Bowsza and Hoffman use slowed-down and pitched-up algorithms to spice up their occasionally lethargic soundscape. The listener can discern those warm analogue tones and timbres being so characteristic to the 80s. Of course, I recommend to dig up other Minòy and Zan Hoffman`s issues either which were being an important part of the 80s cassette culture movement. The album was initially released under the Elevation of Anxiety sub-label in 1986. At the moment it is a part of Zan Hofman`s zh27.