Review on Weird Canada and move to Philadelphia.

I put out a few copies of this tape back in the spring for Wyrd Fest and the Obey Convention. I'll be making a few more once I get set up again here in Philly. If you want it in digital form though you can download it HERE.

As some of you may know I have left Canada for the "American Dream." The move has been interesting, exciting, and scary. Definitely a bit of culture shock. Philly at times looks and feels like Beirut (Or what I imagine it looks like as I have never been). I am staying in a beautiful loft with my partner's sister in Fishtown. We have a little spot in the corner till we get everything set up. I got a bank account after a bit of scare where I copied my social security number down wrong and it was looking like I wasn't going to get an account. I unfortunately had to go with Bank of America, as I was entering the bank there was a giant sign across the street that read, "I Hate Bank of America." It probably is an omen. I finally got a phone and each day is getting progressively better and I am slowly making friends. I am really worried about a job, I am not sure what to expect here and Philly's economy is the third worst in the country, seems you can't escape that. Today I am looking for more houses. I have been concentrating on writing more since I haven't had the opportunity, space, or privacy to write music. Lantern is sitting on about 20 songs write now and we'll have some upcoming releases, hopefully.


Some crappy pictures from my new AT&T cell phone.

My good friend and colleague Aaron Levin, the genius behind Weird Canada, kindly wrote some nice words of the I put out. I only made a few copies of this tape back in the spring for Wyrd Fest and the Obey Convention. I'll be making a few more once I get set up again here in Philly. Please get in touch if you would like a copy.

Best, and keep listening in!

-Z

From Weird Canada
With an unruly vocabulary for the avant-garde, the wild long-hair behind Omon Ra / Omon Ra II rips through your consciousness with six streams of free jazz, orchestral minimalism, and prepared minutiae. The unwieldy compositions are performed on-or-by everything (Arp2600, Dalhousie Brass Quintet, Saxophones, mixers, prepared piano, etc.) and mutate wildly in timbre; “Origins”‘ dense, synthetic dark-age scorches a sinusoidal path for the blissfully organic sequences; hear the strangely poppy Brass Quintet devastate “Prisms” and segue into the harrowing minimalia of “Long Tones and Lose Change.” It’s all a sharp reminder that underground reverberations are still produced in the dusty corners of academia. Bsc GRIP.