Thierry Zaboitzeff | Art Zoyd

Co-founder member, co-composer and multi-instrumentalist of the Art Zoyd ensemble between 1971 and 1997, with Gérard Hourbette, Thierry has greatly contributed artistically to this great period of the group.
For this reason, you will find below some press excerpts about these founding moments of his musical career.

LE MONDE
A rustling, untamed forest; molten magma streaked with wisps of smoke – they are a spectacle in their own right. (...)
The score by Gérard Hourbette and Thierry Zaboïtzeff – shifting and relentless, with a wealth of instrumental texture – never lets up.
Marcelle Michel.

LE FIGARO
The spellbinding music and soundscape, delivered with unwavering energy by the group Art Zoyd (...), contributed greatly to the success of the evening – one of the richest and best-organised events Roland Petit has offered us in recent years.
René Sirvin.

TELERAMA
Their inventive, dense, lush music – always with that unsettling drive – is utterly captivating. Art Zoyd is all about inspiration, and at the end of the tunnel, humour.
Anne-Marie Gustave.

They skilfully blend symphonic atmospheres with harmonic storms, electric and acoustic instruments, strings and wind instruments, humour and acrobatics.
A band of disconcerting originality, in these times of formulaic romances.
Pilippe Barbot.

FRANCE-SOIR
They form the fabric of a story that Roland Petit does not tell – that is to say, the music: imaginative, violent or seductive, bristling with cries, with, from time to time, a metronomic beat at its heart.
J. Cartier.

LE QUOTIDIEN
The exceptional atmosphere of the music finds a powerful counterpart in the movements devised by the choreographer.
Gérard Mannoni.

LE MATIN
Art Zoyd crafts his albums like a brutal sculptor, a wild painter,
a psychopath obsessed with perfectionism.

SEPT A PARIS
I’m conquered!
Christophe Bourseiller.

JAZZ HOT
Art Zoyd: true contemporary music.
Pascal Bussy.

ROCK & FOLK
Radical and wild music, rigorous and ecstatic, which exudes an intense power on stage and, on its own, conveys as many images and symbols as the ballet itself, demonstrating once again – if proof were needed – the level of maturity Art Zoyd has now attained.
Jean-Marc Bailleux.

BEST
At once wild (read: ‘hard’) and perfectly organised, repetitive without a doubt but extraordinarily rich. And beautiful. And powerful!
Jean-Michel Reusser.

LES INROCKUPTIBLES
Art Zoyd’s two new compositions are an endless sonic spectacle.
In 1988, Art Zoyd will cause a sensation.
N.C.

COMPACT
‘Berlin’ is perhaps a little difficult to get to grips with, but it is fascinating, blending sonic perfection with an icy aesthetic – an alchemy of sounds and emotions rarely achieved in what is commonly referred to as ‘new music’.
Pacal Bussy.

LA VOIX DU NORD
The ‘Art Zoyd’ effect continues to operate from a Nietzschean perspective.
From this dark music, which often makes nihilistic observations about the world, emerges the luminous silhouette of a possible superman. But what is the ‘Art Zoyd’ effect? One might answer: it is a spellbinding quality.
Pierre Henry.

NORD ECLAIR
The atmosphere is, in the truest sense of the word, extraordinary and spellbinding.

LE MIDI LIBRE
One thing is certain: with Art Zoyd, the Forest of Birnam is not far away
and you can see it moving.
Jean-François Bourgeot.

LE PROVENCAL
The modernity of Art Zoyd’s 1985 album carries as much weight as that of Pink Floyd’s album thirteen years earlier.
Edmée Santy.

LA MARSEILLAISE
The ultimate thrill.
Jacqueline Martinez

OTHER ARTICLES IN:
ACTUEL, L'ART VIVANT, LES CAHIERS DE LA DANSE, CHANSONS, ELLE,
L'ÉVÉNEMENT DU JEUDI, LE FIGARO MAGAZINE, ÉMOIS, FEMMES D'AUJOURD'HUI
GLORIA, GUITARES ET CLAVIERS, L'HUMANITÉ, JAZZ ENSUITE, JAZZ MAGAZINE,
MARIE FRANCE, PARISCOPE, PHÉNOMÈNES, LE POINT, LE PROVENÇAL DIMANCHE,
LA REVUE DES DEUX MONDES, VOGUE, TÉLÉPOCHE, TÉMOIGNAGE CHRÉTIEN,
30 JOURS D'EUROPE, VSD, LA VIE MUTUALISTE, VOGUE HOMME...

Co-founder member, co-composer and multi-instrumentalist of the Art Zoyd ensemble between 1971 and 1997, with Gérard Hourbette, Thierry has greatly contributed artistically to this great period of the group.
For this reason, you will find below some press excerpts about these founding moments of his musical career.

SÜDDEUTSCHE ZEITUNG (D)
Art Zoyd composes and performs modern music that, beyond the powerful sounds of the rock generation, reflects European cultural heritage. (...)
The group constructs its soundscapes with great diversity; its exploration of dynamic possibilities is fascinating: Art Zoyd creates opulent music that would make even Glenn Branca seem modest.
Karl Bruckmaier.

TAZ BERLIN (D)
“Art Zoyd - The Next Phase”
Virtuosity and dynamism lead the way through soundscapes of fountains, waterfalls, lava flows, thunderstorms, and the darkness of night. But despite the comparisons mentioned, the musicians in no way confuse art with artifice, for their music contains too much underlying humor for that.
Thomthom.

ZITTY (D)
Compared to Art Zoyd, Magma is a jumble of adolescent pretentiousness.
Laf Überland.

ZITTY (D)
(Art Zoyd Special with Interview)
The violinist’s revenge on the bourgeoisie. Their music is so profound that it seems to have emerged from a psychoanalysis session. Art Zoyd is a rarity.
Laf Überland.

TIP (D)
“The cat is out of the bag”
The impact and longevity of their artistic work are such that their schedule is already set for the next three years! After ten years of steady, consistent activity, eight albums, countless tours, and several visually striking music videos, Art Zoyd is now the guardian and watchman of “Art-Rock”—a term they abhor, yet one that may, in fact, be quite accurate.
Christian Beyer.

MUSIC SCENE (D)
“Academy of Harmonic Madness”
What would happen if we put a viola and a cello in the hands of people like John Lydon or Billy Idol, and then left them to their own devices? Aside from angry shouts and a whole bunch of broken strings, probably not much—these gentlemen aren’t skilled enough for that. It’s time, then, to turn to the experts at Art Zoyd.
Dr Leone.

HESSICHER/NIEDERSÂCHSISCHE ALLGEMEINE (D)
“A Journey into the Depths of the Soul”
Hartmut Schmidt.

NORDBAYERISCHE ZEITUNG (D)
“One of the latest adventures”
(...) This requires a high level of technical skill—which Art Zoyd demonstrated—as well as an almost inexhaustible creative potential, as seen during the concert in Nuremberg.
Also remarkable was the extremely precise and nuanced sound
that the quartet produced on stage with virtually no soundcheck.
Tom.

NÜRNBERGER NACHRICHTEN (D)
“Surreal Soundtracks”
Surreal soundtracks, full of poetry, aggression, and anxiety. (.….)
They put all their instrumental skill to work in their songs, which they master with precision, even in the most complex passages. (...)
Art Zoyd tells the dark truth about the world.
Jo Seuss.

NEUE HANNOVERSCHE PRESS (D)
Sensual music.
Cdi.

HANNOVERSCHE ALLGEMEINE ZEITUNG (D)
Hard to describe, but a pleasure to listen to.
Stuck.

WESER KURIER (D)
The overall atmosphere is dominated by dark visions,
which at times seem well-suited to contemporary music
for “Metropolis” and “1984.”
Scha.

BREMER BLATT (D)
The band possesses extraordinary power and density, as well as a rhythmic energy and vitality that emanate equally from all the instruments.
Recently, more lyrical and less tense elements have emerged,
which enhance the emotional expressiveness and intensity of the music.
Jürgen Schmitz.

DER MORGEN (D)
“Jazz with a punk foundation”
Reiner Bratfisch.

FORUM (D)
Anyone who sees them take the stage can't imagine the power and fascination they'll exert there,
shortly afterward, during the concert.
Peter Wicke.

FALTER (A)
The soundscape is dominated by strings, which are sometimes played in a punk-like style.
He.

SALZBURGER TAGBLATT (A)
“An Avant-Garde Event”
The captivating allure of this music—enormously powerful, beautiful, seductive, and mysteriously jarring—can only be understood through the idea that Art Zoyd, in a great creative surge, pays homage to the European musical heritage.

SVZ (A)
Highly refined, wild music.
Art Zoyd creates music of our time, of the highest caliber, in which the cheap punk aesthetic is transformed into a sonic beauty that is, at times, mesmerizing.
G.

BUND (CH)
Strings, brass, keyboards, and bass—all pounding away at the audience’s minds—come together for an opera about the Last Judgment, polished down to the very last note, thrilling and incredibly exciting.
Ab.

BERNER OBERLÄNDER (CH)
What the group performed exceeded all expectations. The overall character of the music was rendered with thrilling intensity. Using acoustic instruments, electronic effects, and electroacoustic techniques, everything from chamber music to aesthetic radicalism was revealed in this musical melting pot. (.) To me, this is lively, engaging music with deliberately emotional passages.
Hwk.

AUTRES ARTICLES DANS :
BERNER ZEITUNG, SALBURGER NACHRICHTEN, SALZBURGER TAGBLATT.

Art Zoyd until 1997

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