From 1959 to 1965, he studied drumming with Arnie Frank, then Chuck Flores and then Art Anton at Drum City in Van Nuys, California. In 1963, he abandoned Judaism and began his lifelong relationship with world religions and esoteric systems. From 1966 to 1969, he performed in a jazz rock band with Carl Stone and James Stewart. After auditioning for Frank Zappa's Bizarre Records, the band ceased activities and both he and Stone began attending the California Institute of the Arts. After studying at CalArts from 1969 to 1970, he began producing works using the name S. Weisser, primarily concentrating on visual and sound poetries. In 1975, he was included in the "Second Generation" show at the Museum of Conceptual Art in San Francisco. He also became a member of Cellar-M, a musical project of Naut Humon. He would continue to work with Humon on various projects, such as Rhythm & Noise, until 1988. In 1976 he moved from Los Angeles to the Bay Area. A primary reason for this move was his association with the San Francisco alternative exhibition spaceLa Mamelle, run by Carl Loeffler and Nancy Evans. In 1977, he presented his first solo percussion performance at La Mamelle under the project title 'Sound of Wind and Limb'. In 1978 he began developing an idiosyncratic performance technique utilizing self-developed instruments formed from industrial materials such as stainless steel, titanium, and PVC plastics. Initially these instruments were assemblages of these materials, used with a movement-based performance style that was a form of marionette, although with the performer visible. He has since come to refer to this performance mode as 'wild-style', a term originally related to graffiti. At this time, he first began to perform outside of the fine art context, initially at the Mabuhay Gardens in San Francisco. In the fall of 1978, he began performing under the name Z'EV, which comes from the Hebrew name his parents gave him at birth. In November and December 1980, Z'EV opened a series of UK and European concerts in the first headlining tour of the British group Bauhaus. On that tour, and his first solo tour of Europe immediately afterwards, Z'EV introduced intense metal based percussion musics to the UK and Europe. Critic Jason Pettigrew attests to Z'EV's pioneering use of metal found object as percussion, writing: "Consider your music collection. Neubauten? Test Department? Z'EV's been there first.' In 1981, 'Shake Rattle & Roll', a VHS video documenting his first wild-style performance on the East coast, was released by Fetish Records in the UK and was the first 'music' / art video to be commercially released. In 1982 he worked with Glenn Branca for Brancas Symphony No. 2 in which Z'EV had a solo segment swinging with metal can overhead, and rattling chains and sheets of steel. After 1984, he concentrated on performing in a more traditional mallet-percussion style, albeit with highly idiosyncratic and "extended" mallet percussion techniques and his self-made or adapted instruments. Both performance modes,, have been described as cacophonous when considered in traditional Western musical terms, because of the dense elemental acoustic phenomena Z'EV's instruments produce. In point of fact, Z'EV doesn't actually consider the results as "music" per se, but more as orchestrations of highly rhythmic acoustic phenomena. From 1986 to 1990, he was a Guest Teacher in Composition and Improvisation at the Theater School for New Dance Development in Amsterdam. With dancer Ria Higler, he mentored a group through their entire four-year course of study. In 1990, he began working with Amsterdam house musician, DJ Dano. Their work, also in conjunction with Austrian media artist Konrad Becker, was instrumental in the emergence of the genres known as gabber and hardcore. His recordings have been released by C.I.P., Cold Spring, Die Stadt, Soleilmoon, Tzadik Records, Subterranean and Touch. Z'EV was injured in the 2016 Cimarron train derailment which took place near Dodge City, Kansas on March 14, 2016. After this incident, he continued to have health problems, but continued working. He lived for three months in the guest room of his friend Boyd Rice in Southern California. Afterwards, Z'EV traveled to Europe and was an artist in residence at the Porto-based sound lab Sonoscopia, where he built a number of percussion instruments.
