Zoivet*france / Shouting at the ground / 1990

Zoviet*france / Shouting at the Ground / 1997

Sample Revenue of Fire

“let us say it again, all art is in its origin essentially symbolical and ritual, and only through a late degeneration, indeed a very recent degeneration, has it lost its sacred character so as to become at last the purely profane ‘recreation’ to which it has been reduced among our contemporaries”

The dark drone of Zoviet*france is best soken about in a whisper. A musical collective that takes their status as obscure extremely serious. Challenging our concepts of sound, noise and music in the most fundamental ways. That is, at the core and deep. Revealing themselves only under the duress of repetitious, tribal beats.

Zoviet*france set the standard for this sound beginning in 1982 with the cassette tape release of the first two recordings, Hessian and Garista. Creating extremely dark indistrial-ambient music that is both highly complex and child-like in it’s spirit of exploration. Similar to the spirt of creativity we all had as children. Creating abstract noise that developed our adult voice. And as we more conventional interms of communication, some would mistakenly say “sophisticated”, we left behind the importance of sound and noise discovery. We not only forgot the pleasure of that expression but limited ourselves with the self-imposed rule of the modern-age; conformity.

On Shouting at the Ground, the listeneris challenged to embrace a radical, expansive lexicon. A language of sound that embraces the more primitive and outre’ aspects of the avant-garde movement. The experiments function in an atmosphere that is tense, dark and, often, disturbing one moment and pleasantly erotic only a moment later. Using electronics, tribal-drone and swiping cinematic soundscapes to create an organic and living environment.

Just this warning before you get started in exploring this rich and highly rewarding catalog; the earthly drones found within this album can be genuinely unsettling and addictive. Taking us back to a time before the compromises of modern civilization and it’s lukewarm value system. A voilitile mix of the primative and spiritual can awaken something with all of us. Forcing us to confront whatever lays beneath the thin vanier of superficiality we mask ourselves within. The result will leave full and wanting more.

Comments? Sciavatt@yahoo.com

What is the Vinyl Dreamscape?

A shamanic vision of the future where the destination is a dytopian dream zone?   
The Vinyl Dreamscape seeks to be a refuge from the algorithms, digital control and the predator-class. A place where we can think, discover and communicate. 

Shawn Ciavattone / Writer & Publisher / sciavatt@yahoo.com

On Living

Living is no laughing matter: 
you must live with great seriousness 
like a squirrel, for example– 
I mean without looking for something beyond and above living, 
I mean living must be your whole occupation. 
Living is no laughing matter: 
you must take it seriously, 
so much so and to such a degree 
that, for example, your hands tied behind your back, 
your back to the wall, 
or else in a laboratory 
in your white coat and safety glasses, 
you can die for people– 
even for people whose faces you’ve never seen, 
even though you know living 
is the most real, the most beautiful thing. 
I mean, you must take living so seriously 
that even at seventy, for example, you’ll plant olive trees– 
and not for your children, either, 
but because although you fear death you don’t believe it, 
because living, I mean, weighs heavier. 

Let’s say you’re seriously ill, need surgery– 
which is to say we might not get 
from the white table. 
Even though it’s impossible not to feel sad 
about going a little too soon, 
we’ll still laugh at the jokes being told, 
we’ll look out the window to see it’s raining, 
or still wait anxiously 
for the latest newscast … 
Let’s say we’re at the front– 
for something worth fighting for, say. 
There, in the first offensive, on that very day,
we might fall on our face, dead. 
We’ll know this with a curious anger, 
but we’ll still worry ourselves to death 
about the outcome of the war, which could last years. 
Let’s say we’re in prison 
and close to fifty, 
and we have eighteen more years, say, 
before the iron doors will open. 
We’ll still live with the outside, 
with its people and animals, struggle and wind– 
I mean with the outside beyond the walls. 
I mean, however and wherever we are, 
we must live as if we will never die. 

This earth will grow cold, 
a star among stars 
and one of the smallest, 
a gilded mote on blue velvet– 
I mean this, our great earth. 
This earth will grow cold one day, 
not like a block of ice 
or a dead cloud even 
but like an empty walnut it will roll along 
in pitch-black space … 
You must grieve for this right now 
–you have to feel this sorrow now– 
for the world must be loved this much 
if you’re going to say “I lived” … 

Nazim Hikmet