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

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

“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.”
~Zeena Schreck

The three lengthy pieces in 'Transcend' totals nearly 52 minutes altogether, affording the listener ample meditative journeys of contemplation and sonic catharsis, ending with an exhilaratingly triumphant sense of dashing through space and time, releasing the ballast of all pain and suffering, emerging as a Victor.

The succinct titles focus on specific Buddhist themes, directing the mind toward wider and deeper understanding of ones own spiritual path and experience.

The album's official release, June 4th, 2023, is Saga Dawa Düchen, a date of immense Buddhist importance commemorating the birth, enlightenment, and Parinirvana of Buddha Shakyamuni.

'Transcend' debuted at Snow Gallery NYC on June 3rd, 2023, for their third exhibition in a series, 'Movement of the Triangle,' inspired by Kandinsky’s 'Concerning the Spiritual in Art.'

The exhibition also marks the first time originals of Zeena's visual art are shown together with works of her late godfather Kenneth Anger.

Album cover for Transcend is a detail from a larger piece, 'Ladders,' original art by Zeena Schreck on display at Snow Gallery until end of July, 2023.

Credits:
released June 4, 2023

Recorded in Berlin, Germany.

Sound Engineer: Robert Mayson, NYC.

Promo videos of the album linked below, by Courtney Sell.

Album is in digital download format only.​

Zeena's second solo album 'Transcend' debuts at Snow Gallery NYC on June 3rd, 2023, as soundtrack for their third exhibition in a series, 'Movement of the Triangle,' inspired by Kandinsky’s 'Concerning the Spiritual in Art.' The exhibition also marks the first time originals of Zeena's visual art are shown together with works of her recently deceased godfather Kenneth Anger.
 
All good things come in threes: 

The three lengthy pieces in this album total 52 minutes altogether, affording the listener ample meditative journeys of contemplation and sonic catharsis, ending with an exhilaratingly triumphant sense of dashing through space and time, releasing the ballast of all pain and suffering, emerging as a Victor. The succinct titles focus on specific Buddhist themes, directing the mind toward wider and deeper understanding of ones own spiritual path and experience.

*The album's official release is June 4th, 2023, on the day following its debut at Snow Gallery NYC and a date of immense Buddhist importance, Saga Dawa Düchen, the anniversary of Buddha's Enlightenment and Parinirvana.
*Pre-order the album Transcend prior to the official release date to get the first track; email notification on the release date will give you the link to the rest of the album.

Album cover for Transcend is a detail from a larger piece, 'Ladders,' original art by Zeena Schreck on display at Snow Gallery until July 2nd, 2023.

Recorded in Berlin, Germany.

Sound Engineer: Robert Mayson, NYC.

Promo videos of the album by Courtney Sell.

Album is in digital download format only.

For full gallery description of the exhibition and other artists featured, click on the below images or visit: https://www.instagram.com/snowgallerynyc/

Many thanks to Tnopud Salocin for his video mastery, perfectly synchronizing select clips from the classic 1922 Prana-Film* Nosferatu to my tone poems in 'Bring Me the Head of F.W. Murnau.' What better way to enjoy Good Friday and Easter weekend than with a haunting necromantic tale tracing the end of Murnau's life into his afterlife, all choreographed to the visuals of his centenary cinematic masterpiece! Embedded below are each of the videos or watch on auto-play at my YouTube channel.

Many thanks also to all who ordered the premiere 1st edition, signed and numbered series of BMTHOFWM, which are now sold out. More sonic magic is currently in the works! 
~Zeena
​​
[Digital downloads at Bandcamp or get the CD HERE]
​
*Correction made on 29.03.2022 to original text which mistakenly stated production company as 'UFA film.'
[Posted by Thomas]

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.

[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: [email protected] 
FOR SHOPS AND RETAILERS and any questions regarding your order, please write to: 
​[email protected] 

"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

Music video clip from the Zeena Schreck/Radio Werewolf Archives: Concert footage from early 90s.
​More vintage Radio Werewolf from the Zeena Schreck/Nikolas Schreck European collaborative years will be featured regularly on this site and Zeena's YouTube channel.
Genre categories: #performanceart #postindustrial #soundscapes #experimentalmusic #avantgardemusic 
#darkambient #neoclassical #postpunk #darkwave #nikolasschreck #zeenaschreck

Milarepa mantra chanted during meditation by Zeena for CHÖKHOR DÜCHEN, 2017.
In the Buddhist tradition, today is celebrated as the first teaching given by the Buddha Shakyamuni after attaining Enlightement. Any mantras recited on this day accumulate the positive merit ten million times. 
During the day's mantra meditations, as Zeena chanted the Milarepa mantra, birds came to listen.
The Tibetan sage Milarepa, born nearly a thousand years ago, was a powerful black magician in Tibet who renounced his sorcery ways, dedicating himself to the Dharma teachings. As a result, he become fully enlightened in one lifetime.
Milarepa is not only a source of inspiration to Zeena, who has also followed a similarly extreme path in life, but it is also into his lineage that she is initiated by her heart lama H.E. Ayang Rinpoche, one of the yogi lineage holders who has maintained Milarepa's teachings in pure, undiluted and unbroken form. 
​
Gratitude to H.E. Ayang Rinpoche for the image of Milarepa, Vajradhara and Vajrayogini used at the beginning of the video and for his wisdom and compassion which are boundless.

To learn more about the magical life of Milarepa, visit this page. ​
http://www.thranguhk.org/buddhism/en_milarepa.html 

San Francisco is currently celebrating the 50th anniversary of the Summer of Love. This week also marks the dark-side of the city's history. On May 23, 1967 Zeena made her international debut as performance-artist at the first public satanic baptism, orchestrated by her parents' in-house carnival show. She has commemorated the event by creating a personally charged meditative ritual in the form of a soundscape and video collage. 
[Video below]