Dirty Tapes outta NYC have done everyone a favour and released a collection of music by the brilliant and experimental producer/beatmaker/tech-dream-noise purveyor – Panya Zaytsev aka Paul Hares.
In a world of lazy, samey sampled music – Hare’s vision has stood out for many years on Soundcloud’s timeline for it’s ingenuity, unflinching sonics, and industrial gait. Seing that Zaytsev is more underground and more elusive than a Higgs Boson, it’s a pleasure and a surprise to see and hear his music in retrospective. Head over to the Dirty Tapes Bandcamp for a recap of some new ideas.
Here’s the Dirty Tapes write u:
‘The Definative* Works is a collection of recordings dating from 2012 – 2015. It includes such cult classics as “To Chew the Fat”, “NT WRK IIB”, “Muddy Cocktail”, “Internal Dialogue”, and various other unreleased singles which have been mixed down into an archive of a whopping 27 minutes per side (54 minutes + bonus material) = more than an hour of exclusive Paul Hares Material.
During the first six months of 1990, the Saratov oblast hydro-meteorological center had issued 28 different pollution warnings to the Saratov city government and health department, with little effect. The center had also encountered no success in obtaining municipal cooperation in having seventeen petrochemical enterprises in the city cut back operation to reduce the levels of dangerous pollutants spreading throughout the region of the lower Volga.The problem of atmospheric pollution in Saratov had been raised first by local citizen – activists in the early 1980s, yet nothing changed because of the close inter-dependancy of the oblast party-state establishment and the management of the large petrochemical industries.
By 1990 a new controversy pitting the public in the southern Volga region against big industry was the Balakovo nuclear power plant. Located on the shore of the Volga in northern Saratov, the Balakovo nuclear power station was the same model that had partially melted down at Chernobyl in 1986. By 1989-90, the Balakovo station had become notorious for its poor safety record and technical failures requiring frequent shut-downs and repairs, and citizens’ groups arose, alarmed by the incidence of diseases affecting children in the immediate area of the station. The plan to add a fifth and sixth energy block to the Balakovo station aroused public protests in 1989-90, with human chains blocking the entrance to the station in fears that the same human and technical failures of a Chernobyl, should they occur at Balakovo, would produce an ecological catastrophe far surpassing even that of 1986 for the entire southern Volga region.What transpired next was completely unthinkable – a catastrophe so horrific, downright nauseating, that it left many by-standards in a state of uncontrolled hysteria, followed by complete paralysis.
Enter Paul Hares.
With his unique style of mixing and blending cassette tape (often physically) to derive at what can be experienced as a world of deep and often introspective moments, moods and feelings. Lead by atmospheric drones (samples??), a looming almost industrial approach to percussion; Paul Hares stands as of the most important and progressive producers of current lo-fi – experimental, and genre defying music.
serving to identify or define a (native) sound and/or approachin within a contextual setting’