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Artist......: Zoe Polanski
Album.......: Violent Flowers
Label.......: Youngbloods
Genre.......: Indie
Catnr.......: YBZ028
Source......: CD
Rip.date....: 2020-07-29
Str.date....: 2020-07-17
Quality.....: 742 kbps avg / 44.1kHz / 2 channels
Url.........: http://zoepolanski.bandcamp.com
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\ / # title time \ /
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1. Violent Flowers 4:36
2. Pharaoh's Island 3:50
3. Ya'ar Bein Olamot (Forest Between Worlds) 3:46
4. Closer 4:52
5. Humboldt Current 3:10
6. Apple Hill 4:59
7. Slopes 4:29
8. The Willows 5:15
9. Bubbles 3:06
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\ / ________ Runtime 38:03
,\ /... . . .... .... \ / ' Size 213.61______
:\/ ', \ / , \ /
' '... ..\ /.. .. .....:. .. .... .. . ..\ /.
: Release Notes: \/ , \/ ,
' '
,: New York-based record label Youngbloods presents Violent :,
: Flowers, a glistening collection of Experimental Dream Pop from :
:' Israeli singer, songwriter, and film composer Zoe Polanski. ':
,: Written in collaboration with producer Aviad Zinemanas, Violent :,
: Flowers uses PolanskiÆs tranquilizing voice as a guide across a :
:' vibrant landscape of inner musings that reflect her visual, and ':
,: often cinematic, approach to songwriting. :,
: :
:' Born to a musical family in the tense northern city of Haifa, ':
,: Polanski sought from an early age an escape from everyday life :,
: through music, first learning cello then piano and eventually :
:' guitar. In contrast to her family's affinity for jazz and world ':
,: music, Polanski was drawn to the entrancing and transportive :,
: effect of ethereal, lo-fi sounds. After her obligatory service :
:' in the IDF, Polanski moved to New York City to record with the ':
,: band Katamine and enrolled for a summer course in cinematography :,
: at the School of Visual Arts. Becoming enraptured with musicÆs :
:' ability to enliven a visual scene, she returned to Israel ':
,: settling in the liberal, multicultural hub of Tel Aviv and :,
: started her new project named after the renown Hungarian avant :
:' garde filmmaker BΘla Tarr. Like the projectÆs namesake, the ':
,: music was imbued with a sense of slow cinema veritΘ, juxtaposing :,
: dark lyrical observations against the surreal aura generated by :
:' spacious, floating guitar lines soaked in reverb. ':
,: :,
: As she became more involved in the electronic and ambient music :
:' scenes of Tel Aviv, Polanski started to experiment with sound ':
,: design, honing in on compositions created for singular movements :,
: and moments in time. She began to perform live, becoming a :
:' regular supporting act for the likes of Tame Impala, Swans, ':
,: Mark Kozelek, Alessandro Cortini, Bayonne and Lµtitia Sadier of :,
: Stereolab. On a chance, BΘla TarrÆs cinematographer Fred Kelemen :
:' caught her live show, intrigued by the projectÆs name. ':
,: Impressed by her style, Keleman hired Polanski to score his :,
: upcoming film, further pushing her creative trajectory toward a :
:' deeply delicate, visual, and personal place. ':
,: :,
: Through several serendipitous encounters Polanski befriended :
:' local sound designer and producer Aviad Zinemanas. Their ':
,: friendship, initially cemented by a mutual appreciation for :,
: shoegaze and ambient music, would blossom into trading Ableton :
:' sessions and shared explorations into broadening PolanskiÆs ':
,: productions. They would begin to write and refine PolanskiÆs :,
: demos, culminating in what would become Violent Flowers. :
:' ':
,: Their approach to sound design and songwriting pays homage to :,
: PolanskiÆs love for cinematography in romantic fashion. Together :
:' theyÆve designed an expansive atmosphere that nurtures, and ':
,: deepens, the lush intentional simplicity of PolanskiÆs :,
: compositions. The albumÆs title track, alongside its subsequent :
:' pieces (ôPharaohÆs Islandö and ôCloserö), demonstrate the duoÆs ':
,: creative balance most clearly, pairing PolanskiÆs hypnotic :,
: vocals and shimmering guitar with ZinemanasÆ blend of implied :
:' rhythms, soft percussion, and weaving keyboard pads. Even ':
,: without PolanskiÆs gentle singing, the creative pairÆs talent :,
: for penning accessible melody is evident through the albumÆs :
:' instrumental works ôYaÆar Bein Olamot (Forest Between Worlds)ö ':
,: and the more traditionally theatrical ôHumbolt Currentö. :,
: :
:' Where luminescent temperaments characterize the first half of ':
,: Violent Flowers, the albumÆs conclusive pieces permit a glance :,
: at the dark clouds in Polanski's robust universe. ôApple Hillö :
:' and ôThe Willowsö reflect a different side of the same coin, ':
,: trading pinks and vibrant blues for grey, marbled reflections of :,
: relationships come and gone. ôSlopesö acts as a wispy, :
:' contemplative nod to PolanskiÆs work scoring film, focusing on ':
,: ambiance and auditory distance as emotive characteristics. :,
: Violent Flowers soars to a thunderous finale in ôBubblesö, :
:' vocalizing aspiration for a less-divisive, understanding ':
,: future. :,
: :
:' Polanski finds adventure in her experimentations, and hopes ':
,: that the tonal vulnerability of Violent Flowers invites others :,
: to join her in casting lights across the geography of her :
:' memories and ideas. With a keen ear and open heart, they too ':
,: will find pleasure in the various shadows and shapes they make. :,
: :
:' ':
: '
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