pop019. October 2013. zine.
By Matthew Moyer, Ian Koss, Jamison Williams.
Edition of 40.
56pp. Quarter-size digest. B/W photographs.
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.
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).
Edition of 50.
Encounters is the continuing collaboration between members of Jacksonville-based dark lords NRIII and Husere Grav. Rooms is the result of an inspired improv session twisted and altered beyond all recognition, thirty minutes of blackened ambience and electronic regrets. The listener is left with no easy answers. Edition of 50; 25 red cassettes and 25 blue cassettes.
Forgetfulness b/w Trembling.
Edition of 25.
In the cruel footnotes of rock history, Beach Party may go down simply as being the side project of Trenton Tarpits of the 2416. But, god, was it so much more. Tarpits and an ever-rotating group of collaborators struck a surprisingly somber note as Beach Party, combining Bauhaus and Joy Division with Jan And Dean and The Shangri-Las. Teenage deathsongs crooned by a group of malcontents clad uniformly in pink and black with white facepaint, kabuki-style. Their recorded output up to this point consisted of a sole EP on Infintesmal and then prolonged silence. This second installment in the popnihil Bootleg series brings to light previously unreleased Beach Party tracks: 1. Forgetfulnesss, a solo accoustic lament and 2. a live version of Trembling that was the Patient Zero moment for a whole new generation of goth music in Jacksonville.
popnihil investigators are currently trying to unearth the long-lost Beach Party EP. Watch this space.
Epiphanies. Vol. 1: Christian Death.
By Matthew Moyer.
pop013. Edition of 40.
20pp. Quarter-size digest.
“On the occasion of the 15th Anniversary of the passing of Rozz
Williams.” Matthew Moyer mixes personal and impersonal memories
alongside outright hero worship and music biography for this brief and
sometimes poignant zine. Because it’s been too long and no one else
wrote it first.
To mark the release of two new popnihil tapes and and a zine, we’re throwing a little party at CoRK Arts District. We’ll have live music from several popnihil artists and brand new tapes from Encounters, Beach Party, MREOW, and Burnt Hair available.
Live actions from:
Encounters (blackened atmospherics from members of Husere Grav and NRIII)
Burnt Hair (coldwave for the spring time)
Proud/Father (Analogue synth and tape collage from New Orleans)
CoRK East Gallery. 2689 Rosselle Street.
No cover. Bring some pocket money for tapes. Early show, will start promptly at 9pm. We’ve got some surprises planned.
Growing Up Sleeping.
Edition of 30.
“Growing Up Sleeping is the sound of living a lie. A lifelong struggle to agree with yourself, condensed into 60 minutes of harsh noise/power electronics. Heavily influenced by my childhood as a non-believer in an intensely christian town in Texas and the mental weight that comes with being in that position. Included with the tape is a small art booklet. The images are collages made from a book I found and illustrations I’ve had lying around for almost two years.” – Dylan Tietze
One hour of bracing noise from Dylan Tietze, under the guise of FAKER. Tietze is one of the more prolific artists in the north Florida noise scene, in terms of both live work and recording. Restlessly creative, no two works by Tietze sound alike, as he is constantly experimenting with new techniques and sound sources. The material on Growing Up Sleeping is claustrophobic and oppressive, an attempt to purge through creation. Includes a small zine of collage works. All designs and artwork by FAKER.
cs10, one sided.
Edition of 25. SOLD OUT
Raw vocal exorcisms equally redolent of Whitehouse and Kurt Schwitters, from solo artist and Boy+Girl driving force AG Davis. Two covers available. Edition of 25 and no more. Will it be his last? No digital component.