Edition of 25.
Live punishment. No relief.
by AG Davis.
Edition of 40.
Full-color art and poetry zine.
No easy answers from veteran experimental musician AG Davis. Hot off the heels of his stellar Voice Studies cassette on London’s My Dance The Skull imprint, Davis continues to confound expectations and break his own boundaries with a new collection of poetry. DRK DUV, however, pairs verse with his evocative, oft disturbing original collage work. Read in the dark
< b/c I bye you bye
and he byes she
to bye him for hers
to bye their being byed
by 316.4°F (by 158°C) by
_sheep derived(?)_AG DAVIS_2-19-14_
Edition of 20.
pop019. October 2013. zine.
By Matthew Moyer, Ian Koss, Jamison Williams.
Edition of 40.
56pp. Quarter-size digest. B/W photographs.
$3.00 SOLD OUT
Music-themed anthology zine in miniature. Features lengthy interviews with ADULT. and Oubliette, and an essay on the sonic borderlands on Costa Rican radio by Ian Koss.
Burial In The Sky.
Edition of 50.
VOIDS is the solo project of Jon Thoreson. Branching out from his earlier noise and drone roots, Burial In The Sky is VOIDS’ most coherent and diverse artistic statement yet; a collection of musical movements that embrace emotional extremes ranging from the ethereal drift of Labradford to the more punishing trudge of Godflesh, but stripped to their base elements. To achieve this wider-ranging sound Thoreson has enlisted an all-star group of collaborators, including noise legends PBK and Robert Turman, Chelsea Wolfe bandmate Ben Chisholm/Revelator, and even Jarboe (Swans)! Burial In The Sky is an hour’s worth of subtle, multilayered music that is just as likely to leave you with a lump in your throat as it will erase pain and fear as you slowly accept thee infinite.
Edition of 20.
$5.00. SOLD OUT
Teenagers from Mars! And they don’t care! The Mold make some of the best music Jacksonville, FL, has to offer: a seamy, blown-out roar that owes as much to garage rock as it does to hardcore and new wave. Every time I listen to this cassette I like a different part of the Mold’s Music best. Sometimes it’s Ryan Johnson’s Keith-Moon-esque drum assault; or it’s the snotty-ass delinquent vocals, delivered through what must be a maze of effects pedals; maybe it’s the Geezer Butler-meets-Dukowski basslines of Jason Tylenol Jewell; on particularly good days it’s even LaMar Drue Carden’s scuzzy keyboard runs. Regardless, The Mold have condensed all of their strengths into fourteen minutes of sugarfixed trashpunk, two songs of which are Redd Kross covers, and one of which is the soon to be immortal “Black Pope.” The tape is snot-green and repeats on both sides, just like Reign In Blood. Dig in.
* Cover photo by Winthrop Fist.
Edition of 30.
The Worm is the audio equivalent to a line drawn in the sand that separates people who say they like weird music and people who REALLY like fucked-up music. It’s not an easy listen. With hardly any discernible percussion at all, the “music” of The Worm is the contents of a mix tape reversed and sped up, and that’s it. Over that, Game Show* wildly free associate hidden truths and dark urges. Patterns emerge and then disappear, and there are some of the most profound lyrics I’ve EVER heard buried amidst truly ugly and sociopathic sentiments. The best part of The Worm is the vocal styles of the two: Josh Touchton delivers his words in a deep slur that sounds as if the tape is malfunctioning, while Zach Ferguson has a more strident bark, combined with one of the more distinct Southern accents in all underground music. Game Show pass the mic back and forth, red-eyed and bleary, trading verses on and on into infinity.
* Game Show is the (non) hip-hop project of Josh Touchton (Virgin Flower/National Dairy) and Zach Ferguson (Baby Ghost).