A1 Ursa Major

Vocals [Vocal Improvisations] – Ridina Ahmed

A2 Casanova

Trumpet – Oskar Török

A3 Blow Up

Cello [Violoncello] – Tomáš Jamník

A4 Precious Creature

Lyrics By – Anya StuartVocals – James Rone

A5 Forget-Me-Not

Vocals [Vocal Improvisations] – Ridina Ahmed

B1 Veronika's Dream

Cello [Violoncello] – Tomáš Jamník

B2 Perlin Noise

Voice [Speech Sample] – Francis Bacon

B3 Petr Parler 5:38
B4 Nel Blu

Lyrics By – MusettaVocals – Marinella Mastrosimone

B5 Mecholup

Double Bass – Petr Tichý

B6 Zorya Polunochnaya 3:11

Companies, etc.

  • Manufactured By – Vinylla Media
  • Pressed By – Schallplattenfabrik Pallas GmbH – 23644
  • Mastered At – Pauler Acoustics


  • Mastered By [DMM] – H.P.*
  • Mastered By, Mixed By – Matouš Godík (tracks: A1 to B6)


Recorded at Mush Room (Prague, Budapest) except vocals for "Nel Blu" (Musetta Studio, Milan), and vocals for "Precious Creature" (James' place, Minneapolis).

Fifth pressing on 180 gram black vinyl.
Album contain two 30x30 cm full-color inserts with illustrations by Veronika Vlkova.
Each album contain download coupon with codes for MP3 and FLAC album downloads.

Direct Metal Mastering

Barcode and Other Identifiers

  • Barcode: 8594047980187
  • Matrix / Runout (Side A): VINYLLA MIN-28 A DMM H.P. - 23644 -
  • Matrix / Runout (Side B): VINYLLA MIN-28 B DMM H.P. - 23644 -

Floex - Zorya LP

  • The following review was written by Drastic Steps. You can read more of his reviews and stream his DJ mixes HERE:

    “Against the gentle grain my fingers strain\Distorted faces take the siderooms\It’s like I’m paralyzed when you’re the one that’s true\Who could you be?” 

    Listening to Zorya, which refers to ancient Slavic goddesses, I know the answer to that question. To me, it is the universality and ecstasy of music itself. Music is that “precious creature” that this work of art nurtures with tremendous attention to detail.  Floex and his brilliant band show how the creature is playful, intriguing, surreptitious, reflective, and restless, how it can stick to surfaces, rise like a cloud mixed with sunshine, sparkle like a distant constellation of stars. The entire album reads like a mythical mystery novella with the scope of an encyclopedia. 

    For example, Veronika’s Dream starts with a taut and resolute drumline that breaks down into a bliss-inducing breeze of keys, strings, and floor flooding lows. Then we dissolve ourselves inside a surreal painting. We enter a melting hall of musical instruments. I kept thinking about how I wanted this track to play with clips from Wim Wenders’ Wings of Desire.

    During the painfully short Zorya Polunochnaya, I imagined a purple twilight slowly dissolving into the dark ink of the night, as distant voices surface from caverns of memories.  The piece shows how a distant star, long dead, still brings us light, even when we fail to notice it. The fragility, magnificence, and immortality of the musical form blossom in a way that is rare in any genre, and I yearned for the album to continue beyond two sides. 

    Casanova plays like the vastness of mountains with serpentine roads carved out by trumpets. You could hear the collective heartbeat of trees rising into a gratifyingly deafening crescendo that one must listen to believe. In the next track (Blow Up), the forest finally exhales a delicate mist of wind instruments and chimes. If Lawrence Ferlinghetti taught us how to paint sunlight, this short piece shows how to paint a midnight forest.        

        I can’t thank QuietCalm Records enough for bringing me this gem in LP that comes with prints of artwork. I must confess I am ashamed that I have not yet mixed and played with these tracks to the extent I wanted to. That has to be fixed soon in a new mix. Whatever be one’s choice of poison in musical tastes LP lovers have to find their way to this record. One can file it under “soundtracks to imaginary films,” or “music for opening the gates of dawn.” This album gives and gives and never stops.