The original release of the Freakapuss, Supernatural High album in 1996 was more of an exposure for Zarjaz that he had experienced for some time. At the same time, the album shows us, in a low key, acoustic, hip hop style, embellished with tribal d'jembe and electronic children's toys, a level of openness and an insight into the world of Zarjaz that had never been seen. Not just in music style but the album remains one of the greatest lyrical efforts from anyone, with themes ranging from chrome robots flying around on asteroids, to mental illness, and as always, love. At the time of Supernatural High, Zarjaz was the only artist singing about HD television, a good 10 years before its emergence, and totally preempting it's importance on consumer society.
Again, in characteristic Zarjaz style, credit for the release, its forward style and message was missed, overlooked or avoided by much of the music industry and media. Yet we saw, after its release, many of the albums features appearing all over the music industry, from Oasis appearing on MTV Unplugged performing a song about mental illness in an identical Supernatural High style, to Snoop Dog in the film Bones, to name only two examples.
Another indication to the cultural and creative importance of the "urban acoustic", Supernatural High, was the emergence of the so called "new acoustic," and "urban music," scenes that followed the albums release. Again, as always, Zarjaz does not claim to have created the genres. Acoustic music has been around since music began, but the music scene was far different before Supernatural High and very similar to Supernatural High after its release. As an example of modern acoustic and urban styles and attitudes the albums conception and release, under the circumstances, is at least remarkable.
The original sleeve notes to the Freakapuss, Supernatural High album say that Zarjaz has always been out front, because of creative genius, paranormal insight, premonition, or just by coincidence.
Just the same, with the release of the sexual anthem, There Ain't Nothing Like An Orgasm, described as a celebration of the orgasm. Zarjaz felt forced to withdraw this underground release because of having more than a similarity to the establishments release Hey-Ya by The Outkasts soon after.
Again this had never been more apparent than with the Freakapuss track, Honesty (Is The Dumbest Policy), recorded in 2002, with the earliest known live recording from 1998. This song prophetically outlines in detail the 2011 News of the World scandal, as well as the emergence of "fake news" and "the post truth world", in incredible Nostradamus like style.
Another example is the 2009 Internet download only, blues / drum n bass track / anthem, Marsage (Welcome to the Marsage baby!), that has more than a similarity to the 2011 track Mama Do The Hump, by Rizzle Kicks, produced by Fatboy Slim.
Just when you think it's safe to write Zarjaz off again, several months after the 2009 release of La Leggenda Del Block, Editio Seconda, Sony Erricson make a presentation of Vivaldi music played by eminent drum n bass artists, proving once again, without any question, the significance of Zarjaz music and ideas on today's cultural scenes, the innovative genius of Zarjaz and his ability to be ahead, without tapping into market defined stereotypes.
During April, 2012, Freakapuss played a string of impromptu dates across America's East Coast to well attended and astonished audiences, including a selection of Tronics songs in the set, in a "lo-fi" style, sometimes using only one mic, as a gesture to early Tronics fans.
The events also included a live session on Jersey City's WFMU Radio, on the Cherry Blossom Clinic, with Terre T. There was a moment of tension during the show where Freakapuss, in the exuberant moment, didn't inform the station they would be performing a version of the Tronics song Shark Fucks. The station were on tenterhooks as Freakapuss began the song thinking Zarjaz would be dropping the "F bomb" 36 times. When it came to the chorus the song became Sharks Ducks and Terre T jumped up in relief shouting "DUCKS!!!".
On his return to the UK, Zarjaz left the New York label What's Your Rupture, who had been reissuing the Tronics recordings and reclaimed control of the catalogue. This once again left the future of Tronics releases open and uncertain, plunging Zarjaz into deeper obscurity, as well as plunging Tronics fans into dismay and consternation. It later emerged that the label manager had reneged on release and financial agreements, as well as being found to be impersonating Zarjaz over the Internet in order to fool fans and cultivate the impression that Tronics had reformed and were once again performing.
Tronics later resurfaced in 2013, on M'lady's Records, with two album releases. These were the vinyl debut of the cult 1980 Tronics cassette album Whats The Hubub Bub, and the album of rare and previously unreleased tracks Say! What Is This?
On 3 June 2017, with glaring electric blue eyes, Zarjaz Staged the Existentialist Extravaganza, at the Horse Hospital, London. This was an event, described as a meeting of beatnik styles and ideals. The night featured Zarjaz Baby, solo acoustic, Jon Slade / Knight of the Comet, acoustic, performance art by Diana Policarpo, Claire Potter and Emmy Beber, wearing costumes designed and constructed by Pil and Galia Kollectiv and Rosie Ridgeway, plus early 1960's European pop music.
Zarjaz fans around the
world often exclaim that his songs and music are some of the best ever
written, again leading to the question why is he so obscure? Whether it is his
own extremely eccentric, reclusive behavior or the music media's refusal / inability
to credit Zarjaz is open for speculation. Zarjaz certainly offers an interesting
view to the music scene.
In Zarjaz's own words, "I'm interested in mass appeal but not in appealing to the masses". He believes in talent and music before celebrity. Its easy to see why Zarjaz has not been such a great hit with some in the celebrity obsessed music industry. This gives us possibly some insight into why Zarjaz is more underground than underground.
"People try to control me. When I don't do what they want they try to teach me a lesson. I get that a lot." - Zarjaz |
Zarjaz music confounds any preconception, defies every stereotype and confronts all prejudices, especially musical ones. He cross references and represents many diverse styles, possibly more than any other recording artist around. Zarjaz is definitely one of the most creatively important artists to have emerged, at least from the UK, in the last 30 years. Zarjaz is a true achiever but at the same time he shows the true integrity many major artists pretend. He is also a remarkable and undeniable survivor.
In a Freakapuss article by Dale Shaw for The Quietus in 2013, the headline to the article asked "Is Zarjaz the biggest underground star in the UK?". Also in 2013, the esteemed music journalist James Wirth wrote in UNCUT magazine that it had taken the pop world 30 years to catch up to Zarjaz.
