VàVà Vol’s Vavaland - News, Videos, Music and Art from around the world: July 2024

Monday, 29 July 2024

One Year After The Death of Zïlon Lazer aka Raymond Pilon - July 29, 2024

Zïlon Lazer
Photo courtesy of Zïlon Lazer Circa 2000

One year ago Zïlon died. He was discovered unconscious and unresponsive in his Montreal apartment. The news that he had died didn't hit the internet and news media until three days later on July 29th, 2023. The art world was upended. The lives of those who knew and loved him were instantly shattered and broken. Like being sucked into one of his screaming tableaux, trapped by anxiety, grief and mourning. No exit!

The Sign of the Times

Zïlon was born in the 1950s and grew up in his nuclear family in the French Canadian city of Laval, Quebec. These were conservative times and nonconformists were not looked upon kindly. You either fit in, or you were an outsider. While the Cold War still hovered over lives and the real presence of a nuclear war threatened our existence, this just added more fuel to the flames of the times. The young Raymond chose the latter.

Zïlon Lazer
Photo courtesy of Zïlon Lazer

In 1984, he would express his defiance when he would write the cynical lyrics and music to 'Industrial Park', a tongue in cheek song about growing up in suburbia and having to conform to its unacceptable status quo.

Vava & Zilon - Industrial Park

The Formative Years

In the late 1970s, Zïlon and musician Michel Smith crossed paths as they shared a common interest in the experimental music of Terry Riley, Tangerine Dream and Fripp and Eno's 'No Pussyfooting' album. This would mark the beginning of his journey into his own experiments using tape tape loops and synthesizers. His AKS Synthi would become his 'weapon of choice' in the studio, at jams and on stage.

Zïilon recording and mixing his music in 1981
Photo by Diane Béatrice Lassonde © 1981

In the early 1980s, Zilon liberally exercised his artistic right to express himself by embellishing Montreal's downtown core with cans of black spray paint. Under cover of night, he would leave his signature screaming face and short stylistic slogans on every wall, doorway, nightclub bathroom, alleyway, and abandoned building he could. Years later, this graffiti art would be recognized as a valid form of artistic expression.

Photo courtesy of Zïlon Lazer Circa 1980

These were important times for the young assertive Zïlon and they would shape and define who he was in the burgeoning Montreal counterculture movement. Art and music meshed at his Graffiti Cocktail parties, the Piss Tunnel, the abandoned Queen's Hotel jams, random art installations, while working on his music at home and gigging as Vava & Zilon. The invincible Zïlon would put down his roots in this no holds barred movement. It would eventually propel him into his future with hopes, dreams, desires and inevitably, success.

Video clip of Maestro Zïlon Lazer making noise at a jam in the
Piss Tunnel under Park Avenue in Montreal.
Image by Paul Antoniadese © 1983

Zïlon was a frontline pioneer of the art and post punk/new wave scene that was growing across North America, the UK and Europe. He was firmly entrenched in Montreal's charged counterculture scene. He rubbed shoulders with Montreal's forward thinkers, as the up and coming artists and musicians descended upon Montreal's nightlife and held it for one decade. The 80s was the beginning of an intensely chaotic and improvise-as-you-go approach to music, art and lifestyle. Every man for himself, every band for themselves, do it yourself. The competition for gigs, exposure, press coverage, interviews, photo ops, tv appearances, music videos and the like was fierce. Zïlon, being a very savvy artist, took advantage of every opportunity the times had to offer.

Courtesy of Zïlon Lazer Circa 1980

Who is this Zïlon guy?

I'll never forget the night in 1983 when Zïlon walked into Les Foufounes Électriques while I was at work. He casually walked up to the bar and asked me if I would like to make music with him. I had never met him face to face but had heard chatter of his bad boy persona, the jams in dilapidated buildings and his nocturnal late night escapades, spray cans at the ready. While he was out on the streets doing his thing, I was gigging with The Essentials, Popstress and Duotang. I was finally taking a well-deserved break after 3 years of all this. I said "Yes"!

At Le St-Sulpice Patio after recording all day.
Photo Daniel Coté © 1983
Courtesy of Olivier Bergeron

Zilon was amazing to work with! We had so much fun together cracking jokes, naming our song with crazy titles like 'I've Got Gas" and making fun of the bridge and tunnel crowds who invaded our beloved Foufounes Électriques every weekend.

Vava & Zilon - I've Got Gas

Our recordings and mix-downs were live, intuitive one-take songs. The first song we recorded together was 'Fettucini Alfredo'. That day, the apartment studio had been emptied for some renovations, and our gear, the TEAC and the PA were in the hallway. We set up, did a quick soundcheck and hit 'record/play', vocals and all. The rest is history!

Vava & Zilon - Fettucini Alfredo

TEAC 4-track reels of our music recorded at our rehearsal
studio on the Plateau Mt. Royal in 1983. The first song
recorded, mixed & mastered was 'Fettucini Alfredo', on the large reel!
Photo by Vava Vol © 2012

Zïlon had a natural sense of where he was going with music and an extremely sharp ear. He loved mixing lo-fi with hi-fi. At that time, he had a drum machine which he ran through a digital delay, his Synthi AKS synth, a 2-track Fostex cassette Portastudio and a few mics. I had a Pro-One, a Korg PS-3300, a Korg VC-10 Vocoder and a 4-track Fostex cassette Portastudio cassette. It was a match from noise hell!

My Korg PS3300 Synth
Photo by Sophie Béllisant ©1990

Zïlon's AKS Synthi
Photo courtesy of Zïlon Lazer

When we jammed, there was no 'just a minute while I find my sound" delays. He jumped in with gusto and nailed it. Every sound he programmed was out of this world. He knew his instruments inside/out and it was obvious he had worked extensively with them.

Zïlon Lazer at work in the 1970s
Photo courtesy of Diane Béatrice Lassonde Circa 1978

We had the good habit of picking up metal junk from the streets and mixed those improvised beats and sounds into our music. Often times, we enhanced our live shows with our beautiful finds. We both liked to pound on metal. It was a great way to release our frustrations!

Vava Vol & Zilon Lazer at Les Foufounes Électriques in 1984

Factory 2 was recorded in an abandoned refrigerator building

in Montreal's East End. Stills are from live shows filmed by Paul

Zïlon also had an incredible singing voice He was very fond of Gregorian Chants and incorporated his take of them into our songs. He stunned a warehouse full of midnight jammers one night when he broke out into a Gregorian Chant soprano. We were absolutely stunned as no one had ever heard him sing like that! That's how he was. Intuitive, spontaneous and right on. You couldn't help but love him!

Zïlon sings is one of a series of jams he recorded in an

abandoned warehouse. Photos courtesy of Zïlon Lazer circa 1980.

Zïlon reminded me of The Hermit, an old soul in the body of a strong young man, mysterious and arcane, talented and luminescent. He lived in the now and relied on his inner self for guidance. There is only one time that is important and that time is now!

He had a confident calmness and a strange controlled energy buzzing around him. His strong inner light fueled his determination to overcome obstacles on his quest for success. His dazzling blue eyes glistened with great intelligence. They reflected his acute knowledge and skillfulness of the 'do it yourself' self made culture to which he adhered to his entire life. Zïlon renamed it 'do it for yourself'. He was easily misunderstood by many, but admired and loved by those who did. With a generous, warm-hearted and huge hart, there was nothing he wouldn't for those whom he loved.

The page turned when the 1990s eclipsed the 1980s. A stable full of new musicians, chomping at the music business bit eagerly burst through the floodgates. Anxious to get their cut of the explosive new music scene, they jockeyed for their places in the hall of fame and fortune. The influential 80s were gone, but never forgotten.

By then, Zïlon's notoriety had grown fast and furious as his provocative paintings caught the attention of the art world. His dream was about to come true!

To Zïlon Lazer

You never left your past behind

You were always true to you

You wore your heart upon your sleeve

'Til the very last breath you drew

I Miss You Z! - Love ~ Vava Vol

Zïlon Lazer
Photo by Leon Thomas © 1989
Courtesy of Zïlon Lazer

+*+*+*+*+*+*+*+*+*+*+*+**+*+*+*+*+*+

Random Photos - Enjoy!

Having a Happy Hour Bloody Ceasar at Cabaret Mado!
Photo by Vava Vol © 2009

Beautiful birthday present from Zïlon at a private b-day
din din with friends! What a sweetheart!
Vava Vol personal archives

A little toast to good health!
Vava Vol personal archives

Out on the town with Zïlon and Pierre Dorion
Photo by Vava Vol © 2005

Zïlon with Pierre Dorion at his 2005 show at René Blouin!
Photo by Vava Vol 2005

Zïlon, Georges and myself as Sensitiv Organz live
at Les Foufounes Électriques in 1986. In the middle of the show,
George broke a string on his guitar but didn't miss a single note as he
kept on playing til the bitter end! What a trooper!
Vava Vol 1980s archives

Video clip from an after show interview with CTV's - Montreal Art & Artists
at the Les Foufounes Électiques 1984
Filmed by Paul Antoniadese in Les Foufes' dressing room
Paul Antoniades © 1984

In 2015, the original Foufounes staff got together for
dinner in Montreal's East End and moved on to our
beloved stomping ground, Les Foufounes.
As we sat and had drinks,
Zïlon was approached by this young lad to draw on his skateboard!
Photo by Vava Vol © 2015

Zïlon graciously proceeded to do what he does best!
Photo by Vava Vol © 2015

While he chit chatted with the young couple,
he kept on doodling non-stop.
He was very happy to oblige the young couple!
Photo by Vava Vol © 2015

Hm-m-m!
Let me see what I can do on this side!
Photo by Vava Vol © 2015

Voila! Being the pro he was, it only took Zïlon a few
minutes to jazz up the bottom of the board.
Photo by Vava Vol © 2015

Fettucini Alfredo, cover and track art
for the intro song to our Montreal New Wave EP.
Zilon Lazer © 2016

Factory 2, song track art on our Montreal New Wave EP.
Zilon Lazer © 2016

Running Away From You, song track art on our Montréal New Wave EP.
Zilon Lazer © 2016

I Like Your Paintings, song track art on our Montreal New Wave EP.
Feat. Alan Lord with Vava Vol & Zilon Lazer
Zilon Lazer © 2016

Fettucini Alfredo, alternate cover and track art
for the intro song to the Montreal New Wave EP.
Zilon Lazer © 2016

I Like Your Paintings, alternate song track art on our Montreal New Wave EP.
Feat. Alan Lord with Vava Vol & Zilon Lazer
Zilon Lazer © 2016

Factory 2, alternate song track art on our Montreal New Wave EP.
Zilon Lazer © 2016

Running Away From You, alternate song track art on our Montréal New Wave EP.
Zilon Lazer © 2016

Celebrating my birthday at Montreal's Cabaret Chez Mado.
Vava Vol archives Circa 2000

Zilon's performance at Montreal's Krash in 1984.
He sang a 45 minute set to his pre-recorded music and kept
the audience hopping! Video still by Paul Antoniadese © 1984

Zïlon ... What Is Left - By Diane Béatrice Lassonde - July 25, 2024

It is with a heavy heart that I mark the passing of one year since the death of Zïlon/Raymond Pilon. He and I had an uninterrupted friendship that lasted 43 years, until his death. He ended his days exhausted, drained by the business of art and the world in which we live.

"I'm known but not renowned", he used to say. He couldn't understand how he still had to prove himself after nearly 50 years as an artist. What did he still need to prove? It was often said, if Zïlon had lived elsewhere, he would have been celebrated for his immense talent. When he went to New York in the '80s and stopped at Keith Haring's Pop Shop, he would say "that could have been me...".

Every New Year's Day, he would say, "This year is going to be the one. I can feel it.", because he'd been offered an important contract or promising projects. He believed in the spark that would light a blaze. Then one day, he stopped saying it. He told me: “I don't believe in it anymore.” He realized that the sparks were only misfires, extinguished as soon as they were lit.

When he was young, he worked on construction sites for a few months. To say that he was out of place and was cruelly reminded of it would be an understatement. In this hostile environment, he tried to gain acceptance among the workers by drawing caricatures of the bosses, which made his colleagues laugh. Art was his way of connecting. To be accepted. To be loved. On his terms.

In restaurants, he would draw on paper placemats and napkins. The waiters would often ask him for a drawing. He was always delighted to give them a gift. Zïlon was difficult to approach but had a gentle heart. He simply had to be won over.

He was among the collateral damage of Covid. Confinement killed him. Like being locked away and left for dead. Orwell's nightmare where life is dictated by the authorities in a bureaucratic hell. Forced isolation. Cutting all ties. No faces anymore. Just masks. For him, art was his way of reaching out. At the risk of sounding sappy, he perfectly illustrated the innate need to make connections by creating artwork. "That's all I know ", he used to say. Often that outstretched hand was a clenched fist. Some cannot grab onto life any other way.

He often said that he should have died in the '90s, before the world around us faded away.

A long time ago, he had a project where he went to a class of young people with special needs. He drew with them. He was blown away by their joy, as they marveled at the pleasure of colour and shapes on paper. For him, this was art in its purest sense. He stayed on a high for quite some time after this experience. But eventually, reality called him back to order.

He dreamed of one day becoming an old painter who would live secluded in his little house and spend his time painting simply for the love of painting, and perhaps have one exhibition a year. He could never reconcile his passion for creativity with the mercantile nature of the art business.

Zïlon had a highly compartmentalized life, and different groups rarely interacted. If they did, it was infrequent and short-lived. If you were part of one group you rarely shifted into another, because he guarded his truly private life from his acquaintances. Those he called his real friends could be counted on the fingers of one hand.

He cried out loud and clear to people who turned a deaf ear or were absent.

He spent much of his adult life battling panic attacks. This soon earned him prescriptions for Xanax and other benzodiazepines, for thirty years. Without hesitation, despite his predisposition to addiction, having an alcoholic father and a mother numbed by Valium all her life, without regard for the glaring risk this represented, he was kept on these drugs. Though he didn't commit suicide, decades of benzos took away his will to live. Towards the end of his life, he would often say, "I'm tired of living”.

Zïlon had a piercing lucidity. He used to say “A dead artist is a good artist.” He scoffed at posterity because he knew it was a farce. He knew that in the collective memory, too few will remember the person, and too many will remember the persona.

They say, 'Buy art from living artists. Those who are dead don't need money." And that’s so true. It's while they’re alive that artists’ achievements should be recognized, because once they’re dead what's left will be used to enrich the gallerists, agents, and self-serving opportunists. That's all there is to it. They are the only ones who gain from an artist’s death. And winning in death is no victory at all.

What remains after death are memories rooted in the souls of others, and if one was an artist, what he or she created should be part of our cultural heritage. An artist's work should be preserved and protected as cultural heritage, just like heritage buildings are. But the law doesn't give this protection to an artist's work. So there are those who will exploit it, monetize it and squander it. A few, here and there, will remember the emotion and the gestures and pay homage to the friend and his creative spirit.

Zïlon believed in friendship above all else. He refused to accept that we are alone in the world and that no one can feel the life of another. He would say, "If we're alone, then it's not worth living." He believed that the only true bonds were those of the heart, not of the blood. He always talked about creating his “tribe", friends who would have been there for each other, with integrity and loyalty.

The last time we spoke, on his birthday, which was also the day he died, he told me that he would likely end up in an old folks' home, and that if that was the case, he didn't want to make it to 70. Because he knew that years go by quickly, and he knew the fate of old people here. He had accompanied his mother during the last years of her life.

He liked to sleep. Even as a young man, when we lived together, he liked to take naps. He said he could escape all his worries. He often dreamed he was flying. I hope the last time you fell asleep for eternity you did so gently. I hope you found the peace you were looking for, my lifelong friend. I miss you.

Zilon...What is left By Diane Béatrice Lassonde

Monday, 29 July 2024

One Year After The Death of Zïlon Lazer aka Raymond Pilon - July 29, 2024

Thursday, 25 July 2024

Zïlon ... What Is Left - By Diane Béatrice Lassonde - July 25, 2024