Big Thanks to AFRICAN PAPER:
German online music magazine African Paper posted a great review of Zeena's 'Bring Me the Head of F.W. Murnau". Scroll below for the English translation of the original German language review.
Digital downloads of the album are at Zeena Schreck Bandcamp.
Perhaps one has to be well-travelled to realize that they're one of those people who don't settle for the illusion of home - I'm talking about an illusion here insofar as the ideas you have about your own life, that are always illusory in a certain way - you can or want to let those illusions in. The famous silent film director Friedrich Wilhelm Murnau wrote to his mother from Tahiti, where he was shooting his last film Tabu, that he only felt homesick to a limited extent, because no country, no house, no person's companionship could really give him any sense of home. He became particularly aware of this on the island at the other end of the world, which he felt bewitched by.
The compact but intense sound collage-like album, which Zeena Schreck - formerly of Radio Werewolf - composed about a fictional post-biographical episode surrounding Murnau, with accompanying videos by a certain Tnopud Salocin, begins with an excerpt of this letter, appropriately framed by the sounds of tropical tides and delivered in a slowed down, androgynous voice. The haunting tale that forms the backdrop to the music is about the abduction of the director's head from the cemetery in Stahnsdorf near Berlin - something that some may think is an urban legend but that actually happened a good ten years ago, and so the master's homelessness outlasts his physical life.
A feature of the album is the constant blending of the director's life and work. “Ill Omens”, whose melange of alienated, perhaps sampled instruments is reminiscent of a slightly sepia-toned grey, could be a congenial score for the bizarre skull robbery, and yet the tension, the coarse-grained and flickering humming and hissing, after which only the death bell remains, is reminiscent of many a film scene from Murnau's oeuvre. "A Drive up the Coast" is like a peaceful little miniature [fairground]: organ and waltz rhythm evoke a carnival atmosphere, and when you hear the sound of rain and the honking of a vintage car toward the end, you might even think of California, where Zeena herself spent her early years.
While the first three tracks have an effect of a soft introduction, the rest of the compositions get more to the point. With ritualistic percussion by drummer Hisham A. Bharoocha, hand drums and rattles, odd reverbs and orchestral quotes, "Tabu," which contains lyrics from the film of the same name, is a furious celebration of the dark side of the exotic, and contains in Zeena's recitation the warning to respect the eponymous taboo. In “The Phantom Bridge”, which draws from a pivotal scene from Murnau's best-known film Nosferatu, the voice sweeps like murmurs through a room, flanked by dusty bright bells. In a whisper, the voice tells of unknown places and things, but also of life leaving the body, while water ripples in the background. For anyone familiar with Zeena's background in Vajrayana Tantric Buddhism, entirely different dimensions might open up here, in the vampire's quotes.
In the final track, “Endlich Daheim”, which opens with the rattling of an old film projector, and whose lyrics are by Zeena herself, the whole spooky story about the open grave is revealed, in which the director seems to have actually found his home, decades after his physical death.
“Bring Me The Head Of F.W. Murnau” is a beautiful, concise piece of music that wraps the aura of old, fantastic film scores in a delightfully experimental guise, and at the same time doesn't seem implausible for a second. All this and the appreciation of the master is in no way disturbed by the fact that the signature of the musician herself is always present and sometimes becomes explicit through small and not so small hints. The already mentioned echo of a faded fairground somewhere in Karloffornia and the reference to tantra could also be purely coincidental and a projection of the reviewer. Less so, however, is the title which refers to an early Radio Werewolf release (and indirectly to another classic film, Bring me the Head of Alfredo Garcia) - but at that time it was about the head of an unpleasant journalist.
When past and present, life and afterlife, one's own and the other's are intertwined in this way, it becomes clear once more how illusionary the perceptions of time, space and what one takes for the self are in the end. The fact that you can still feel Zeena and the world of Murnau throughout is not a contradiction in terms. -admin/African Paper
[Original German Version HERE.]
[posted by t.m.]
Easter with The Count:
Many thanks to Tnopud Salocin for his video mastery, perfectly synchronizing select clips from the classic 1922 Prana-Film* Nosferatu to my tone poems in 'Bring Me the Head of F.W. Murnau.' What better way to enjoy Good Friday and Easter weekend than with a haunting necromantic tale tracing the end of Murnau's life into his afterlife, all choreographed to the visuals of his centenary cinematic masterpiece! Embedded below are each of the videos or watch on auto-play at my YouTube channel.
Many thanks also to all who ordered the premiere 1st edition, signed and numbered series of BMTHOFWM, which are now sold out. More sonic magic is currently in the works!
[Digital downloads at Bandcamp or get the CD HERE]
*Correction made on 29.03.2022 to original text which mistakenly stated production company as 'UFA film.'
[Posted by Thomas]
[Posted by Thomas]
Celebrating the 100 year anniversary of F.W. Murnau's classic film Nosferatu:
Beginning Friday 4th of March, Bandcamp is waiving their artist fees for 24 hours - a perfect time to order Zeena's first solo release, 'Bring Me The Head Of F.W. Murnau: A Ghost Story in Six Acts,' available at Bandcamp in both digital download or in a digipak CD limited edition (including download code).
About the Album:
After a long career in collaborative music activities, this is Zeena Schreck's first entirely solo recording project, placing the collector value of this project in historical context. (To order from Bandcamp, click here or on the picture below.)
Released on March 11, 2020, 'Bring Me The Head Of F.W. Murnau: A Ghost Story in Six Acts,' was inspired by news reports that the director's head had been stolen from his grave in Berlin.
The tone poems in this recording are sonic necromancy, reflecting the transition from the end of Murnau's worldly life to what his disembodied consciousness may have experienced in the afterlife. Many of the intricate sounds heard in these tracks were captured in field recordings at Murnau's former residence in Berlin and at his grave site in Stahnsdorf, Germany.
All music and vocals composed and performed by Zeena Schreck.
Genres: Ambient, Avantgarde, Electroacoustic, Experimental, Minimalism, Sound art, Soundscapes, Tonkunst, Tone poems.
For more details on the backstory, and the making of the recording, here's an in-depth interview with Zeena by Nicholas Diak about this recording.
To order, click the picture below .
[posted by Thomas]
Film Review of 'Insidious': Zeena Interviewed about Astral Projecting through the Netherworld
Den of Geek magazine consults Zeena about Tibetan tantric Buddhist practices of astral projection and traveling though netherworlds in relation to the new film 'Insidious,' and its portrayal of a realm called 'The Further'.
Selected excerpts of Zeena's interview below.
The entire article can be read at:
DoG: Among true believers, “the Further” is also called Liṅga Śarīra, Akasha, and prana. But it’s probably best known as the astral plane, a shallow tag in itself.
“The term ‘astral plane’ is a poetic description, at best, or more accurately a misnomer,” says Zeena, a Tibetan tantric Buddhist yogini, and iconic occult authority and artist. “When our consciousness pierces the veil of our ordinary, everyday scope of perception, there are infinite other realities one might experience, not just one ‘astral plane.’”
DoG: In Insidious, the paranormal hunting psychic Elise explains that Dalton is a “traveler,” who was born with the ability to pierce that veil.
“Everybody possesses the potential for astral projection,” Zeena says. “It’s a natural part of being human, just as many other metaphysical or paranormal experiences can naturally occur. But the ability to actualize it is relatively rare, and the effects from the occurrences vary greatly depending on many factors.”
“Astral projection during deep states of unconsciousness like sleeping, fainting, or coma, could be achieved by a master of such techniques,” Zeena says. “For one who’s trained most of their life in the esoteric method of willed astral projection, and has become highly skilled in the ability to focus the mind under all circumstances, then deep states of unconsciousness wouldn’t impede their ability.”
DoG: Zeena confirms people can be guided through the experience, but insists “it’s a very delicate process requiring a qualified teacher from reputable metaphysical lineages that specialize in that. And even then, astral projection, or directing one’s consciousness, is not the main goal, but rather a way to gauge preparedness for more advanced training on the path toward spiritual enlightenment. When done improperly, the results of attempting astral projection simply for experimentation, entertainment, or curiosity can be disastrous.”
DoG: The different practices are often mistakenly considered interchangeable, but are quite different.
“With astral projection, one is sending one’s consciousness–either in part or fully–away from their body to a designated place or realm, in this world or others, for a particular purpose,” Zeena explains. “Remote viewing is when consciousness remains in the body but one can view anywhere else from afar. These two phenomena are also different from the involuntary experience colloquially known as OBE (out of body experiences), which usually spontaneously occurs in conjunction with trauma, near death experiences, or extreme stressors or ecstasy.”
[End of excerpts]
Tony Sokol at The Chiseler Online Magazine interviews Zeena about her memories of actor Christopher Lee:
The interdisciplinary avant garde artist spoke exclusively with the Chiseler about the legendary actor.
Zeena “met Christopher Lee as a result of being co-producer for the CD ‘Christopher Lee Sings Devils Rogues and other Villians.’ Specifically, I first met him at the apartment in Los Angeles that [former husband] Nikolas and I rented for him and his wife Gitte to stay in while we worked on the recording of ‘Christopher Lee Sings Devils Rogues and other Villains.’ ”
Long before Lee recorded with the symphonic power metal group Rhapsody of Fire, he was involved with “Christopher Lee Sings Devils, Rogues & Other Villains (From Broadway To Bayreuth And Beyond).“
“Nikolas knew of Lee’s love of classical music, opera and Broadway musicals. But at that time, the general public only knew Lee for his vampire roles and had little awareness of his musical talent and appreciation,” Zeena explained.
Lee maintained that his one regret was his decision not to become an opera singer.
“Nikolas conceived of the idea to spotlight Christopher Lee’s considerable singing talents,” Zeena said. “But he knew that to do that effectively, such a project would need to focus on musical selections one would automatically think of Lee singing, appropriately sinister villainous characters from Opera and musicals.
“Lee was very enthusiastic at the proposal. So it was through helping Nikolas with the planning, production and coordinating of that project that I got to know Christopher. We recorded it at a studio in Crossroads of the World in Los Angeles. A considerable amount of work and expense went into finding suitable, classically trained musicians and a musical director (Dean Shepherd, who was fantastic) who had the right skills and temperament to work well with Lee.”
The friendship endured long after the work was completed.
“We stayed in contact throughout the years following that album,” she said. “We’d see him whenever he was in Berlin for the Berlin Film Festival and the ‘Cinema for Peace’ benefit.”
“It goes without saying that Christopher was a very colorful person,” Zeena said. “But for me, the most interesting conversations with him revolved around his descriptions of his WWII work as a British Intelligence officer. He talked about parachuting into German enemy Waffen SS camps and, well, he did what the British government trained him to do, which was not pretty.”
“I got the impression he was still rather haunted, even decades later, by some of his experiences during the war. Even though he believed that what he did was for virtuous and just reasons,” she added.
“He definitely had an interest in magic beyond the roles he played,” Zeena said. “But we need to make a distinction between 'interest’ and 'involvement.’ He had no first-hand involvement in any magical, occult or satanic groups and even declined direct invitations from such groups.
“He liked horror fiction of authors like H.P. Lovecraft, Bram Stoker, Algernon Blackwood, etc. But that was purely a literary appreciation. He also had an interest in John Dee, The Golden Dawn and other 19th and early 20th century magical groups,” she explained.
“However, it should be stated that Lee had an interest in a wide variety of eclectic subjects, which had nothing to do with occultism. He was simply very well-read and inquisitive by nature,” she added.
Lee was in the enviable position to be able to satisfy his many curiosities.
“As a result of his years in British intelligence, he’d known figures like Dennis Wheatley, his cousin Ian Fleming, etc., and had heard of their experiences with Aleister Crowley. In fact he was lifelong friends with Dennis Wheatley and agreed with Wheatley’s views on the occult. But their friendship grew out of their mutual intelligence work, not because of occult or magical interests.
Christopher Lee was instrumental in getting Wheatley works to film. Wheatley’s The Forbidden Territory was made into a movie starring Ronald Squire as Sir Charles rather than Duke de Richleau in 1934.
“It was Lee who convinced Hammer films to buy the rights to Wheatley’s books for the films he would star in,” Zeena said. “But it should be clarified that Lee was very dismissive and wary of occultists, black magicians or satanists.”
During Zeena’s involvement in the Lee album, she had the opportunity to ask Lee about the rumor that her father knew Christopher Lee.
“When Nikolas and I got to know Lee, we were able to discuss this rumor with him in detail,” Zeena said. “Both Lee and his wife Gitte refuted the rumor vehemently. Lee explained that, as a result of working on the U.S. TV movie Poor Devil, with Sammy Davis, Jr. (who became a Priest in the Church of Satan), Davis tried to ingratiate Lee into accepting an invitation at the behest of my father, offering Lee a copy of The Satanic Bible, personally inscribed and signed by my father.
“Lee still had the book in his collection and, on one of Nikolas’s visits to London for preparations of the CD, Lee showed Nikolas the book referring to it as a cheap paperback from the '60s witchcraft fads. Lee didn’t take it at all seriously,” Zeena said. “His wife Gitte recalled another time they visited Sammy and his wife Altovise in Los Angeles, when again Sammy tried to serve as middle-man between Dracula and the Black Pope, and again to no avail.
“Lee had no interest. He said Sammy was nuts about my father but Lee saw my father as a 'Johnny-come-lately opportunist and con-man’ within the occult. Lee expressed that he had no intention of ever meeting LaVey. Then, Lee pointedly looked me in the eye and said 'I’m very glad that you had the sense to get out of all of that destructive rubbish,' expounding on what he called 'the ruinous effects of that type of belief system.' ” she concluded.
The levelheaded enchantress also got to see the work that went into his actor’s preparation.
“Lee took personal responsibility to research his roles, to learn what he could about the characters and the historical context, in order to bring a more believable performance to each character,” Zeena said. “His interest in devilish and monstrous roles was purely a matter of aesthetics and literary appreciation - but not at all a personal lifestyle.
“I think he considered the villainous roles he played as having allegorical and moral significance. Sort of like morality tales for a new generation. I don’t think he expected to actually inspire people to want to become the characters he played. He was part Italian and had a very strong sense of religious moral ethics. So even though he befriended Wheatley and personally researched the villainous roles he would play, it was really out of a dedication to portray those roles in as real a way as possible, to understand those characters from their own points of view and to make them believable,” she said.
[End of excerpts]*
*THERE'S EVEN MORE TO THIS ARTICLE - READ THE FULL INTERVIEW HERE
Originally posted to Chiseler on June 9, 2015
New: Review of 'Bring Me The Head of F.W. Murnau” in German Culture Journal, Raben Report.
Many thanks to Dominik Tyroller of Raben Report for his great review of Zeena's new EP! [Click here for original German version.] English translation below:
“Why I came to this CD is immediately apparent when you take a look at the artist behind this music project: Zeena Schreck. I have been following the numerous works of the polarizing Femme Fatale Infernale for years (including in the review of her book "The Zaum of Zeena") and respect the extensive creative expression that the artist was able to express in many areas (something that I absolutely recommend to everyone). Whether in the form of graphic design, writing texts, making music or also leading / accompanying / elaborating complex rituals / magical ceremonies, Zeena Schreck's creative work in and on a wide variety of media is truly varied and expressed itself in this complexity, among other things also in the works in the band "Radio Werewolf", alongside her then partner Nikolas Schreck, one of the cornerstones of the dark ambient and (ritual) industrial genres.
Within this concept album, with the interesting title ”Bring Me The Head of F.W. Murnau ”, Zeena Schreck releases her first work in the dark ambient sector after many years. In addition, this album is her first ever solo release. Zeena dedicated this album to the life and work of the legendary German film director Friedrich Wilhelm Murnau and the creepy fact that Murnau's head was actually stolen by unknown people from his grave in Stahnsdorf (near Berlin) in 2015 and has since disappeared to this day ...
Murnau's cinematic works, which were primarily in the horror area, are still considered pioneering and still inspire this popular genre to this day, and not just in the medium of film, but far beyond.
Zeena Schrecks ”Bring Me The Head of F.W. Murnau ” [EP] consists of six musical pieces, individual acts to a ghost story, as expressed on the album in musical form creating frightful realms and atmospheric horrors for the listener. The six pieces together have a playing time of 18 minutes 21 seconds.
The eerie start to “Bring Me The Head of F.W. Murnau” comes in the form of “ A Letter To Mother,” in which an extract from one of Friedrich Wilhelm Murnau's letters to his revered mother is recited in a really uncanny voice. In this document, which was made in Tahiti while filming Murnau's last film "Tabu" (1931), Murnau's thoughts are both about the fascination of the exotic island, but much more about the homesickness that plagues him so much.
The following "Ill Omens" bleeds a true horror atmosphere and brings to mind the moody quality of Murnau's films. For me, this song is also the quintessence of this concept album and hits the nail on the head.
The following "taboo" immediately gets to the point, which kidnaps me into damp cemetery dungeons haunted by female horror phantoms. Zeena's voice, in combination with the drums, transforms the piece more and more towards the ritual atmosphere.
Significant to the atmosphere in V "The Phantom Bridge," is Zeena's chant, which in some places whispers an ASMR mood. The fifth title is therefore rather calm and almost relaxing. In terms of content, “The Phantom Bridge“ is dedicated to F.W. Murnau's pioneering film "Nosferatu - A Symphony Of Horror" (1922), in which actor Max Schreck in the role of Count Orlok who affects and inspires the look and manner of vampires in pop culture to this day.
Zeena Schreck's ”Bring Me The Head of F.W. Murnau ” offers a seamless horror atmosphere, especially with suitable framework conditions (darkened room, no disturbances), and is therefore recommended to dark ambient fans but also to friends of soundtracks (regardless of whether from films, video games etc.) and anyone who wants an atmospheric musical background for suitable scenes (e.g., for Pen-&-Paper und LARP role-playing games).
And of course, the topics presented on the album would also appeal to friends of classic horror films from the 1920s and beyond, because in my opinion (at least as far as the majority of the pieces on the album are concerned) they also convey the spirit and atmosphere of these films really well.”
-- Dominik Tyroller
To read this review in original German version, click HERE.
To order the signed & numbered limited edition of this CD, go HERE.
[Scroll down to see a personal message from Zeena.]
Those who pre-ordered the digital EP from Bandcamp, check your email as you'll receive the new release via download link that's been sent directly to you. Those who pre-ordered the limited edition, signed and numbered physical CD, your orders were sent as soon as they came in; you should have them any day (if you haven't already).
There are still some limited, signed & numbered CDs available HERE!
You can sample tracks on the Zeena Scheck Bandcamp site at:
FOR REVIEW COPIES of the physical CD and/or Interview requests to Zeena, please write to: firstname.lastname@example.org
FOR SHOPS AND RETAILERS and any questions regarding your order, please write to:
A Message from Zeena:
"My heartfelt thanks to all you sweet, kind patrons of the arts who already pre-ordered my debut solo EP! I recognize so many of your names and have wonderful memories of your kind support over the years! Honored to have such a wonderful, eclectic following of alternative music aficionados. It's thanks to people like you who keep independent art and artists going! Some of the initial impressions shared with me have given me such joy and even greater, creative inspiration! By all means, feel free to post your impressions of my new CD publicly too - in comments below or anywhere on my online sites!
Thank you again and may the light of the Morning Star shine brightly upon all of your paths toward Liberation and Enlightenment!"
NEW YORK, April 17 Tony Sokol interviewes Zeena about Master of Dark Shadows documentary; a loving look at the iconic '60s TV series Dark Shadows, a Dan Curtis production[...] Demons of the Flesh author Zeena, an icon in the real magical world of the sixties, told Den of Geek, "Probably for many, Dark Shadows was a gateway-drug to becoming a budding occult explorer," the interdisciplinary artist and world renowned tantric Buddhist mystic continues. "The '60s were a weird window in time of occult explosion, where portals to dark mythologies could just open up to you through your prime-time TV screen, or daytime soaps as was the case with Dark Shadows. A manifestation of that particular Zeitgeist."
Read the FULL INTERVIEW HERE