1975   4 minutes from the inreadables live quartet recording at UCSB roberta friedman & s.weisser
                                                            a quartet because earlier in the day we had performed it on the college radio station
                                    which was recorded and played back in reverse at the audience performance later in the day

               1975   4 minutes from premiere performance of Book Of Love Being Written As They Touched at M.O.C.A., S.F.

                    1977     4 minutes from Spatial Poetics 19 Nov. at the West Coast International Sound Poetry Festival
                                              broadcast at the intersection of Mission and Van Ness, outside of La Mamelle S.F.

                  here is an article published in the Word Works Gallery newsletter May 1977 regarding the Spatial Poetics form
                                                                                                                                           click to enlarge

           1977    7m 48s                              sound of wind and limb
                                    my first ever solo percussion performance  august 19 at la mamelle in san francisco - performing under the name s.weisser
     the performance took place in the freight elevator parked one floor below the la mamelle space where the audience listened from - superscope c105 recording

                                                   click to enlarge

          1977    8 minutes of Takehisa Kosugi - violin      Chako - buchla synthesizer     S.Weisser - percussion
September 15  - live recording on a superscope c-105 portable cassette player at Chako and Ryusei's studio on 3rd Street in Berkeley
Kosugi had recently arrived in San Francisco and was staying with my friends Chako and Ryusei. We played together some few times but this was the only time that was recorded -- he also came and played at one of the series of Moon Rise Concerts i produced that took place in the tunnel underneath the Great Highway in San Francisco  By November Kosugi had gone to Manhattan where by the end of the year he had joined the Merce Cunningham company as a resident composer/performer
just one of those things that we've never played together since.

        1981         6m 7s      RUDOLPH  GREY + Z'EV  at the SQUAT THEATER on 23rd st  in manhattan
rudolph is one of my all time favorite musicians -- along with lydia lunch and connie burg they were the three most influential guitarists in the mid 70's nyc scene
this is an edit from the first time we played together - the first 22s was the actual beginning - the last 12s the actual end -- the remaining 5m 33s is consecutive from 5m in -- and when we turn the corner at 2m 42s - that's not an edit - that was live

            1982          2m 19s                                                wipe out
Wipe Out was originally recorded spring 1981 at sorcerer sound, with charles ball at the helm once again.
this was our absolute peak of working together -- technically speaking, there were six basic drum tracks and 18 tracks of effects - six different digital delays on the snare drum alone, and 60 inches of bass drums thundering on the ONE (for example: a 'big' R&R bass drum is 24", a big concert bass drum is 40")
so the story goes - i was performing at SPIT, the 'rock disco' (remember them?) in boston, and the dressing rooms were underneath the dance floor, and I got locked in after my set -- so Wipe Out came on and the house went wild -- as soon as I got back to manhattan, I called charles and proposed that if we could get it recorded and released by the summer, it could be a hit like 'Rock Lobster' -- unfortunately charles's lust/unlust went out of business before it could be released
so as the sessions were never paid for, this 45 was in fact a bootleg -- rod pierce [Fetish] and I mastered it at abbey road from the cassette reference i walked out of the studio with.
as to it's being a hit? well, almost, but not quite -- the week of it's release it was in rough trade's top 5, but then Fetish went out of business and the stock disappeared
anyway
this was my calling card when i wanted to start working in the house music scene in amsterdam in 1990 and so approached dj dano -- 'this is tekno' was his response and we started working together

         1983            3m 9s                                                                     indefensible position
this is from the last s.weisser piece released by subterranean records as the audio portion of EDITEDITIONS/CONTEXTS - S.Weisser w/ Doro Franck -
so
when last we left the contexts/poextensions - there were 500 visuals left after the 500 included in the original edition of 500 on subterranean had sold out --so a process piece was conceived whereby another recording would replace the Poextensions, and 1000 would be pressed, leaving 500 after the contexts had flown from the racks. At that point a new visual piece would be made, and a staggered system would follow - a new piece every third print run --however as with many a good idea - this never really came to fruition
anyway
the Editedition was a resurrection of a name I had coined as S.Weisser for self-published material c.1974 -- from 1982 onwards, i'd become heavily influenced by doro franck, conversational analyst supreme, and took to recording and editing tapes of us talking
she had just been teaching a seminar on argumentation, based on a taped domestic argument donated to her by a friend.
well, we'd been having our fair share, and this was the 'artistic' outcome
the Editedition was released on clear vinyl (Steve's idea) and I spent one day at the Alternative Tentacles' offices signing all 500: S.Weisser, 1/500.
the breaking glass w/saxophone backing track was a recording of doro dropping a horde of bottles saved up for her to break by dropping them into the recycling boxes for glass set up in amsterdam - this one was in front of the central train station and there was a busker playing but i didnt realize he'd also been recorded
and a big thanks to peter from thethingonthedoorstep.be for providing me with a digital copy of this

here's the cover pages of  [left] poextensions & contexts and editeditions & contexts [right]

            1985       12m 32s total 3 tracks                              KAIN  w/ z'ev on drums
                                                                                she moves     come in out the rain     tell me what you want 
in 1983 i went to a party at my friend the poet's frederika venn's place in amsterdam and most of the poetry scene was there -- and but so i went out onto the balcony and got into a conversation with this guy who it turned out had just gotten into amsterdam that day --- so we talked for a couple of hours and it turned out "this guy" was gylan kain who had started the Last Poets and is was and in all ways will be the baddest of the bad
so we started hanging out and performing together off and on till 1990 when he started his own band and i started working with dj dano in the house scene
and then i ended up leaving amsterdam -- he's still one of my best friends and i see him whenever i get back there
these three tracks were recorded in the back room of  benn possett's one world poetry offices on the nieuwe markt in 1986 or 7

       1988          3m 35s                                                               following in the footsteps
in 1986 i began a tenure at the theatre school for new dance development in amsterdam -- in cooperation with dancer ria higler we were team teaching a year group through their four year program -- this recording was from one of the performances we did together at the school -- listen closely and you can hear her footsteps

     1994     5m 9s                                                                                              deep sleep
so after the earthquake in los angeles in 1994 while i was waiting around to see if the project i had come there for was going to get back together i started doing some work with my old pal johanna went --- we did a show together in march in cleveland -- and then came back to los angeles and started working on a tribal torch project that we named deep sleep with her singing songs from her dreams and with me on a drum set that i built up from one 15 inch tom and six tuned 18 inch bass drums -- the premiere performances were two nights at LACE and a while later we performed at a club - i can't remember the name of - on a split bill with a mike kelly/ann magnuson project
right after than my mother was diagnosed with her leukemia - and so deep sleep got put to bed 
this recording of  dream of monsters is from the first night at LACE - recorded by mark wheaton --
johanna's vocal backing tracks were also recorded and produced by mark at his & his partner weba's catasonic studios in echo park

  2000          10m 35s  [                                                                                                 DAZE
this was the project name for the last time dj DAno and Z'Ev went into production -- i had to return to amsterdam to deal with all my stuff that had to be moved from storage to storage and while i was there dano dragged me into the studio for a last hurrah -- we did record a cd worth of material - entitled 'onz ziekende zaak' (our ill business)
which is still unreleased
here's tracks 11 and 12 [track 12 shortened by 2m]

     2008        4m 11s                                                                                    PSYOPS SOUNDSYSTEM
PsyOps Soundsystem  [Konrad Becker / k-bot, Tronstoner, Z'EV / z-bot] Peacekeeping Concert  at close of the World Security Days in Vienna event
30 May 2008, at Fluc_Wanne Praterstern

  2009     5m 59s                                                                 FAUZ't
in april of 2004 i met Michael Kneidl at a concert i gave in köln - sometime later he wrote me an e and proposed introducing me to hans joachim irmler the keyboard player from krautrock pioneers FAUST as he thought we should be working together -- i sent an email to hans joachim then, never heard anything, and sent again a few times, and it wasn't until 2006 that we finally connected --
and at the beginning of 2007 i went to scheer and thus began a beautiful relationship ,o which culminated in our FauZ't project
Hans Joachim Irmler: keyboards & outboards  Z'EV: drums & percussion & transforms  Andreas Schmid: Recording & Sound Support
Original recordings @ Faust Studios, Scheer, Germany: jan 13-22 2007  --  1st arranging & mixing: dec 2-4 2007 -- 2nd arranging & mixing: sept 15-19 2008
released by atavistic worldwide in spring of 2009         this is an truncated version of a 20m 28s piece

   2010  12m 46s                                                     East African Nocturne
The first duo collaboration between me and chris watson
The source materials for the composition were based on recordings of ambience, birds, elephants, frogs, hyenas, insects, lions and vultures captured by chris during trips to the serengeti national park, arusha, tanzania  and recordings of my percussion instruments recorded in the crypt of christ church in spitalfields
beginning on january 14th 2009 i began editing 4 initial elephant tracks and combining them with 12 total tracks of percussion
this first mix was completed and uploaded on may 5th --  butIt was not until august 26 that chris was able to respond -- he was happy with the work so far and suggested we meet in london on sept 5 and 6 and discuss the piece and possible additions
on september 15th chris posted 12 tracks of ambience, birds, frogs and insects recordings - on the 19th i posted some tests of time stretched versions of the new sources -- on the 20th Chris affirmed the use of time stretching -- on october 14 i posted the 2nd mix -- on the 15th i proposed East African Nocturne as the title
on december 24th chris responded positively to 2nd mix, requesting additional percussion around middle of piece and noted that he would be sending additional tracks.
on february 21 2010 chris posted 18 additional tracks and the third and final mix, adding lions, hyenas, vultures and another 10 tracks of percussion was completed on february 25 2010 and on march 22 chris accepted East African Nocturne as the title
In September of 2010 it was released in CD format by atavistic worldwide and on september 11 and 12 the premiere performances occurred at the south london gallery in camberwell
and a footnote to this project
on sept 11 stephen mallinder showed up before the show to see chris -- and so we were sitting at the galleries cafe and they were talking and stephen asked chris about the piece and chris told him that i was the first person that he had ever given his recordings to  -- i was floored -- and even more so when chris later told me that this was the first time he had seen stephen in the 30 years since chris left cabaret voltaire -- if i had known that i wouldn't even have been sitting there
anyway
this is a continueous segment from 12m 02s to 24m 48s of the 51m 28s recording chris made of the september 12 performance