All tracks written, composed and performed by ZICO (Boaz Goldberg): Vocals, Electric Guitar, Classical Guitar, Bass Guitar, Korg Synthesizer, Wind Chimes, Percussion, Drums, Cymbals, Thunder Tube
Produced, mixed, edited & mastered by Boaz Goldberg
Yearning
An almost forgotten piece of a cassette recording with my little sister's voice from the electronic answering machine of my family home somewhere in the 90`s leads to a loop-oriented transcendental Ambient Noise. This piece, minus the new opening, was originally called "Kobi Wake Up" and was taken from the album I released for the long lost duo of Kobi Or and me, NEMEK. It's my contemporary addition to NEMEK's album, and while I was working on it, I knew I would use it for my next album as well - just so it wouldn't fall through the cracks.
Ode to Sean Derrick Cooper Marquardt
What would have happened if Len Boukhman had been a little late even more or had simply skipped the session we scheduled in early November 2008 at Ambience Studios in Ramat Gan with engineer Dar Nahmias? It was just a few days after I returned from a very interesting vacation in Berlin, where I saw several noise performances that blew me away. One of them was by noise artist and master of Accidental Guitar Sean Derrick Cooper Marquardt, and this piece was completely built with his spirit echoing every second of it. Memories of SDCM performance, textures, sounds, loops, magic. The track was actually completely ready when Len arrived late, had lots of Dar’s whiskey and burned in her brilliant poem. Len and I originally called it "P.R." and it came out under our little duo called Nail and Flashlights. Thanks to A.I sound technologies, I removed Len's vocals just to go back to the original version of the track, before Len knocked on Ambience Studios door. At the same time, I added a few elements that weren't in the original recording. Now, without Len's text, I knew what the new track title would be. Easy.
Gold Chops
One of my favorite tracks on this album. Those who know my "Headless Elvis" will recognize the melody and chord progression from the opening track, “Gabi My Friend”. Part of the track was also incorporated into my documentary film about Charlie Megira, “Tomorrow’s Gone”. However, "Gold Chops" sounds very different for several reasons. A. Here the guitar sound comes from the guitar amp only and without a softening direct channel. The result is a real raw treat, very Vilde. B. Here we hear the entire track, without edits and without any kind of additions, twists or turns from the Korg synth. Since it was engineered by Sagi Barnes in 2017, I don’t think I’ve ever heard this track like this. I think we immediately edited it, and some would say - castrated it. In short, the moment I discovered this lost gold treasure, it was clear to me that it was worth pulling it from the depths of the well into the light.
Marenight
This track is also based on a track from "Headless Elvis". There it was called "Dear Narcoza 2" and I was always upset that on my debut album I shortened it and didn't let it develop and go wild. I felt like I hadn't exhausted its potential. In this new version, the piece is almost unrecognizable. It's about six times longer, and it develops into a dark rampage at the peak of which I’m maneuvering between nine different channels. The name chosen for the title, "Marenight," encompasses several alternative ideas that could’ve been suitable as well, such as "Launch Nights", "Ballistic Missiles from Iran" and more. In the end, I chose an option that everyone can identify with. A reverse nightmare, with lotsa Reverse Reverbe...
