THE SAN FRANCISCO BAY
GUARDIAN
THE BEST OF THE BAY SEPT. 23-29, 1998

Composer-performer-audio artist Pamela Z has an uncommon presence onstage, as– with undulating arms, wrists, and shoulders triggering a variety of samples with a MIDI controller called The BodySynth– she evokes sound seemingly from thin air. She combines these with an assortment of melodic lines, spoken texts, found sounds,, and still and moving images, creating in the process an aural and visual tapestry that is mesmerizing, startling, and challenging all at the same time.

The provocative quality in Pamela Z's performances begins in the contrast between her rich, soul-wrenching voice and the impersonality of the technology with which it is subsequently processed. The juxtaposition underscores the daily rhythms of this era of data overload and sensory excess and provides a springboard for her ongoing questions and commentary about who we are and how we live.

In an age when commercial pressures work to narrow the use of electronics into the safe arenas of accessible pop, Pamela Z has forged a singular path, carrying on the legacy of the avant-garde informed by John Cage and Karlheinz Stockhausen, and the vocal traditions of Diamanda Galas and Laurie Anderson. She has had a presence in the new music community since 1984, and over the years her art has developed along with the technology she uses in its creation. She has produced an ongoing series of interdisciplinary work called "Z Programs"; she works with her performance ensemble, The Qube Chix; she appeared as a featured soloist with the Contemporary Music Players (performing Louis Andriessen's "M" in diva drag, encrusted with plastic dolls); and recently performed for a second year at the "Bang on a Can" festival in New YorkÕs Lincoln Center.

After years of living and performing in San Francisco, Pamela Z's career has moved into new heights. She has played numerous engagements around the world, including new music festivals such as the Interlink Festival in Japan, Tage Fur Live Elektronic Musik in Switzerland, and last yearÕs "Other Minds" in San Francisco. SheÕs returning to Japan in December for six months, but only after completing a four-night engagement of her solo work Parts of Speech earlier in the month at Theater Artaud.