The mid seventies experienced the emergence of electronic music from the progressive soundscapes with those (short) keyboard solos or before unheard sound effects evolving into interesting full length albums.
It was against that backdrop in Paris 1976 when Pierre Salkazanov found the synthesizer to be the ideal instrument for exploring new musical horizons and potentially, in the comfort of his own home. The main obstacle was the high cost of a modular Moog let alone the rest of the equipment required for a modest studio. Eventually Pierre managed a compromise acquiring enough equipment for a modest studio centered on an EMS VCS3 synth and recording hardware such as a 4-track TEAC A-3340S and a 2-track Revox A77 Mk IV reel-to-reel machine complemented by a TEAC 2 six channels mixer along a pair of LEM speakers as monitors.
Once a proud owner of his own home studio Pierre spent many spare hours experimenting, exploring possibilities and tricks to record “live” music in one take. Despite the steep learning curve, sound sketches of his first album shaped up into a reasonable demo tape suitable for promotion and hopefully publishing. The classic method was dropping demos in musical instrument stores hoping for someone established in the music industry to hear and take interest in it.
The “drop” at Gaffarel Musique Instruments in Paris paid off, passing the demo to a connected producer who signed a deal with Polydor under the act name “ZANOV”. With a secured publishing deal, ZANOV had to focus on completing and delivering a professional recording breaking away from the limits of mainstream music. The end result was the album “Green Ray” consisting of three long tracks of surreal and cosmic music with an experimental yet accessible flavor.
You can see what reviews I have done of this artist on the Zanov artist page
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