Artist description zenapolæ is a privately owned and operated electronic music label. zenapolæ's objective as a label is to promote, support and further experimentation and innovation in music. zenapolæ specializes in music genres such as ambient, abstract, avantgarde, dark ambient, environmental, glitch, illbient, IDM, noise, and soundscapes. zenapolæ currently produces commercial CD releases and limited edition CDR releases.

Music Style abstract, dark ambient, glitch core, and other experimental electronica

Group Members 23986721 B:TS, AmgSphont, bug, The Buddhahead, d/form, dev79, ecux, Paul Edwards, Fidget, Instruction Shuttle, James Nathan Jones, kalx, lolpix, Manherringbone, the Noisettes, Opion Somnium, RED L.E.D. ELDER, ROACHHOWSON, zenas(prime)

Press Reviews Philadelphia Citypaper - "Searching for Zen" (an interview with review) Local electronic label Zenapolæ will not go looking for you. by Sean O'Neal There's more to electronic music than beats, build-ups and shout-outs. Not all computer-based music has to be aimed for the dance floor. Throughout the genre's evolution, there has remotely been a coinciding ambient/experimental movement -- from Brian Eno to Aphex Twin to Oval. Beneath the flood of Philly-based DJs and producers dishing out hip-hop, drum 'n' bass, house, trance and techno, the Zenapolæ label sits as quietly as the sounds they breed, only peeping their heads out to take a breath once in a while. They don't find their audience, their audience has to find them. Zenapolæ (pronounced zen-OP-oh-lay), based in Collingswood, N.J., continues to release ear-tickling, mind-scraping computer frolic primarily geared for home-listening. Releases on Zenapolæ range from overdriven cacophony to soothingly sinister serenity -- focusing on dark ambient, glitch-core, the more experimental sides of Intelligent Dance Music (IDM), plus a secondary concentration on environmental, minimalism, illbient and straight-up digital noise. When Zenas Bellace (a.k.a. Zenas(prime), one-half of D/Form) and Erik Smith (a.k.a. Lolpix), a couple of likeable, creative-minded computer geeks, spawned the label in 1998, their goal was "to promote, support and further experimentation and innovation in music." Most of the Zen sound is by no means commercial-friendly, and it's up to you to decide whether or not it's your cup of plasma. "We personally enjoy the music created by the artists on our label," asserts Bellace, "and we work to ensure this music will be available to like-minded persons regardless of its market viability." The label commenced with D/Form's What Are You Thinking?, an hourlong excursion into cosmic pulsations and throbbing soundwaves. Then came the Pegged compilation, a head-splicing array of ambient textures, exploratory soundscapes and audio abstractionism by various artists. After that, Bellace and Smith began to feel the expected financial pinch, and they were forced to resort to CD-Rs for future releases, all available on their website, from artists (many from the Philly area) like Instruction Shuttle, Kalx, Ecux, Lolpix, Red L.E.D. Elder, Roachhowson, Zenas(prime), Dev79 and AmgSphont. Now, Zenapolæ returns with a new professional CD release (bar code and all) from Philly-based artist Paul Edwards, entitled To Six Billion. Formerly known as Muadib and Paul=Muadib, Edwards drops 43 minutes of dark yet uplifting, heart-scratching ditties that gracefully glide with charming synthesizer melodies, AFX-ish breakbeats that range from splattering minimal blips and clips to uppity drum 'n' bass, soundtrack-y soundscapes, quirky bubbly-ness and sci-fi spookiness. It's all urbanely laced with funk, soul, jazz, psychedelics, and, on three tracks, the alluring voice of the ballsy, Tracy Chapman-ish Sierra Hurtt-Akselrod. To Six Billion surrenders the sort of tender, deep emotion a lonely, yet content, child might feel -- a kid that is gratefully in tune with the outside world through TV shows like Hawaii Five-O and Star Trek. Less noisy and more poppy than the label's previous and forthcoming releases, it hardly seems to fit into the Zenapolæ mold. "Paul's work is probably a bit more accessible to the average listener than some of the artists we represent," says Bellace, "but our basic approach in regards to the music we promote has not changed. We try to approach every artist and their work with an open mind. We use the term 'experimental' to describe a philosophy, not a genre." "I give those guys a lot of credit," says Edwards. "It takes balls to take chances. I think that they are eager to show that the label has more depth to it than just the bleeps and squeals people expect from them. Zenapolæ states that their mission is to explore experimental electronica. I think that gives them a lot of latitude. Everything is relative. I mean, some people have heard my CD and thought it was the weirdest thing ever, while people in the know may find it to be almost pop at times." Edwards was born in Hawaii to military parents who traveled and relocated often, exposing him to many different cultures along the way. His first instrument was the alto sax, but he eventually pissed his mother off by trading it in for a crappy guitar and amp from the old, drunk guy who lived across the street. During his youthful days, his heart was set on rock music while his mind was stuck on television. "One of my main early influences is TV music," remembers Edwards. "I grew up watching a lot of old re-runs, shows ... like the original Spider-Man cartoon, UFO, just about anything by [Mission: Impossible-theme composer] Lalo Schifrin. Those shows have something that is lacking on TV today. Good music. I think I like anything that can communicate a feeling." Edwards' recent sound is an emotion-driven hodgepodge of everything that has influenced him from early childhood through to the immediate present. "I think that I'm just trying to convey what I'm feeling," says Edwards. "I think that music in general is a powerful medium in expressing emotion. Just take the music out of any action or horror movie, and [the film] instantly becomes much less effective." The Philadelphia Citypaper July 5, 2002

Location Collingswood, NJ - USA

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