From 1983 to 1985, ZERO KAMA was the ritual music project of Vienna based electro-acoustic composer Zoe DeWitt, whose album ‘The Secret Eye of L.A.Y.L.A.H.’ (1984, Nekrophile Rekords), recorded exclusively with instruments made from human bones and skulls, has been regarded as a key work of first wave industrial music and credited with founding the “ritual industrial” genre.

In addition to Zero Kama, DeWitt produced under the name Korpses Katatonik (1983) and founded Nekrophile Rekords (1983), which published some of the earliest solo material by Genesis P-Orridge, as well as the debut album by Coil.

In the field of performance art, Zoe has worked with artists such as Hermann Nitsch and Marina Abramović. Occasionally s/he gives philosophical lecture performances, and in 2017 s/he curated the exhibition ‘Queer Encounters – Vienna trans L.A.’ at the California Institute of the Arts, Los Angeles.

For New Forms Festival, s/he will resurrect Zero Kama with a world exclusive A/V set titled BARDO MUZAK. In Tibetan Buddhism, the term Bardo denotes an in-betweenness state of consciousness, usually referring to the time between death and rebirth.  After 35 years of silence, Zero Kama’s composition Bardo Muzak (accompanied by video shoots made during its recording) comes from such an inbetweenness state, in which the past life of Zoe DeWitt's Zero Kama has vanished long ago and its resurrection is imminent. By processing samples of Zero Kama’s legendary 1984 album The Secret Eye of L.A.Y.L.A.H. through modular synthesis, DeWitt creates out of the sonic remains of her previous work a series of new tracks that bring new life to the original sound material. Bardo Muzak is not a finished work, but rather the very beginning of a work in progress that gives a glimpse of the basic sound elements that may developed further to an upcoming Zero Kama album in 2020.

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