Scroll down to read the English translation or read the original in German HERE.

"If you have strength of character, you can use that as fuel to not only be a survivor but to transcend simply being a survivor, use an internal alchemy to turn something rotten and horrible into gold", says Zeena Schreck on the occasion of her album "Transcend," released almost two years ago and which served as the soundtrack for an exhibition in New York prior to its release. This Western-influenced thought pattern, reminiscent of the alchemists' ideas of transformation, also plays a major role in Tantric Buddhism, in which—in contrast to other forms of Buddhist teachings—even actions generally considered dangerous or even impure can become the engine of inner awakening.

This connection is interesting because Zeena has been active for many years as a yogini and teacher in the Karma Kagyu lineage of Tibetan Buddhism. She released the album on the Saga Dawa Düchen holiday, which fell on June 4th in 2023 and on which Buddhists commemorate the birth, awakening, and parinavana of the historical Buddha. The three tracks on the nearly hour-long album, whose titles "Ascent," "Parting Clouds," and "Gone Beyond" already allude to Buddhist themes, are conceived, according to Zeena, as "meditative journeys of contemplation and sonic catharsis, culminating in an intoxicatingly triumphant feeling of racing through space and time, shedding the burden of all pain and suffering and emerging victorious." The combative choice of words is by no means a personal whim of the artist, but rather a product of Buddhist tradition itself, as Buddhas are often referred to as victors (Sanskrit: Jina) because they are considered those who have overcome their inner enemies—especially ignorance, greed, and hatred.

In a simple description, the truly meditative music on "Transcend" could be described as ambient drones interspersed with numerous details, placing it in the tradition of the electronic avant-garde of the early 80s and so-called cosmic music, which differs greatly from the radio play-like music on the EP dedicated to F.W. Murnau by the former Radio Werewolf musician. "Ascent" initially reveals a flat structure and appears very clear in sound, but one quickly registers details such as something reminiscent of heavenly choirs, subtly mixed in with the drone. Over time, the music also reveals more and more of its undulating, tidal form. At certain moments, it's as if an avalanche is breaking out, but is quickly absorbed by the flow of sounds, similar to the stormy rush that is reminiscent of driving in the rain. Of great melodic beauty, this music is never truly lulling, but it does seem to evoke a sense of reverence, which is revealed especially in the breathy vocal fragments.
The nearly half-hour-long "Parting Clouds" is like the heart of the album. It begins with more organic sounds reminiscent of the whirring of low strings, and with its hypnotic yet never entirely regular waves, it seems to me to be the most accomplished and impressive of the pieces. It evokes memories of works that have long since become classics of ambient drone, such as Nurse With Wounds' "Salt Marie Celeste" and His Divine Grace's "Reverse Aleph." Online, one can find various comparisons to Brian Eno. At some point, one hears Zeena's looped voice, leading one through various layers of whirring sounds like a mystagogue, eventually becoming part of the background like a gentle choir. This fits well with the increasingly melodic sounds, which radiate something warm, comforting, and almost liturgical.

The following track, "Gone Beyond," has something of a glimpse into a new world, which may seem unusually eventful to the unfamiliar ear, still enchanted by the relaxed world of parting clouds. Here the liturgically colored melodies appear as if they were being shaken by storms, storms that also whip the fading tonal substance forward into fiery intervals. With its strange effects, which evoke memories of krautrock electronics from better times, it is the most "psychedelic" of the pieces and, without wishing to overinterpret it, wonderfully suited to the sonic accompaniment of an idea – "gone beyond," or paragate in Sanskrit, is a central term in the Buddhist wisdom tradition, as recorded in texts such as the "Heart Sutra," for the transition into a state beyond dualistic ideas.

Although “Transcend” is meant to be experienced, the titles can be seen as signposts indicating the direction the album is taking – the three tracks herald paths that lead to another place, regardless of whether they are crooked or straight – similar to the ladders on the cover. 
​-African Paper

Big Thanks to Humans vs Robots, Italian online magazine, for today's review of Zeena performing 'These Wounds Never Heal' on the new Sacred Legion album, 'The Higher Unknown'.
Scroll down to read the English version of journalist Max Zarucchi's review, or read the original in Italian HERE.

Zeena is a death rocker.

If our attention span when reading an article were the same as it was twenty years ago, the incredibly intense life of a figure like Zeena would deserve several thousand words alone: only in this way would we be able to truly understand how much this featuring of hers is a unique and rare event.

Her relationship with our Sacred Legion certainly didn't start yesterday (she was the one who chose both the band's moniker and the title of the 2020 album The Silent Lineage), but finding her voice on one of their songs is both a surprise for those who listen and a reason - and how could it be otherwise - of infinite pride for the band.

Her deep and hypnotic recitation is undoubtedly the focal point of this brand new These Wounds Never Heal, where the music chosen by our guys to accompany the Divine is a perfect hybrid between the dark hard rock of the seventies and the most direct and evocative death rock of the 80s. There is no room for unnecessary embellishments: the bloody rawness of the piece is more than enough, while it literally kidnaps the soul at first listen.

The Higher Unknown, the album in which this single is present, also gives us other special guests such as Adolphe Violet Le Duc (Chants of Maldoror) and Matteo (Spiritual Bats), which is why it will be difficult, in the genre, to keep up with it until the end of 2025: already a podium album, but it was inevitable for three musicians of the genre. Please take note.
- Max Zarucchi, 14 March, 2025

↦ Read also:
Sacred Legion (feat. Adolphe Violet Le Duc): Assassin Times
Sacred Legion: A Taste Of Turmoil
Sacred Legion: Hole in the Heart

Many thanks to John Gwatney for gifting me his book Bringer of Light: The Making of Kenneth Anger’s Lucifer Rising! Bringer of Light is a true Labor of Love dedicated to unearthing the most obscure facts, details and images surrounding the circuitous occult creation of Anger's underground film Lucifer Rising. Reminiscences by still living participants shed light on the filmmaker's mindset during their time knowing him; each reflecting many different sides to his behavior, personality and creative process.

Aside from the exhaustively detailed research that went into this tome, there's a rich representation of scanned documents and photos, many of which were acquired first hand from the original photographers or subjects of the photos with accompanying anecdotes making the book itself a “picture within a picture”. Never before seen photos of the personalities involved in the making Lucifer Rising include Robert Fraser, John Lennon, Yoko Ono, each of The Rolling stones, Michael Cooper, Marianne Faithfull, Dennis Hopper, Alejandro Jodorowsky, Donald Cammell, Anita Pallenberg, Bobby Beausoleil and The Freedom Orchestra at Tracy Prison, and of course of Kenneth himself, exhibiting his radically transforming appearance from the late '60s to early '80s.
​
The large format book (cloth hardcover, 11-1/4” x 9” / 28-1/2cm x 23cm) allows for full bleed printing for maximum quality of the most rare images.

Because Gwatney unearthed much more additional material, beyond the boundaries of the specific topic of this volume, he has decided to begin a follow-up book about Kenneth Anger in general. For that project, I'm happy to report that Gwatney has begun a series of interviews with me! Since it will undoubtedly take considerable time to complete, you can begin getting a taste of what is to come by reading Bringer of Light by ordering at: https://www.luciferrisingbook.com/ !

Om A Ra Pa Ca Na Dhih
~Zeena

In 2023 multimedia and multidiscipinary artist Zeena unveiled her newest musical endeavor, Transcend, at the Movement of the Triangle series exhibit at the Snow Gallery in New York City. Though the exhibit took place last June, Zeena’s music was preserved as a digital-only album published via Bandcamp.
​
In the 80s and early 90s Zeena made gothic and death rock music while part of Radio Werewolf. Years later she would begin releasing her own music while exploring different genres. In 2020 Zeena realized her debut solo endeavor, Bring Me The Head Of F. W. Murnau, which was part silent film score, a hint of experimental-industrial, and a large dose of field recordings. Concurrently, Zeena explored a spiritual angle through her music, which listeners got to preview with her live performance of “Sethian Dream Oracle” that was released on the John Murphy tribute compilation All My Sins Remembered in 2016. Transcend can be thought of as the next canonical entry in Zeena’s spiritual music output.

Transcend balances two genres – new age and ambient – though neither in an expected fashion. Ambient music, in the Cryo Chamber vein, can conjure up images of deep space, forgotten cities, desolate alien landscapes, and so on, with an emphasis on droning and emptiness. It can certainly be a lonely genre. Transcend has some of these aspects of “alone-ness” yet it is hardly lonely. The album places an emphasis on the self, but acts as a companion in the process – a guide. The listener’s journey with Transcend may be as an individual, but the album provides a presence, ensuring the listener is not by themselves. Transcend also invites internal exploration, which is the opposite of other ambient varieties that prompt external exploration.

Transcend contains three tracks: “Ascent,” “Parting Clouds,” and “Gone Beyond.” The track list may be small but the runtime is substantial, coming in at over fifty minutes of music. If one takes the names of the three titles along with the album name, visuals of climbing a mountain are conjured up. Going a step further and bringing in an element of a silent film score (as Zeena had done with the aforementioned Bring Me The Head Of F. W. Murnau), transforms the listening experience into an aural version of a bergfilm. Transcend is a three act mountain film without the visuals, yet rife with both movement yet contemplation, depicting the overcoming of obstances, be them physical or psychic. 

Act one, “Ascent,” is the initial mountain climb. The ambiance has a calming “awww” to it, but slowly as the song progresses, a breathing pattern begins to emerge, before becoming dominate over halfway through the song. The song’s breathing has two functions: to invite the listener to partake in breathing exercises, but also to convey the sense of exertion as one climbs the album’s metaphorical mountain. 

Act two, “Parting Clouds,” is the resting song. The listener is sitting on an outcropping, seeing the land through wispy clouds, taking in the imagery and a respite on their journey. There is the simile of a string instrument that flutters in the song, adding an essence of alpine folk. The final act, “Gone Beyond,” is a mirror of “Ascent,” with the heavy breathing surfacing again like a train starting to gain momentum. Though the song is the album’s last, it is the next step in the listener’s journey as they resume their quest up the mountain, into the sky, and beyond. 

The cover art of Transcend is a part of a larger piece titled Ladders that was created by Zeena. The imagery of the ladders, of course, invokes the feeling of going “up,” which ties into the theme of the album. However, the shadow play of the ladders, that they all appear to be going in different directions, with one even bent, generates a German Expressionist cinema vibe to the piece (Cabinet of Dr. Caligari-esque). Such evocations can be found a-plenty in Zeena’s prior album, Bring Me The Head of F. W. Murnau, which also tie into the bergfilm vibes of the album as well.

In Oh, the Places You’ll Go! Dr. Seuss quips “You’re off to great places, today is your day! Your mountain is waiting, so get on your way!” Though the passage is whimiscal, its text is certainly appropriate for Zeena’s Transcend. There is a concept to conquer, be it a literal or metaphoric mountain – or something else, for the betterment of the self. Transcend is the soundtrack for that journey, with a great place (spiritually, mentally, or something else), waiting at the summit. 

If you want to learn more about Transcend or the other music works of Zeena check out the links below.

• Bandcamp Product Page for Transcend
• Zeena’s Official Website
• My article on Zeena’s Bring Me The Head Of F. W. Murnau
• My article on the Zaum of Zeena

​--by Nicholas Diak, June 19, 2024

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.]

“Big Thanks to my dear friend Fabiano Gagliano of the band Sacred Legion for adding me in the acknowledgments of their fantastic new debut album 'Silent Lineage'! At Fabiano's request, both the band name and album title came to me through a divination for the purposes of “christening” the newly formed band. And the rest is history, as they say!
​[Scroll down for my review!]

Though 'Silent Lineage' is their first album, these well-seasoned musicians have decades-long experience in previous European-based Deathrock and Punk bands. Specifically, Fabiano Gagliano (also a visual artists) is formerly of Chants of Maldoror, Mirko is formerly of Human Disease, and Tony Volume is formerly of Idol Lips. The lads hail from Italy, yet Gagliano, in keeping with the necromantic and nostalgic themes of the album, conjures vocal qualities of deceased cult singers like Marc Bolan, Syd Barrett and Benjamin Orr. The original music in this album reflects an eclectic mix of '80s genres from deathrock, classic goth-rock and post-punk. Yet the music also hints of '70s influences like glam rock, prog rock, early neo-martial and industrial music with choice bits of sampling from cult films that film buffs will enjoy. The stark and mysterious cover art is Gagliano's creation. All lyrics are contained within the CD booklet. An excellent debut for this great new band!

My best wishes and blessings to all involved!
Omnia·Vincit·Amor

~Zeena”
Check it out at batcaveproductions.bandcamp.com/album/the-silent-lineage

Released by Bat-Cave Productions 

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:
https://www.denofgeek.com/movies/insidious-is-the-further-real/?fbclid=IwAR1Ttsh47-rstZNZkaYLFRfGtGy3RJm0-ym72mraJa6-QhkK_-wrj0KHimo

Selected excerpts:

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]

Big thanks to author and industrial music scholar Nicholas Diak for his great review of Zeena's Bring Me the Head of F.W. Murnau in the latest issue of Exotica Moderna. Fans of Exotica-Industrial mixes will especially appreciate his take on Zeena's 'Tabu' track:
“Bring Me the Head of F.W. Murnau (BMTHOFWM) is the debut studio release of multimedia artist Zeena Schreck. Created in response to the theft of the skull of German director Murnau, that made the news back in 2015, BMTHOFWM is a concept EP that dives into the world of Murnau, his films and his legacy. The release proper is mostly spoken word recitations of Murnau's letters and film intertitles (such as those from his most renowned film, Nosferatu), over field recordings and minimalist industrial pulses.
Schreck's EP is of interest for fans of exotica for her track Tabu, which is an homage to Murnau's final film, Tabu: A Story of the South Seas, from 1931.
​The track begins with some old school industrial clangs and beats before it transitions to Schreck reading text from the film as the music eases into a subdued form of primitive exotica with shakers and primal drumming that evokes the likes of Martin Denny and Les Baxter. BMTHOFWM is a niche release, but it situates itself at that interesting pop culture intersection of silent film appreciation and aesthetics to the realm of Tiki and exotica. It is an excellent CD for collectors who indulge in exploring the newer forms of exotica.”
- Nicholas Diak

Bring Me the Head of F.W. Murnau CD Available on this site: HERE
Or download at Bandcamp digital download* [*This Friday Feb 5, Bandcamp will again waive it's revenue share!]
​
Exotica Moderna is a quarterly publication showcasing the latest in tiki art and culture published by House of Tabu.

​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.

[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. 
​

Amy Haben reviews seven bands and musicians who were also part of notorious religious cults, communes, and porn legends between the 1960s-80s, culminating with the best for last, Zeena & Radio Werewolf.
 
Read the entry for Radio Werewolf below, or go to the full article HERE: 
https://pleasekillme.com/subversive-grooves/

The below article was originally posted in San Francisco newsgroups for Halloween by Jeff Farris, who shares first-hand impressions of Zeena in early life. Farris and Zeena attended the same schools yet have never met. Many thanks to Mr. Farris for allowing us to reprint his article here! An afterword from Zeena follows his article:

In San Francisco on California Street, between 23rd and 24th Avenues in the Richmond District, there once was a house that was painted pure black long before it was fashionable or cool to do so. The home was rumored to have a real live roaring lion as well as human occupants, we were warned, who were devotees to the Prince of Darkness himself. Other than the austere and gloomy color, it was an unassuming little home just a few blocks down the road from where I grew up.
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A typical San Francisco A-framed, 3 story Victorian, The Black House, as it was known for many years, was the official First Church of Satan and the home of Anton LeVay, aka, The Black Pope and Lucifer’s Great High Priest and author of the Satanic Bible, as well as his family, including 2 young children and his companion, the self professed sorceress and High Priestess, Diane Hegarty. An ex-carnival worker and notable chronic liar, Anton established the Church of Satan in 1966 where it had a run for about 35 years until it was eventually torn down in 2001, only to be replaced, unceremoniously, by a cheap, 4 unit apartment complex commonly known among locals as a Richmond Special. The son of Russian and Ukrainian immigrants who had arrived in the United States sometime near the turn of the 20th Century, Mr. LaVey had finally made a name for himself in the late 1960’s with his audacious ambition to create the first church of Satan ever, anywhere.
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San Francisco, at the time, was ripe for such a plan and Anton soon found himself at the center of controversy along with much welcomed attention from the ranks of luminaries such as Hollywood elites, avant-garde artists, and rock superstars of the time. One of his first and most celebrated religious ceremonies held at The Black House was the “Baptism” of his youngest daughter, Zeena, in 1967, when she was just 3 years old.

Anyhow, as the years have transpired, I have kept my eye on the life and times of Zeena LaVey, or Zeena Schreck, which is her current last name. I wouldn’t say that I am a stalker, but I have always felt for her as one would feel towards any misunderstood outsider. I felt bad for her, actually, not that she needs my sympathy and she could probably care less of what I think, for that matter. But I’ve always believed that she was a good soul under extraordinary pressure from circumstances beyond her control. She was a San Francisco kid, caught up in those crazy times, no different than I, but definitely more complicated and dark.

As you can imagine, Zeena and her family weren’t very welcome in our working class, multicultural, mostly Catholic, and Asian, and Russian Orthodox neighborhood. In a 2012 interview with Vice Australia, she explains that she had to transcribe for the SFPD death threats left for her on her father’s answering machine wherein she was to be raped and killed. She was 11 years old at the time. She also states that her father may have haphazardly fallen into the role of The Black Pope by sheer accident and that the Church of Satan was created after a local publicist described Anton as a neighborhood eccentric and “the first priest of Satan.” Anton then seized the idea and transformed it into a religion and that it all took off from there.

To be clear, Anton’s belief system did not include an actual deity or entity that one would call Satan or Lucifer, the Angel of Light. He believed that there wasn’t a devil at all. It was an ego driven theology. Each person is a God, in essence, and the tenets of the religion are almost all selfishly motivated and self aggrandizing. It’s also important to note that the Church of Satan, for the most part, was ultimately a failed venture leaving Anton destitute by the time he died. He sold his soul for nothing more than a limited and fleeting run at popularity, poor thing.

By 1990, Zeena had renounced her father’s church and belief structure, and likewise the Church of Satan vehemently denounced Zeena, commencing a campaign to discredit her name. I don’t think she ever had contact with Anton after that. She claimed that her father was basically a charlatan and a con artist and that he never had the depth of knowledge to be a true Satanist and that it was all for show and celebrity.

Whether or not I believe her completely is predicated upon the publication of the Satanic Bible, which is still the definitive go to resource for anything Satanic. It is clear that he gave that book some thought. Nonetheless, Zeena then applied her spiritual endeavors towards the Temple of Set, which could best be described as a pre-christian, Egyptian mystery religion, but highly influenced by other ex-members of the Church of Satan and the writings of Aleister Crowley. But even here, Zeena failed to find an environment that was to her liking and she resigned from her post as High Priestess in 2002. She then formed the Sethian Liberation Movement, donned with a title that could only be conjured up by an ex-San Francisco kid who survived the citywide pandemonium that the Symbionese Liberation Army caused when they kidnapped Patty Hearst in the early 70’s.

Currently, Zeena is a self avowed Tibetan Tantric Buddhist and she offers counseling services and specifically ministers to victims of extreme circumstances, the socially stigmatized, outcasts, and those otherwise subject to prejudice. By use of yogic, meditative and shamanic exercises, she offers short-range treatment, she says, without having to become an initiate of any particular spiritual path. Like the Phoenix, she claims that she can help you rise from the ashes of difficult experiences, find your own inner mystical resources, and have a spiritual awakening towards a foundation of inner strength.
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Personally, I believe in her and I want her to succeed. If anyone has experience of overcoming difficulties, Zeena is among those who have. It seems poetic to me that a young girl from San Francisco, without any act of her own volition, was baptized at the tender age of 3 into the milieu of post-modern sensationalized Satanism, only to come out the other side finding peace and stability from the teachings of someone as self effacing and modest as the Buddha. I sincerely hope that she ultimately finds the peace that surpasses all understanding. As a fellow San Franciscan, I am rooting for her. How about you?

– Jeff Farris
San Francisco, Halloween 2014

Thank you Jeff, wherever you are! Though it's true we never met, nor shared any words in those years, I never forget a face and knew it was you, because you still look the same, some 40 years later. You are correct that most people didn't have the guts to speak to me then in school, unless antagonistically. The same character traits usually remain on into adulthood. People who refuse to educate themselves about what they're frightened of, find comfort in remaining ignorant. So thank you for your curiosity to educate yourself, and for your candid recollections.
And, as you alluded to, I have found peace and contentment. When we have peace within ourselves and develop intrinsic happiness and relinquish hope for extrinsic sources of happiness, we have peace and joy wherever, and in whatever, situations we find ourselves. 

Wishing you [all] a fantastically Happy Halloween. 

~Ƶeena

ZEENA is an artist, activist and mystic currently living in Germany. What I find especially fascinating and inspiring about her is her ability to change and grow with the times. Born into daunting circumstances, she managed not only to rise above them, but to re-invent herself despite what I surmise might be abominable pulls toward lethargy and abject nostalgia.

​In one of her texts, “Demons of the Flesh” she explores the metaphysics of eroticism. Not simply focusing on Hermeticism and the usual occult fare, she also looks at the important contributions of French philosophy (in the form of Georges Bataille) and other, vital strands of evidence… ultimately sharing experiential knowledge and suggesting one use one’s own as guide.

Zeena Schreck is very beautiful. And her awareness of this is not simple, nor yet affected. She presents herself and her energy in a very straight-forward way which is refreshing in itself, but which, upon closer inspection, reveals the gentle touch of a survivor helping others survive. The first thing one does when confronted with the prospect of extinction, naturally, being human, is panic. When this happens to a group, the result is collective hysteria. Perhaps her experiences during the 1980’s allowed her to see such circumstance unfold around her (and their manipulation and co-opting by nefarious forces of self-interest) in such a way that she holds a tender regard for the possibility of others going through them as well, but she has a gentle touch, which belies a fierce mind and steely core.

ZEENA’s art is fascinating. Maintaining a lucid awareness between the mediated roles of artist and academic, theorist and practitioner, her art is yet generous enough to question such ambiguity. Her piece “Ladders” questions not only Euclidian Geometry, but the formalist expansion of Western Metaphysics it stands for. How is one to “rise” in a society based upon questionable heirarchies, where, for instance, Social Justice and Reform is not necessarily based upon the injuries sustained by victims but sometimes just as likely the power of the accused? Recalling Feudal Warfare - Caste System Dynamics and other illusory states of “Maya” the piece is yet presented in soothing tones and inviting poetics of space. It’s as if ZEENA were leaving behind an Easter Egg, something someone could enjoy at whatever level of development they had attained to in dealing with it, yet something which also continued to reward dilligent and patient effort.

The future for ZEENA will hopefully contain more expansion. It will be very lucky for the Artist community and every other group or individual she manages to touch with her sincere and powerfully articulated grace if she continues to thrive and generously shine upon us!
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-STANLEY GEMMELL
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Gallery contacts and for commissioned art by Zeena contact:   [email protected]

Original post can be seen at
Stanley Gemmell's writings blog: ​http://stanleygemmell.tumblr.com/post/94193114815/zeena-is-an-artist-activist-and-mystic-currently

A Message From Zeena:

"In celebration of Harvest Season and the coming Autumn Equinox, I am very happy to share with you a newly created fine art portrait of me as the Angel of Death by the very talented artist and friend Fabiano Gagliano.
All of Gagliano's works are timeless depictions of feminine beauty at its highest spiritual ideal (a phenomenon I've coined in my book Demons of the Flesh as “the Feminine Daemonic”). His style has been honed over decades and is refreshingly free of any distractions, distortions or irritations of modern art trends or references. The minimalist, streamlined presentation and choice of colors is confident yet sensitive and beautifully classical without clichés.  

"Aside from our mutual appreciation for the same aesthetics in traditional art, and our similar histories as graphic artists for publications and band art, Gagliano is also a long-time accomplished musician and has traversed a kindred musical path as I; it's through oblique music connections from our past bands that we came to know each other. So when he asked to do a new rendition of an established photo-portrait of me, I knew that in his case it was a perfect suggestion. Based on his art education, experience, intuition and instinct, he understood not only my personal tastes but the significance and layers of the symbolism in the portrait he proposed, as it relates to my life's work.

The Augustinian quote he chose to include in the portrait, says it all:
Noli foras ire, in te ipsum redi. In interiore homine habitat veritas.
'Don't lose yourself with the outside; return within. Truth dwells inside the human heart.' (loosely translated)

This scripture could also be understood as the Method which leads to spiritual Enlightenment, known in many mystical traditions variously as: Primoridial Wisdom (Vajrayana Buddhism), the Gnostics understanding of Sophia, the Quest for the Holy Grail and the process of Internal Alchemy.


Thanks to Fabiano for his inner wisdom to “see” what many cannot see, and to hopefully inspire others to “see,” with all senses, the magic of feminine beauty in all of his works - and all of life as well...

~Omnia Vincit Amor~

~Zeena     "
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To see more of Fabiano Gagliano's work, visit his online sites at:
www.fabianogagliano.com 
https://www.instagram.com/fabiano_gagliano/
https://www.facebook.com/FabianoGaglianoArtPage/?pnref=lhc  
https://it.pinterest.com/fabiano777/ 

CLASSIC ROCK online magazine has listed RADIO WEREWOLF as #4 weirdest band of all time, topping other such notorious groups as Roky Erickson, Father Yod & Yahowha 13, The Monks, and the '60s topless all girl band The Ladybirds!
Classic Rock describes Radio Werewolf as:

Read the full article and list here ​http://teamrock.com/feature/2016-06-28/the-25-weirdest-bands-of-all-time