In approaching the shadowy core of the project Ziúr as innocent outsiders, we encounter the following evidence: a rotating strawberry on the website; a show on the internet radio station NTS; concerts at OHM, at Südblock, and at Kit Kat Club. There are tour dates with… Peaches, and a photo of Peaches in a Ziúr t-shirt. Ziúr herself, though, leaves behind only illusory traces. The video for “LIPS” is, once again, shadowy—there’s an arcane kaleidoscope, and then suddenly a face. Is it Ziúr’s? The music, more sound design than songwriting, is digital and paranoia-infused. Its sinister undertow at once compels and repels—you want more but know it’s best to keep your distance. This turns out to be a well founded instinct: the dark space around Ziúr remains agitated and disquieting, fragmented and out of focus. Ziúr belongs to a scene that celebrates the eerie in the digital. The discomforting manner through which Ziúr and others like her dissolve the boundaries between the human and the apparatus paints the once-utopian “man-machine” figure now instead as dystopian. In the process, the artist herself becomes a citizen of this intersection, oscillating in her self-representation between a digital and a real person.

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