Many thanks to Nicholas Diak for this fantastic review and exclusive interview with Zeena about her new music! [Re-posted below from the original at Heilige Tod - Interdisciplinary Analysis of Neofolk Music.]Bring Me the Head of F.W. Murnau can be purchased digitally at Bandcamp or in physical format at this site. Review and Interview: Zeena Schreck and her debut Bring Me the Head of F. W. Murnau Tuesday, August 4, 2020 by Nicholas Diak During the summer of 2015, the skull of German silent film director F. W. Murnau was stolen from his tomb. Remnants of wax from lit candles present at the scene spurred the hypothesis that occult work was afoot while the macabre nature of Murnau’s stolen skull drew parallels to his legendary horror output, in particular his influential expressionist film, Nosferatu, eine Symphonie des Grauens (1922).(1) Shortly thereafter, inspired by the event, multimedia artist Zeena Schreck announced a “sequel to Radio Werewolf’s mystical, musical piece Bring Me the Head of Geraldo Rivera” that would be appropriately titled Bring Me the Head of F. W. Murnau.(2) Five years later, Bring Me the Head of F. W. Murnau (BMTHOFWM) was released in March of 2020.  BMTHOFWM marks the first studio release proper of Zeena performing music solo. Prior to this EP, Zeena had been a part of many musical collaborations and projects, such as Radio Werewolf, and had released some of her live ritual performances, such as her appearance at Wave-Gotik-Treffen, on compilations and YouTube. Per Zeena in regard to releasing a concept album instead of an album of her ritual performances: “I definitely have future recording plans which will be in the areas of dark ambient and ritual music. [T]his first solo release was experimental in the sense I'd never done such a precise theme as concept album like this before. I like working within specific parameters though. Even in past recordings, when it might not seem obvious, I've almost always had in mind a particular framework within which to create the music. But this album was much more of a specific theme than I would normally do.”(3) BMTHOFWM certainly has a thematic laser focus, concentrating on Murnau and some of his films, while capturing a certain silent film aesthetic, though paradoxically, with sound. Zeena pulls this feat off – a silent film with no images but instead with sounds – by incorporating elements of field recordings, minimalist-industrial, exotica, spoken words, and incantations, in conjunction with the brilliant German expressionist/Caligari style artwork that emblazons the release’s cover art that evokes some of the classic horror posters of the era. Though Murnau is the subject of the EP, the filmmaker did not have a strong influence on Zeena at the beginning of the project: “[Murnau was] not a huge influence. It was only his films Nosferatu and Faust that I had known and really liked since childhood, when they'd play on late night TV. I knew he'd worked with the occultist artist/architect Albin Grau on the sets for Nosferatu but working with an occultist doesn't automatically make you one. There is also the tie-in of my last name being the same as the actor who played Count Orlok, Max Schreck, in Murnau's most famous film Nosferatu. I'd also remembered the scandalous rumors about his untimely death that my godfather Kenneth Anger wrote of in Hollywood Babylon, rumors which, by the way, I've since learned weren't true. But aside from these things, I hadn't much knowledge of his life prior to embarking on this project. I know far more about him now. Originally, I'd planned that this [release] was only going to be a single; not more than a two-track novelty piece inspired by a quirky event. But then, as I began researching more about Murnau and put flesh on the bones of this project, certain metaphysical portals started opening up. More material for more tracks developed than could be narrowed down to just a single. Yet I didn't want this to be a full album either. So, the logical middle ground was to make it an EP.”(4) Through the process of researching Murnau, Zeena also visited the director’s home and his grave, gathering field recordings that would be incorporated into the compositions of BMTHOFWM: “[I] intermingled various sounds from both locations in just about every track except the opening one, ‘Letter to Mother.’ Some of those field recordings were used in a straightforward manner, such as a fox barking, birds singing, the sound of some machinery or a metal gate clanging. Those can be detected fairly clearly enough. But other sounds used, I distorted in the editing to achieve certain auditory effects. When I visited Murnau's grave, for the photo shoot to the CD, I was focused on getting the photos but hadn't intended on capturing field recordings at the same time. I'd already compiled field recordings taken at the former Murnau house in Berlin, which coincidentally happens to be right in my neighborhood. In addition to that, I'd painstakingly searched for specific samples corresponding to the exact years of Murnau's creative life and his death, such as the sound of the precise year and make of the car he was in when it crashed, leading to his death. Or a snippet of a song that would've been popular at parties in Hollywood that he may have attended. Things like that.   So, getting back to the cemetery field recordings: It was only by fluke, while taking photos at Murnau's grave, that my camera accidentally engaged the video record. It wasn't until later that day, when downloading my data from the day's shoot, I realized I'd inadvertently gotten some unexpected and pretty interesting sounds while at the grave. Luckily, there was still time to mix those in before the final edit and mastering. For some unknown reason, I've always had strange energy clashes with electronic devices; something's always malfunctioning with them in my case. I've come to expect these ‘accidental’ recordings of environment sounds, with both my audio recorder and my cameras video setting. Whenever it happens, I always discover something interesting, humorous or just uncanny and bizarre that gets added to my sound library. This reveals how much is occurring all the time that we humans normally filter out but which, when cut out of the normal flow of everyday life, can be wonderful auditory meditations. I'm sure that those unexpected sounds at the cemetery made a difference in enhancing an underlying eerie quality to the whole thing.”(5) Zeena’s field recordings directly tie into her concept of “sonic necromancy.” These field recordings she gathered communicate an additional essence of Murnau that would not have been present otherwise: “Sound art differs from conventionally composed music in that soundscapes are generally thought to be like paintings done with sound rather than matter. They may or may not necessarily tell a story. In this case, however, there is story. Between many years of magical ritual practices, as well as early-life theater and film training, which includes techniques in character development, sense memory and improvisation, a fusion of disciplined training in all these areas creates conducive conditions for summoning of the dead. While my magical training and ritual experience is probably more generally acknowledged than my theater training, I mention the latter only in relation to this music project because I'm playing various characters or roles throughout. Whether we are hearing Murnau's own thoughts in the opening and closing tracks, or the female Angel of Death who's come to usher Murnau away from this worldly experience, or the ‘bardo beings’ who inhabit the intermediate state between the end of one life and the beginning of the next. All of those voices are different characters revealing different levels of metaphysical existence and understanding.”(6) If BMTHOFWM sounds like a multifaceted release, it is because it certainly is. Though the EP only contains six tracks and clocks in at roughly 18 minutes, it is compact in its sound design, atmosphere, and ambitious scope. The first track of the EP, “Letter to Mother,” has Zeena reciting a letter Murnau wrote to his mother against a background of crashing waves. In this track, Zeena channels her aforementioned acting chops, mimicking a deeper voice that would be Muranu. It is a somber recital that sets a melancholy mood that permeates the release. Track two, “Ill Omens,” runs with this melancholy with a peppering of something menacing or foreboding. It is a track that is minimal on sound, but high on atmosphere. Closing one’s eyes, one can picture an old film with a scene of tiptoeing through a cave or a dimly lit forest, illuminated day-for-night style, while a Harryhausen-esque monster waiting to emerge from the shadows. The third track, “A Drive up the Coast,” chronicles the last moments of Murnau as he died in an auto accident while traversing the Pacific Coast Highway near Santa Barbara in 1931. The track begins jovial, with organ music composed by Zeena that evokes a funfair or a period appropriate party in the background. Sounds of an open car window woosh by before (spoiler alert!) the sounds of accelerations, followed by a scream, tires screeching, and a crash. Track four, “Tabu,” is a reference to Murnau’s final film, Tabu: A Story of the South Seas (1931) that was released shortly after his death. An early tiki film, the story depicts two lovers, Reri and Matahi, as they try to escape Reri’s fate of being made into a sacred maiden for their island’s deities. The first half of the song is the most industrial-sounding music on the EP, with some minimalist piston-percussions. The last half of the song switches gears to the exotica genre, with primitive drumming and shakers, that channels the likes of Martin Denny and Les Baxter. Over the music, Zeena, reaching into her experience of performing incantations, recites the same decree that was uttered in Tabu that denoted Reri as forbidden, and not to be touched by any man. “The Phantom Bridge” is the EP’s fifth track and this one digs right into the vampiric roots Murnau is best known for. A spoken word track, Zeena recites some of the inter titles from Murnau’s Nosferatu which in turn were taken from Stoker’s Dracula. The music in this track is, as the title suggests, ghostly, with spirituals wisps, shackling noises, tiny bells and chimes. The EP’s final track, “Endlich Daheim,” is perhaps the most ambitious track on the album, that not only underscores Murnau’s career, but demonstrates Zeena at her most artistic. Prior songs on the EP has Zeena reciting texts from other sources while “Endlich Daheim” contains both original organ music and lyrics by Zeena, sung in a haunting and beautiful style. A sound of a 1920s projector starting up beings the track with the music proper evoking the feelings of being at a funeral - Murnau’s funeral - with Zeena’s poetry acting as a eulogy. The end result is that BMTHOFWM is a superb solo debut for Zeena and an excellent experimental release all around. Atmospheric, haunting, and magical, but also cinematic and fully versed in filmic pop culture that it celebrates. Born from a macabre act of stealing the skull of Murnau, the EP easily could’ve embraced grotesquery or morbidness, but instead the CD comes off as sincere. Aside from these observations, Zeena herself had her own goals for the release: “Well, after a few years of unexpected obstacles, as well as unexpected serendipitous occurrences which led to creating much more material for this than I'd originally planned, I guess the main thing I wanted to accomplish was getting it completed at all! Jokes aside, the fact is, there's still someone out there who has taken and kept the skull from Murnau's grave. This is at the heart of the project. I wanted to pull all of the unusual elements surrounding this case together into one cohesive creative expression. The music in this project is created to facilitate opening the mind to all possible questions surrounding that event, and even to, on a transcendental and metaphysical level, provide even bigger answers.”(7) Five years after the act, the mystery of who absconded with Murnau’s skull remains unsolved. Of course, thoughts have drifted to Schreck as a possible culprit, which she both playfully and adamantly dismisses: “[S]ince many have already jokingly asked me – let's nip this in the bud right here – NO, it wasn't me!”(8)  Sincere thanks for Zeena Schreck for allowing me to interview her for this writeup and providing the images. All images used in this article are copyrighted by Zeena Schreck and used with permission. More information about Zeena and her projects can be found at the following websites and social medias:
Website: https://www.zeenaschreck.com/ Facebook: https://www.facebook.com/ZEENA.Official.ZeenaSchreck/ Instagram: https://www.instagram.com/zeenaschreck_art/ Bandcamp: https://zeenaschreck.bandcamp.com/releases YouTube: https://www.youtube.com/user/ZeenaSchreckOfficial Endnotes 1. Nigel M Smith, “Nosferatu director’s head stolen from grave in Germany,” The Guardian, last modified July 14, 2015, https://www.theguardian.com/film/2015/jul/14/nosferatu-director-head-stolen-germany-grave-fw-murnau. 2. “Coming Soon From Zeena Schreck: Bring Me The Head of F.W. Murnau,” Heathen Harvest, last modified July 21, 2015, https://heathenharvest.wordpress.com/2015/07/21/coming-soon-from-zeena-schreck-bring-me-the-head-of-f-w-murnau/. 3. Zeena Schreck, email message to author, June 16, 2020. 4. Ibid. 5. Ibid. 6. Ibid. Bibliography “Coming Soon From Zeena Schreck: Bring Me The Head of F.W. Murnau.” Heathen Harvest. Last modified July 21, 2015. https://heathenharvest.wordpress.com/2015/07/21/coming-soon-from-zeena-schreck-bring-me-the-head-of-f-w-murnau/. Schreck, Zeena. Bring me the Head of F. W. Murnau. KCH KCHCD01. 2020. CD. Smith, Nigel M. “Nosferatu director’s head stolen from grave in Germany.” The Guardian. Last modified July 14, 2015. https://www.theguardian.com/film/2015/jul/14/nosferatu-director-head-stolen-germany-grave-fw-murnau. Posted by Nicholas Diak at 6:58 PM
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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: [Excerpted] “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.  The Album 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. [...]  Conclusion
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. As we're upon the The Witching Hour of Walpurgisnacht, I'm sharing how I celebrated this holiday twenty-eight years ago in the Harz Mountains of Germany. Filmed in 1992, this footage is of the first public Walpurgisnacht festival after decades of being banned by the former DDR. The footage is from my film 'Germania: The Theory of Ruins'. Some described this scene as eerily reminiscent of the Danish silent classic 'Häxan', but in color. While this world-wide pandemic has had varying effects on everyone, and public events must now be cancelled, we can take heart in the fact that for many years, many people weren't able to partake in the sort of celebration shown in this video. If they were able to maintain a continuum to their spiritual roots and folk traditions, even if practicing privately, certainly we too can find ways of making the best of this holiday. Whatever you do tonight, worldly or other-worldly, may you have a very wonderful Walpurgisnacht and May Day! Many blessings and stay well! --Zeena Details:Walpurgisnacht 1992 is an excerpt from the Originally titled GERMANIA: The Theory of Ruins, A Film by Zeena Schreck.
In 1992, during a pilgrimage to several Germanic pagan holy sites, Zeena filmed scenes at the first publicly organized Walpurgisnacht celebration in the Harz Mountains since WWII. In an attempt to remove all traces of religion, including pre-Christian Germanic pagan customs, from the East German Democratic Republic (DDR), public Walpurgisnacht celebrations were banned. Therefore, this footage is a pure document of the people in the Harz region of Germany - the original birthplace of Walpurgisnacht - reviving a long lost tradition, pieced together from scraps of relics and memories from the elders of their community. An exhibit in the Walpurgishalle was held that year to display Walpurgisnacht folk costumes and decorations which had been gathered from cellars and attics, unused for decades. The twilight performance footage seen here was held at the outdoor theater, Das Harzer Bergtheater, on the Hexentanzplatz. From these modest beginnings, the Harz Region now enjoys a thriving tourist industry dedicated to the magnificent Walpurgisnacht festivals they host every year. For information visit www.harzinfo.de Music in this video is Die erste Walpurgisnacht, Op. 60, Ouvertüre: I. Das schlechte Wetter (Bad Weather) by Felix Mendelssohn. Performed by Kurt Masur, Rundfunkchor Leipzig, Gewandhausorchester Leipzig Video footage copyright Zeena Schreck 1992/2020 All rights reserved. [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: https://zeenaschreck.bandcamp.com/releases FOR REVIEW COPIES of the physical CD and/or Interview requests to Zeena, please write to: info@zeena.eu FOR SHOPS AND RETAILERS and any questions regarding your order, please write to: kch_info@yahoo.com  Cover art for Bring Me The Head of F.W. Murnau by Ben Vaughn Zeitlin 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!" --Zeena  All of the limited edition orders come with a post card sized flexi-magnet featuring the CD cover and other promo stickers! A personal message from Zeena: Malalai Joya Greetings! I'd like to share an important three-part film project, which I endorse, called "Women vs. Warlords". The film aims to bring greater world-wide awareness of the struggles and oppression of Afghani women under the current Taliban rule. The most urgent goal right now is for filmmakers Diarmuid Brannick (Co-ordinator) and Tim Hood (Camera Operator, Director) to get into Afghanistan next week to interview Malalai Joya, activist for women's education and literacy in that country. An extremely risky undertaking as Malalai Joya has suffered assassination attempts; a risk which could extend to Western filmmakers attempting to reveal the current plight of women in Afghanistan. My reasons for endorsing this project: Bamiyan Buddha, 1963 The Afghanistan region gave birth to the origins of Tibetan tantric Buddhism as we know it today; a religion of peace, loving-kindness and in particular, reverence for the feminine principle within the mystical practices of tantric Buddhism. Prior to the Islamic conquest of Afghanistan between the 7th to the 10th centuries, Buddhism was a major religion in the region. Around the beginning of the 21st century, among other oppressive and destructive actions, the Taliban destroyed two of the largest and oldest Buddha statues in existence, dating back to the 6th century, C.E., a blatant display of disregard for world protests and world heritage sites.  Guru Padmasambhava The Buddhist Master Padmasambhava (or Guru Rinpoche) was born in the 8th century in South West Odiyana, also known as Lake Danakosha, located on the Afghanistan-Pakistan frontier. Padmasambhava brought tantric Buddhism from this region to Tibet and as a result Tibetans consider him “the second Buddha” to the Buddha Shakyamuni. Tibetan Buddhism is one of the few world religions which reveres its female religious leaders, feminine deities, Buddhas and Bodhisattvas, dakinis and yoginis equally to their male counterparts. As a Tibetan Buddhist yogini who has been initiated in the mystical practices and teachings originating from this region, I believe that the empowerment of the women of this sacred land to be of utmost importance. The full description of this ambitious project can be read at THIS LINK. (An excerpt is posted below.) If this project moves you as it did me, please consider any donation toward funding - it would be greatly appreciated! Thank you for taking the time to read this! OM MANI PADME HUM and Š-L-M ~Zeena An Excerpt of the Filmmakers' Description:Today in Afghanistan women are fighting for their lives, for their future, for everything. We are seeking to send an Irish film crew, 2 people, to Kabul, Afghanistan for 4 days in late December 2019 for the purpose of conducting an extended interview and short film with Malalai Joya, a prominent human rights and literacy activist, who despite assassination attempts and smear campaigns continues to fight for her people. Description The interview will be the first in a planned series of feature length interviews with three of Afghanistan's bravest women: Previously mentioned Malalai Joya, Journalist and women’s rights activist Farahnaz Forotan and celebrated educator Dr Sakena Yacoobi. The focus of these in-depth conversations; the fight for women's rights and the power of literacy in that fight. By amplifying the voices of these women, starting with Malalai Joya we seek to strengthen their resolve, the resolve of their supporters and share a deeper more intimate insight into their lives. With the emerging presence of Islamic State in Afghanistan and the US negotiating with the Taliban, supporting, safeguarding and emboldening female leaders in the country is the single most important thing we can possibly do. […] Afghanistan is widely considered to be the worst place in the world to be a woman, and is one of the only countries in the world with a higher female suicide rate than male. The situation for some women and girls is so bad they actually set themselves on fire in desperate protest or as means of ending their lives. Amid government failure, among the fundamentalists, warlords and criminals battling for control and resources, through the years and different phases of dominion, despite widespread unquestioned misogynistic traditional beliefs many ordinary Afghans, especially women have risked their lives to empower their people. They have risked their lives to bring the light of literacy and smash the bonds of subjugation. Please support us! [End Excerpt] Update DECEMBER 16, 2019 by Diarmuid Brannick, Organizer We have just over €2000 left to raise, all our costs have been brought to bare minimum to make this important project happen. If you can pledge a final donation or know anyone who could, please ask them. €10 or €20 at this point from enough people will make it all possible. Thank you! Detailed information in this link: https://www.gofundme.com/f/women-v-warlords  Beginning NOW until Monday Dec 2, use this code: blackweekend19 |
| 2020 Calendar - Meditations on Death and Impermanence by Zeena - with autograph option. Whatever your religion, sexual orientation, race, or political leanings, there is no escaping the one great unifier: Death. Each image reveals Zeena's eye for minimalism, composition, symbolism and tableaux. Several of the artist's first-hand experiences from serving as death's midwife to humans and animals are revealed.  'To Remain Silent' - Unisex T-Shirt this image is one of nine in Zeena's photo montage/mixed media suite entitled, "God Bless Charles Manson" from 2009. It features a quote by Ezra Pound that Zeena found fitting to the conditions of both animals and humans who are on death row.  The Vinyl Solution - Analog Artifacts: Ritual Instrumentals and Undercover Versions – CD, with autograph options. This CD compiles newly remastered re-releases of 12 ambient sonic magic tracks from Zeena and Nikolas Schreck's rare Radio Werewolf vinyl recordings between 1989-1992 as well as 2 bonus tracks never previously released to the public by Radio Werewolf.  SLM Polo - Black. The SLM symbole, signed by Zeena for the Sethian Liberation Movement, is embroidered directly onto this polo and is a discrete way to show your solidarity with the The Awakened One, the SLM and Hemet-neter tepi Seth.  | Supposing truth to be a woman. This original illustration by Zeena was published in Exit Magazine, Issue #5, 1991. George Petros (founder of Exit), described his magazine as “… an outlaw Pop Art magazine in opposition to both the underground and the establishment." For this issue, the theme was Friedrich Nietzsche. Various Nietzsche quotes were assigned to notorious underground artists to illustrate.  Dakshineswar - Kali & Shiva Unisex T-Shirt. This is one of Zeena's illustrations for her book 'Demons of the Flesh, now for the first time, this vibrantly colored piece is presented in its original form for this shirt.  Kiss Kiss...Bang Bang from the Retro-Zeena Collection. This 1988 photo of Zeena was later featured on the cover of 'Beatdom' magazine Crime Issue #12.  Vintage Original Radio Werewolf Poster-Summer Solstice 1991. This concert was the first of many cancelled by local city government officials. The reason given was that it would be ”Jügendgefährlich” ("too dangerous for youths").  |
At long last, IT'S ALIVE! Congratulations to Mikey Bean for his long awaited mammoth, encyclopedic documentation of the roots of the Los Angeles deathrock scene, which was an integral part of the later goth movement. Within the 630 page history, is full chapter on Radio Werewolf which includes an exclusive interview with Zeena (sample pages below).
Can be purchased NOW directly at: http://www.lulu.com/shop/mikey-bean/phantoms-the-rise-of-deathrock-from-the-la-punk-scene/paperback/product-24320734.html
Book description and product details in screenshot below.
Can be purchased NOW directly at: http://www.lulu.com/shop/mikey-bean/phantoms-the-rise-of-deathrock-from-the-la-punk-scene/paperback/product-24320734.html
Book description and product details in screenshot below.
On this day, to commemorate the 100th Armistice Day, Zeena issues a highly personal glimpse into her first hand experiences of death and impermanence. This limited edition 2020 calendar features solemn yet beautiful reminders of Impermanence in its many guises. Whatever your personal battles, great or small, we all experience the same pain, grief and suffering from death, loss and impermanence. Whatever your religion, sexual orientation, race, or political leanings, there is no escaping the one great unifier: Death.
Most prefer to look away from that truth, or conversely attempt to glamorize, parody or mock such uncomfortable realities. Yet this beautifully printed, gallery quality art calendar doesn't pander to the ironic or flippant but looks at the greater meaning of death and impermanence in a compassionate and bare manner.
Each image reveals Zeena's eye for minimalism, composition, symbolism and tableaux. Several of the artist's first-hand experiences from serving as death's midwife to humans and animals are conveyed. April hints at the life-long trauma to civilian children of war in a still life comprised of WWII souvenirs of the boy, Bernd-Peter S., who wrote in his Tagesbuch of the ordeals he and his classmates endured through the end of the war. In March, we see a religious funerary rite for a loyal canine, Manfred. In October the cremation of feline familiar Mephisto, captured on film, through the small cremation viewing hole. July was the birth month of Zeena's friend, the multi talented musician John Murphy; her stark portrait taken shortly before his untimely death. To all the aforementioned Zeena performed traditional Tibetan Buddhist death rites. These and all the other months are visual reminders on the constant, unpredictable and uncontrollable cycles of life and death.
This calendar is printed on fine art quality Premium Paper suitable for cropping and framing after use.
Dimensions: 200x300mm / 8”x11½”
Personalized autograph option available in the drop-down menu at this link:
https://www.zeenaschreck.com/store/p46/2020-Calendar-Meditations-on-Death-and-Impermanence-by-Zeena.html
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  | This classic horror-themed collectible mug is perfect for Halloween or any time. Two iconic personalities, Christopher Lee and Zeena Schreck, captured together during the making of "Christopher Lee Sings Devils, Rogues & Other Villains: From Broadway to Bayreuth and Beyond". The album was a Wolfslair production, co-produced by Zeena and Nikolas Schreck. Available in 2 sizes, 11oz (32.5cl) and 15oz (44.35cl) at: https://www.zeenaschreck.com/store/p45/Horror-Themed-Mug-Christopher-Lee-with-Zeena-Schreck.html  |
No - sorry, but no - not *that* kind of coming out. :)
Lend us your ear, and eyes, and read on...
Lend us your ear, and eyes, and read on...
We've both always held the conviction that the public is not owed anything from artists, musicians, authors and other public figures other than their work. Even in this age of social media oversharing, we don't publicly discuss our private lives in great detail. However, due to several recent, obtrusive misunderstandings, it‘s necessary to share that in 2015, after having been separated since 2007, we agreed to amicably divorce.
Since then, we've remained on friendly terms and spiritual allies. But because most exes display hostility toward each other as a primitive, dualistic way to signal renewed availability to others, we realize our non-antagonism and continued friendship necessitates this more public clarification.
When we first married, in 1988, we considered it a purely a private matter, just between us; a creative and spiritual union which was not bound by conventional standards of matrimony. The actual marriage only became publicly known gradually, months after our private ceremony. So it should come as no surprise that, similarly, we dealt with its dissolution privately, with dignity, rather than making a public spectacle.
In recent years, our closest friends knew of our changed marital status (and, yes, despite those who've attempted to reduce our relationship to mere “dates” or “boyfriend/girlfriend” status, in fact we were *legally* married for 27 years). We should have made this clear sooner but we are only human and needed time to work through everything in the most compassionate way.
So, kids, there is no drama or soap opera involved, nor any need for boo-hooing. We appreciate your respecting that this will be our only public comment of clarification on what remains private transitions into new phases of two separate lives.
Omnia Vincit Amor
Om Mani Padme Hum
- Zeena & Nikolas Schreck
Since then, we've remained on friendly terms and spiritual allies. But because most exes display hostility toward each other as a primitive, dualistic way to signal renewed availability to others, we realize our non-antagonism and continued friendship necessitates this more public clarification.
When we first married, in 1988, we considered it a purely a private matter, just between us; a creative and spiritual union which was not bound by conventional standards of matrimony. The actual marriage only became publicly known gradually, months after our private ceremony. So it should come as no surprise that, similarly, we dealt with its dissolution privately, with dignity, rather than making a public spectacle.
In recent years, our closest friends knew of our changed marital status (and, yes, despite those who've attempted to reduce our relationship to mere “dates” or “boyfriend/girlfriend” status, in fact we were *legally* married for 27 years). We should have made this clear sooner but we are only human and needed time to work through everything in the most compassionate way.
So, kids, there is no drama or soap opera involved, nor any need for boo-hooing. We appreciate your respecting that this will be our only public comment of clarification on what remains private transitions into new phases of two separate lives.
Omnia Vincit Amor
Om Mani Padme Hum
- Zeena & Nikolas Schreck
Four New Shirt Designs by Zeena: 2 Illustrations from 'Demons of the Flesh: The Complete Guide to Left-Hand Path Sex Magic' and 2 illustrations from 'The Manson File: Myth & Reality of an Outlaw Shaman.' PLUS: New embroidered Radio Werewolf Caps in 4 colors including camo.
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Two of Zeena's illustrations from her book 'Demons of the Flesh: The Complete Guide to Left-Hand Path Sex Magic', co-authored by Nikolas Schreck. The first is Dakshineswar - Kali and Shiva. In the original publication, all illustrations were printed in black and white. Now for the first time, this vibrantly colored piece is presented in its original form for this shirt.
The second is 'The Contending of Hours and Seth', depicted in classical ancient Egyptian art style.
For mature audiences and collectors; probably not suitable for work :)
The second is 'The Contending of Hours and Seth', depicted in classical ancient Egyptian art style.
For mature audiences and collectors; probably not suitable for work :)
From 'The Manson File: Myth & Reality of an Outlaw Shaman' is 'You don't see the light.' - one of nine installments in Zeena's photo montage/mixed media suite entitled, "God Bless Charles Manson" from 2009. The entire collection was originally published as chapter plates in the 2011 expanded editions of 'The Manson File: Myth and Reality of an Outlaw Shaman' (English and French editions), authored by Nikolas Schreck. The whole suite can be seen at this link http://www.zeena.eu/index.php?option=com_content&view=article&id=86&Itemid=88
For the ZEENA Art apparel collection, only two of the original nine images have been selected.
The second one is: 'To Remain Silent.' and features a quote by Ezra Pound that Zeena found fitting to the conditions of both animals and humans who are on death row.
Anyone who would like to request one of the other images from Zeena's original series can special order from kch_info@yahoo.com for the same price.
The second one is: 'To Remain Silent.' and features a quote by Ezra Pound that Zeena found fitting to the conditions of both animals and humans who are on death row.
Anyone who would like to request one of the other images from Zeena's original series can special order from kch_info@yahoo.com for the same price.
How many have wanted Zeena's graphic designs and retro images in crisp, clear quality for their wearing apparel? Well look no further. Over the decades, many have illegally profited from Zeena's history, style, creativity and hard work. But now we're correcting all of that.
Kaliyuga Clearing House is proud to present high quality apparel at affordable prices, exclusively featuring Zeena's artwork and photos as well as historical images of Zeena in her various incarnations, within this lifetime.
The first three collection categories are:
MAGIC & MYSTICISM
RADIO WEREWOLF
and
RETRO ZEENA.
New designs and different products will be added regularly. So be sure to subscribe to our blog so you receive updates reliably to your email. We are currently in the process of developing new collections for the Fall/Winter season. If anyone has requests or ideas of what you'd like to see of Zeena's works, please submit your suggestions to kch_info@yahoo.com!
Kaliyuga Clearing House and Zeena thank all of you who have supported Zeena's works through the years. May you wear our new apparel in happiness, good health, prosperity, with love and compassion for all sentient beings.
Below are only a small selection of the new APPAREL & ACCESORIES on this site.
Kaliyuga Clearing House is proud to present high quality apparel at affordable prices, exclusively featuring Zeena's artwork and photos as well as historical images of Zeena in her various incarnations, within this lifetime.
The first three collection categories are:
MAGIC & MYSTICISM
RADIO WEREWOLF
and
RETRO ZEENA.
New designs and different products will be added regularly. So be sure to subscribe to our blog so you receive updates reliably to your email. We are currently in the process of developing new collections for the Fall/Winter season. If anyone has requests or ideas of what you'd like to see of Zeena's works, please submit your suggestions to kch_info@yahoo.com!
Kaliyuga Clearing House and Zeena thank all of you who have supported Zeena's works through the years. May you wear our new apparel in happiness, good health, prosperity, with love and compassion for all sentient beings.
Below are only a small selection of the new APPAREL & ACCESORIES on this site.
The Original - 80s Zeena with Baphomet background
What's the Frequency?
Supposing truth to be a woman
Radio Werewolf/Werewolf Order Insignia
These Boots Are Made For Walking
SLM Polo - Black w/red Embroidery
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
https://www.denofgeek.com/us/culture/occult/280580/dark-shadows-witch-was-as-influential-as-its-vampire
Read the FULL INTERVIEW HERE
https://www.denofgeek.com/us/culture/occult/280580/dark-shadows-witch-was-as-influential-as-its-vampire
The Occult Influences of Sympathy for the Devil
Den of Geek online journal explores the mystique and back stories of the 1968 cult anthem Sympathy for the Devil, by The Rolling Stones in this in-depth article. Exclusive interview with Zeena throughout the article, recalling her first-hand experiences with and magical interpretations of the song and its influences (excerpted in parts below: Full article, HERE and again at end of this post):
Zeena Schreck, a Berlin-based interdisciplinary visual and musical artist told Den of Geek [...] “I'm sure they didn't mind the controversy that came with the dark associations from 'Sympathy,' or the previously released 'Their Satanic Majesties Request.' I'd think the more sinister reputation would have been, for the Stones, a welcome delineation from the 'I-wanna-hold-your-hand’ Beatles [...] generally, it seemed they were tapping into the overall Zeitgeist of the times, of the overwhelming pop-culture focus on occultism, witchcraft, and Satanism,” Zeena explains. “Specifically, the theme of that song seemed more a literary reference, influenced by the Russian novel The Master and Margarita by Bulgakov. I doubt there were any intentional sinister motivations.”
Rock has been called the devil’s music since it began to roll. This is both overt bigotry and inferred spiritual racism. There must be real power in those jungle beats that pump out real magic. “Possibly one of the reasons that particular song developed such an aura surrounding it is due to the consistent, shamanistic-like percussion and chanting,” says Zeena. “The quality of the rhythm in ‘Sympathy’ is similar to magical drumming played to induce trance states. That type of hypnotic rhythm is a traditional method of inducing altered states of consciousness. Combine that with the copious amounts of drugs and psychedelics that everyone was taking those days, while invoking a (conventionally understood) malevolent force, then obviously the effects would be quite epic.”
Invoking a Demon Brother: “Sympathy for the Devil” was captured in two takes, the first one Richards declared a disaster, before hitting on the perfect alchemy. The recording was filmed by French new wave film icon Jean-Luc Godard, who renamed his film One Plus One in honor of it for its 1968 producer’s cut. During the five days of recording, as the stories go, a film lamp started a fire that laid waste to the band’s equipment. The tapes were protected, another clue to the possessed nature of the noise.
The band’s mythic satanic alliance was further cemented by their association with American underground filmmaker Kenneth Anger, a former child actor who wrote the tell-all book Hollywood Babylon. Anger was a Crowleyan who called his movies Inauguration of the Pleasure Dome, Scorpio Rising, and Fireworks “visual incantations” and “moving spells.” Jagger played the synthesizer soundtrack for his Invocation of My Demon Brother. Jimmy Page of Led Zeppelin scored one on Crowley. Anger met the Stones through art gallery owner Robert Fraser and asked if they would work on a film called Lucifer Rising. Anger wanted to cast Mick as Lucifer and Keith as Beelzebub.
Zeena says that, during the 1960s and 1970s, the filmmaker “transmitted the influences of Curtis Harrington, Jean Cocteau, and Maya Deren [to her],” adding that her own art “was influenced early in life by the mentorship of her godfather Kenneth Anger.” During her childhood and adolescence, Zeena “was privy to Anger's conversations about his involvement with such contemporaries as the Rolling Stones, Jimmy Page and Anita Pallenberg.”
“Occasionally Kenneth Anger would mention his involvement with the members of the band,” Zeena says. “When the subject came up, he'd say they'd brought destructive energies upon themselves. Ironically he, himself, helped facilitate that, being their magical mentor. Despite the Stones' backing off from the 60s’ dark occult influences around them, there can be no denying that Anger was a strong influence for a time, as witness Jagger's soundtrack for Invocation of my Demon Brother.”
But Zeena, who was teaching magic and sorcery at the age of 16, “never agreed with Kenneth's admiration and proselytizing of Aleister Crowley and Thelema. It's a very destructive and misogynistic philosophy which has brought a lot of harm to people who take it seriously.” Zeena severed ties with her father and his Church, and is now a teacher of Tibetan Tantric Buddhism, where the music of the Rolling Stones is more welcome.
“Although Kenneth Anger was befriended with both the Rolling Stones and my father during the same years, you definitely would not hear ‘Sympathy for the Devil’ playing at Church of Satan headquarters,” Zeena says. “The simple reason is that the High Priest had very rigid, idiosyncratic interpretations of what he considered ‘satanic music.’ Rock music, heavy metal, or any other kind of popular music, were definitely not part of his satanic jukebox.”
The British band might also have stopped dropping quarters into the American director’s nickelodeon. “Kenneth Anger they thought laughable,” Faithfull wrote in her memoirs. “Mick and Keith were utterly contemptuous of his satanic hocus-pocus.”
“However, a more direct magical influence, aside from Kenneth Anger, influencing the group during the making of 'Sympathy for the Devil', would have more likely been Anita Pallenberg,” Zeena says. “She openly practiced black magical rituals and never hid her fascination for the darker side of life. She not only performed backing vocals but also had a creative influence on the music and style of the group, being their sort of 'resident witch.' I know one of Pallenberg's cousins who confirmed she was always into the black arts and a little 'witchy.’”
The band’s mythic satanic alliance was further cemented by their association with American underground filmmaker Kenneth Anger, a former child actor who wrote the tell-all book Hollywood Babylon. Anger was a Crowleyan who called his movies Inauguration of the Pleasure Dome, Scorpio Rising, and Fireworks “visual incantations” and “moving spells.” Jagger played the synthesizer soundtrack for his Invocation of My Demon Brother. Jimmy Page of Led Zeppelin scored one on Crowley. Anger met the Stones through art gallery owner Robert Fraser and asked if they would work on a film called Lucifer Rising. Anger wanted to cast Mick as Lucifer and Keith as Beelzebub.
Zeena says that, during the 1960s and 1970s, the filmmaker “transmitted the influences of Curtis Harrington, Jean Cocteau, and Maya Deren [to her],” adding that her own art “was influenced early in life by the mentorship of her godfather Kenneth Anger.” During her childhood and adolescence, Zeena “was privy to Anger's conversations about his involvement with such contemporaries as the Rolling Stones, Jimmy Page and Anita Pallenberg.”
“Occasionally Kenneth Anger would mention his involvement with the members of the band,” Zeena says. “When the subject came up, he'd say they'd brought destructive energies upon themselves. Ironically he, himself, helped facilitate that, being their magical mentor. Despite the Stones' backing off from the 60s’ dark occult influences around them, there can be no denying that Anger was a strong influence for a time, as witness Jagger's soundtrack for Invocation of my Demon Brother.”
But Zeena, who was teaching magic and sorcery at the age of 16, “never agreed with Kenneth's admiration and proselytizing of Aleister Crowley and Thelema. It's a very destructive and misogynistic philosophy which has brought a lot of harm to people who take it seriously.” Zeena severed ties with her father and his Church, and is now a teacher of Tibetan Tantric Buddhism, where the music of the Rolling Stones is more welcome.
“Although Kenneth Anger was befriended with both the Rolling Stones and my father during the same years, you definitely would not hear ‘Sympathy for the Devil’ playing at Church of Satan headquarters,” Zeena says. “The simple reason is that the High Priest had very rigid, idiosyncratic interpretations of what he considered ‘satanic music.’ Rock music, heavy metal, or any other kind of popular music, were definitely not part of his satanic jukebox.”
The British band might also have stopped dropping quarters into the American director’s nickelodeon. “Kenneth Anger they thought laughable,” Faithfull wrote in her memoirs. “Mick and Keith were utterly contemptuous of his satanic hocus-pocus.”
“However, a more direct magical influence, aside from Kenneth Anger, influencing the group during the making of 'Sympathy for the Devil', would have more likely been Anita Pallenberg,” Zeena says. “She openly practiced black magical rituals and never hid her fascination for the darker side of life. She not only performed backing vocals but also had a creative influence on the music and style of the group, being their sort of 'resident witch.' I know one of Pallenberg's cousins who confirmed she was always into the black arts and a little 'witchy.’”
Because Swinging London in the '60s only really ranged a few blocks, both the Rolling Stones and the Beatles were loosely connected to the sixties counter-spiritual group, the Process Church of Final Judgement, but mainly because they all went to Pink Floyd shows. “The Stones' playing with popular satanic themes and imagery may have begun superficially at first but ultimately a malignant seed was planted and the conditions for destructive consequences ripened,” Zeena says, referencing another tragedy that played into the song’s morbid mythology.
The legend of the “Sympathy for the Devil” took more sinister turn during the Altamont Free Concert in 1969. Though Meredith Hunter was killed by Hell’s Angel’s bikers who were working security while the band was playing "Under My Thumb," the fight that killed him interrupted the band as they kicked into their rhythmic satanic anthem. "We're always having—something very funny happens when we start that number," Jagger said before the band restarted the number. Because of the public outrage, the Stones didn’t play the song live for the next seven years.
Brian Jones was played out during the recording of Beggars Banquet, but he was not silent. Richards worked double and triple duty, but Jones did the wonderful slide work in “No Expectations,” and played the sitar and tanpura on "Street Fighting Man." The album would be the last with Jones, who was discovered drowned in his Sussex swimming pool on July 26, 1969. His own musical exploration propelled the band to take the lead in many major musical movements. “Speaking only for my years composing with Radio Werewolf, I wouldn't say ‘Sympathy’ or Satanic Majesties Request had direct influence on my music within Radio Werewolf,” Zeena says. “But I did have a strong affinity with their music produced in the Brian Jones years - their music when it had a more medieval flavor. That sound is what I'm naturally drawn to and often create.”
The legend of the “Sympathy for the Devil” took more sinister turn during the Altamont Free Concert in 1969. Though Meredith Hunter was killed by Hell’s Angel’s bikers who were working security while the band was playing "Under My Thumb," the fight that killed him interrupted the band as they kicked into their rhythmic satanic anthem. "We're always having—something very funny happens when we start that number," Jagger said before the band restarted the number. Because of the public outrage, the Stones didn’t play the song live for the next seven years.
Brian Jones was played out during the recording of Beggars Banquet, but he was not silent. Richards worked double and triple duty, but Jones did the wonderful slide work in “No Expectations,” and played the sitar and tanpura on "Street Fighting Man." The album would be the last with Jones, who was discovered drowned in his Sussex swimming pool on July 26, 1969. His own musical exploration propelled the band to take the lead in many major musical movements. “Speaking only for my years composing with Radio Werewolf, I wouldn't say ‘Sympathy’ or Satanic Majesties Request had direct influence on my music within Radio Werewolf,” Zeena says. “But I did have a strong affinity with their music produced in the Brian Jones years - their music when it had a more medieval flavor. That sound is what I'm naturally drawn to and often create.”
In today's The Sun, Zeena talks about fabled Jayne Mansfield death curse.
Excerpted: "Artist Zeena, who used to practise magic and is now a Buddhist, claims it was beyond her father’s powers to cause the crash.
She said: 'His curses were fits of anger.
'This needed a focused ritual.'
But she is in no doubt LaVey was a man you would not want to cross.
Zeena, who also knew serial killer Charles Manson, said: “I could deal with Manson in a more rational way than I could with my father.'
The film dwells on LaVey’s kooky TV persona, yet Zeena describes a 'brutal' man who almost killed her mother Diane Hegarty more than once."
Read the whole article here: https://www.thesun.co.uk/tvandshowbiz/6230856/jayne-mansfield-satanic-sex-cult-film/
Excerpted: "Artist Zeena, who used to practise magic and is now a Buddhist, claims it was beyond her father’s powers to cause the crash.
She said: 'His curses were fits of anger.
'This needed a focused ritual.'
But she is in no doubt LaVey was a man you would not want to cross.
Zeena, who also knew serial killer Charles Manson, said: “I could deal with Manson in a more rational way than I could with my father.'
The film dwells on LaVey’s kooky TV persona, yet Zeena describes a 'brutal' man who almost killed her mother Diane Hegarty more than once."
Read the whole article here: https://www.thesun.co.uk/tvandshowbiz/6230856/jayne-mansfield-satanic-sex-cult-film/
