I was looking on Amazon.com for one of my books and noticed it was going for $500. What version of the book are they carring? That is what has me curious because it can't be the versions with David Boyer and the old closer in there -- the old closer called me a bigot when I called Brian Keene a faggot for stealing my work. There is someone out there right now saying I am stealing from the Illinois government when I don't steal. I just get disability for my mental health problems and make a little money on the side with the writing. The anthology that is for sale that is going for $500 is the namesake -- the first namesake anthology. Support me by buying the book on http://www.lulu.com/spotlight/lakefossilpress -- whoever is saying they are the master to me are sadly mistaken. They need to leave me alone because I had a death in the family and seems like they are saying I am living for free well that is wrong too because I pay the electric bill each month now, that is about $400 a month and the house runs entirely on electric.
Friday September 27th and Saturday September 28th, 2013
Metro is located at
3730 N. Clark, Chicago, Illinois 60613 (Two Blocks North of Wrigley Field)
COLD WAVES II PERFORMERS:
DOUGLAS J. MCCARTHY (Nitzer Ebb)
DIE WARZAU (Re-united with Van Christie)
THE CLAY PEOPLE
and more TBA
Dj sets from:
Zoltar (from Q101, Planet Zoltar and Satellite radio's "Subterranean")
2 day Ticket prices are $56
2 DAY PASSES ON SALE FRIDAY AT NOON 4/12 VIA THE METRO WEBSITE AND SINGLE DAY PASSES/VIP PACKAGES ON SALE 4/19
Doors at 5pm and Show at 6pm
Proceeds from the show will go to support Hope for the Day foundation. (http://www.hftd.org/)
On Friday September 7th, 2012 a collection of musicians, peers, co-workers, friends and family gathered together to put on a memorial concert at the Bottom Lounge in Chicago to celebrate the life of Jamie Duffy who had passed away earlier that year. The Memorial show was referred to as Cold Waves: The Jamie Duffy Concert, in no small part due to the high number of “Cold Wave” artists who participated in it. Cold Wave is considered to be a sub-genre of Industrial Music and more specifically a mending of Industrial Rock and Industrial Metal. An All-star cast including such well known names of the Industrial genre included Paul Barker, Chris Connelly, Jared Louche, Martin Atkins, Steven Seibold, Jim Marcus, Jason Novak, Eric Powell, Curse Mackey among others who performed selections of songs by their bands; Revco, 16volt, Chemlab, Acumen Nation, The Damage Manual, Hate Dept., The Clay People and more that ended with an star studded jam worthy of paying respect to the man that Jamie Duffy was.
Well the result of this memorial show proved to be greater than anyone anticipated and it’s scope was even farther reaching than anyone could imagine. Not only did people flock to the Bottom Lounge from all over North America, but also from all corners of the world. But the real effect of this show was greater than simply selling out a 700 person venue, it re-united friends, mended broken relationships and sparked an interest in Industrial music as a whole again. The energy and emotion that was felt that Friday evening led to new collaborations and new inspiration. Inspiration that has brought us to Cold Waves 2: An Industrial Music Festival
This year the Cold Waves festival has been expanded to two nights and has seen a move to a larger venue, Chicago’s Metro. 14 “Industrial” bands that span across multiple genres including Rock, Metal, EBM, Drum n Bass and Punk will once again descend upon Chicago for two emotionally charged shows. The 2013 version of the Cold Waves Festival sees the return of CW alumus bands: Cocks Members, 16volt, The Clay People, Hate Dept., Iron Lung Corp and Chicago favorite DJ Zoltar (q101), best known as the “Brother from another Planet”. The rest of the nights lineups are filled out by the likes of Prong, Nitzer Ebb’s Douglas J. McCarthy, Die Warzau, Skrew, Acucrack, Evil Mothers, Plague Bringer and more to be announced soon.
Limited $56 2 day passes will go on sale Friday 4/12 via the Metro website and 1 day passes along with some very limited VIP packages will go on sale on 4/19. A portion of the proceeds will go to benefit Chicago’s Hope for the Day which utilizes music and the arts to offer education, prevention and hope against suicide.
More information can be found via the following websites:
What becomes an iconoclast the most? Carved Into Stone sums up what Prong stands for. This is an album slaked in hostility, personal detachment and seething with the urban paranoia that's long been the mark of this sonic triad. It's eleven tracks that don't merely settle into the New York City-born band's cannon of material that has yielded post-metal classics including Beg To Differ and Cleansing. It exceeds it. "I hate nostalgia," says mainstay, vocalist and guitarist Tommy Victor whose musical and personal outlook belies his current Los Angeles environs. "But this record literally has every strand of Prong's DNA spliced together in a way that feels more exciting than it has in some time."
Produced and mixed by Steve Evetts (Dillinger Escape Plan, Suicide Silence), Carved Into Stone picks up where Prong's classic albums left off. Opener "Eternal Heat" sets things off at a blistering pace fueled by drummer Alexei Rodriguez and bassist Tony Campos' formidable rhythm section. Meanwhile, the likes of "Revenge…Best Served Cold" is absolute, classic Prong: a huge riff slaked with bitter sentiments. Tommy Victor admits that Carved Into Stone is the first time Prong has taken direction from a producer in the studio. "It's also the hardest I've ever worked on a record," he says of working with Evetts. "I'm happier with the way it came out more than almost anything I've ever done but there were points during it I wanted to kill myself and everyone around me."Prong emerged from the New York City underground of the late 80's, quickly setting themselves apart from the conformist culture of the city's hardcore and metal scenes. They were recognized internationally for their first two independent releases: Primitive Origins and Force Fed. When Prong's dalliance with the outer limits of the mainstream acceptance came via Epic Records, it proved more successful than the underground-bred trio ever expected. The band's "Snap Your Fingers Snap Your Neck" from Cleansing became Prong's calling card. "It felt like the world had finally caught up with us," says Tommy. Prong's influence was being felt in the scene around them. Bands from the likes of Pantera to White Zombie to Korn were taking notice of Prong's purposeful, creative riffing and making that the template for platinum selling success. "I wasn't jealous," Tommy recalls. "But I could take a royalty check or two."At the beginning of the 2000's, Tommy put Prong aside for a time to play with Danzig and Ministry. It was a much-needed time for Victor to refocus his energies.
When Prong finally twisted itself back into form, they toured exhaustively both headlining and supporting the likes of Soulfly and Fear Factory. Slowly but surely, the songs and ideas that would become Carved Into Stone began to take form. "The songs I was writing felt more like Prong than anything I had written since Raven was in the band," says Tommy, recalling the era when the recently deceased ex-Killing Joke bassist Paul Raven was one of his co-conspirators.
After the Wax Trax Retrospectacle in 2011 and the original Cold Waves performance saw the likes of Chris Connelly, Luc Van Acker and Paul Barker pay homage to the mighty Cocks, it only seemed natural to find an alternate way to cleanse the world again. Revco Culture is alive and well and destined to reclaim the industrial trailer park glam mantel once more. Chaos and Mayhem are to be expected and encouraged.
Douglas McCarthy, already world renound as the legendary voice and founding member of the band Nitzer Ebb, has taken his time returning to music.
Nitzer Ebb, an avant-guarde electronic band, started in England in 1982 signing to Mute Records in 1986 after releasing a string of instant global club hits on their own label. Douglas brought the raw power of his voice to the band, along with an amazing stage performance seen all over the world with the brilliant Nitzer Ebb live show that was always full of the tension and rage of hits such as ‘Let Your Body Learn’, ‘Join in the Chant’, ‘Control I’m Here’, and ‘Getting Closer’ – tracks that are still as popular today as then.
Currently performing as Douglas J. McCarthy along with Cyrus Rex and Jeff Smith. His first solo album, Kill Your Friends, was released in November 2012 on Los Angeles-based label Pylon Records. The album was produced by British House DJ and producer Mark Bell
IRON LUNG CORP:
The mighty ILC, a long-standing collaboration between members of Acumen Nation and The Clay People released two albums before drifting apart in 2003. Best known for their searing cold wave cover of Nitzer Ebb's "Join in the Chant" and "Murderous" the ILC is back with a vengeance, adding a few guests along the way. Expect a new album with a surprising twist late in 2013.
As the story goes, both Acumen Nation and The Claypeople were headed out on Acumen’s first US tour ever back in 96. Along the way, the 2 bands put a cover together of Nitzer Ebb’s classic “Join In The Chant” and even threw in a little “Murderous” for medley fun… “Join In The Murderous Chant”When Reconstruction Records head honcho Chase saw them perform it live at the Whiskey in LA, he threw down the gauntlet and said the 2 should do a side project. But, instead of telling Chase the truth, that there really was no project, just the cover, the boys blurted out a story and told Chase they had a name, a dozen songs, even a band mascot… and were able to siphon a few grand out of Cargo’s pocket to cover booze, food and a few days at Chicago Trax to record an album… 6 years later, they did it again, this time convincing themselves they really had a bunch of songs, a band, a tour bus, a marketing budget… ”
Die Warzau (originally Die Warzau Synfony) was an industrial music band formed in 1987 by performance artists Jim Marcus and Van Christie. Originally signed to Chris Parry's Fiction Records, the group released Disco Rigido in the late 1980s. A second album, Big Electric Metal Bass Face, was released in the early 1990s. Contributors to the band at the time included Chris Vrenna and James Woolley (both members of Nine Inch Nails during the mid-1990s), and audio visual artist Burle Avant, who went on to co-create the MTV television series Amp.
Engine, a 1995 release on Wax Trax/TVT, was the last album the group released before going on hiatus for almost a decade, and included contributions from Chris Randall of the band Sister Machine Gun (SMG). One of the songs written by Die Warzau during this time, "Hole In the Ground," ended up on the SMG album Burn.Die Warzau as a group then went on hiatus for a number of years, with Marcus and Christie working on other projects. Jim Marcus founded the pure funk group Everplastic while Van Christie worked on another project called Eco-Hed.In 2004, the duo re-united, together with new members Abel Garibaldi, Vince Mcaley and Dan Evans, releasing Convenience on their Chicago-based label Pulseblack Records.
16volt began in 1991 with the mission to merge the raw guitars of early punk with the heavy beats and energy of industrial dance music. In 1992, 16volt’s founder and frontman, Eric Powell, signed with the Cargo Records industrial subsidiary and now infamous Re-Constriction Records. 16volt’s debut, “Wisdom,” was co-produced by David Ogilvie (Nine Inch Nails, Skinny Puppy) and Keith “Fluffy” Auerbach (Ministry) and was released in 1993. Met with worldwide acclaim from fans and press alike, “Wisdom” officially put 16volt on the map and, along with Powell, was credited with helping spawn a genre of industrial known as “coldwave.” That same year, 16volt hit the road, playing shows to club crowds on the West Coast of the United States.In 1994, 16volt skipped the industry-standard “sophomore jinx” and released the slightly more raw-sounding “Skin.” This release brought more praise and won features in Alternative Press, Kerrang!, CMJ, Industrial Nation, B-Side, and more. “Skin” reached the #2 slot on Rolling Stone’s alternative charts and charted everywhere from the United States (CMJ) to France, Germany, Ireland, and Japan. 16volt hit the road again for club shows and radio junkets and destroyed it everywhere they showed up.16volt’s third release came in 1996 by the name of “LetDownCrush.” Co-produced by Jeff “Critter” Newell (Ministry, Filter) and featuring special guests Stella (Stella Soleil, Sister Soleil), William Tucker (Ministry), Marc LaCorte, and Bryan Black (Haloblack, Motor, Xlover), the release once again proved that 16volt was a major force to be reckoned with. Interviews and features followed in huH, B-Side, Alternative Press, Kerrang!, CMJ, Industrial Nation, Guitar Player, and many more respected national rags. LDC charted again, this time at #1 on the Rolling Stone alternative charts and globally on college and commercial radio. This release also marked the debut of 16volt’s national touring career. Vowing to stay on the road for as long as possible, Powell put together a lineup that would tour for over nine months straight in a custom van, making their way around the United States several times with the likes of Chemlab, Bile, Acumen Nation, and Korn.The touring paid off and interest in 16volt grew. The band returned home to be wined and dined by much larger labels. In 1998, along with full-time members Mike Peoples on bass and Kraig Tyler (Chemlab, Crazytown) on guitar, 16volt signed with Slipdisc/Mercury/PolyGram and got to work on the band’s fourth release, “SuperCoolNothing.” Produced by Bill Kennedy (NIN, Megadeth, Sepultura) and Joseph Bishara (Drown, Danzig), SCN was the band’s most aggressive album to date. This time, Powell and Co. got a hand from special guest Chris Vrenna (NIN, Tweaker) on drums. Upon completion of the album and the most intense promotion schedule to date, they hit the road adding John “Servo” DeSalvo (KMFDM, Chemlab) on Drums, playing shows with the likes of Orgy, The Flys, and Candlebox. During the first two weeks of touring, however, Mercury/PolyGram was purchased by Seagram’s, creating a ripple that would send 16volt back home and cause the firing of the entire Mercury team slated to work on the SCN record promotion. Two weeks after the chaos, SCN was released with no promotion, no touring, and no support. 16volt quickly began to search for another label to pick up the pieces, but it was too late and the mess too large After close to a year of fighting, lawsuits, and the inability to make something good come from the bad, Powell shut down operations and pulled the plug. Kraig moved on to join Crazytown and Mike and Servo carried on with their own side projects.After a long and well-deserved hiatus, the band convinced an investor to buy back SCN from the dead labels; they then re-released it on their own as “SCN2.0.” The double-disc set included remixes by Filter, Orgy, Deadsy, and Crazy Town, in addition to some demo tracks that the band had started working on. Powell gathered the troops sans Tyler and began to mount a comeback. Shortly after the re-release, 16volt was tapped by Sony to provide the soundtrack to a new PlayStation 2 game called “Primal”. At the end of production, 16volt had furnished 12 tracks and was actually digitized into the game as the opening-cinematics band. To celebrate the release of “Primal,” 16volt hit the road in 2002 with KMFDM for a North American whirlwind, completing 34 shows in 36 days. Most of the dates were sold out, and by KMFDM’s own admission the tour was one of the best packages they had ever put out. 16volt returned home on the tour bus and inked a deal with Capitol Records. The band then spent 11 months working on demos and being bombarded with pressure to compromise, which ultimately forced Powell to walk away and head back underground. In 2005, Powell inked a one-off deal with Cleopatra Records to release 16volt’s first-ever “best of” collection. The double-disc set titled “The Best of Sixteen Volt™” features fan-picked tracks on one disc and the first-ever live release of 16volt on disc two. Powell cleaned house, went into isolation, and began working on the next phase of 16volt. In August of 2006, Powell had a new record under his belt called “FullBlackHabit” that he began shopping to indie labels. He found a new home at Metropolis Records and inked a worldwide multi-album deal. The new record, slated for release in early 2007, features guests appearances by Paul Raven (Ministry, Killing Joke, Prong); Steve White (KMFDM); Bildeaux (Necrofix, OHN); Kraig Tyler (Chemlab, Virus23, Crazytown); Scott Robison (Dr0ne); and Jason Bazinet (SMP). In the Spring of 2008 16volt, with live members Steve White (KMFDM), Jason Bazinet (Chemlab, SMP), and the return of 16volt veteran Mike Peoples hit the road for a highly successful U.S/Canada tour. Playing 28 shows in 30 days the band once again set it’s mark to a high level by playing to larger than expected crowds on all stops of the tour. On September 8, 2009, 16volt released “American Porn Songs” on Metropolis Records. It has met with nothing less than very positive reviews by fans and pros alike, and is generally being heralded as their most kick butt work to date. It is yet another solid record, featuring the band’s trademark layering of heavy, aggressive guitars over pummeling electronics and beats. 16volt hit the road again in the Spring of 2010 along with Chemlab and Left Spine Down on the highly energized and successful MIDI Ghetto Tour. Included was a stop at the Kinetik Festival in Montreal, Quebec, Canada, playing alongside Leather Strip, Imperative Reaction, and more. 16volt recently announced that their new studio album, Beating Dead Horses will be released on May 10th of 2011. Beating Dead Horses will be 16volt’s third album on industrial powerhouse label Metropolis Records. It was produced by Eric Powell and mixed by Shaun Thingvold (Strapping Young Lad, Front Line Assembly, Lamb of God) and will feature thirteen new songs. In support of the new album, 16volt hit the road in late spring for a three week east coast tour of the United States with industrial legends My Life with the Thrill Kill Kult, followed by another 3 week west coast tour with KMFDM. Over the winter of 2011-2012 16volt inked a new deal with Metropolis Records to re-release the bands back catalog. Finally back in print are the legendary “Wisdom”, “Skin”, “LetDownCrush” and “Super Cool Nothing” Albums. The re-releases were all remastered and feature remixes, bonus tracks and cover songs. The band plans to tour in Fall of 2012 in support of the releases. People keep asking, is this band stoppable and apparently Eric Powell and Co. are continuing their self imposed trend of prolificacy.
SKREW is a collective of six individuals committed to creating a noise with purpose. Pointing to the hypocrisy of religion and corporate mandated culture, SKREW uses six stringed fascist killing machines laying in a bed of electronic discomfort to protest the the mass hypnosis and herd mentality that is completely prevalent in these dark days. Simply put: RIOT! NOISE! RISE! SKREW!
The band SPIN magazine dubbed “the future of industrial noise” has metamorphosed into the soundtrack of your own metallic apocalypse. In an age where personal discourse is no longer civil, where obedience is forced upon the masses by the elite few, and nearly everyone’s scars and bruises are flayed out for the whole world to see, Skrew has managed to encapsulate the insanity that has all but become today’s norm. Led by original founding member, Adam Grossman, and a collective of five intense and angry rogue soldiers, Skrew returns to lead the unwashed masses into an aural revolt against the status quo.
Last releasing an album in 2007, Acucrack has dropped the "DJ?" in respect to the passing of Jamie Duffy. Seen last supporting Frontline Assembly in 2011, patient fans can finally expect a follow up to 2007's dark epic "Humanoids from the Deep" in late 2013. Long entranced by doomy drum n' bass, the new Acucrack is a return to it's industrial club roots and experimental ways.
DJ? Acucrack originated in 1997 releasing the "Nation State" EP and "Mutants of Sound" in 1997-1998 to critical acclaim (#32 and #8 respectively in the 1998 CMJ RPM annual chart). Tours with Curve and the Lords of Acid brought them a dedicated national following and both albums went on to sell over 5000 albums each in the United States. More interactive than most djs, Dj? Acucrack usually performed as a live PA duo, employing samplers, synths, turntables and cd decks, along with MC and vocal duty that brings the crowd closerto the performers than usual. The "?" was added to their name years ago to address their desire to perform their own music as opposed to spinning other people's tracks. Dark and aggressive , yet celebratory and upbeat, Dj? Acucrack falls into the rolling tech-step category of drum n bass, but are never afraid to drop a funky amen loop or a soaring rave style synth line. Occasional vocals and lyrical samples makes Acucrak's music more accessible to jungle newcomers, but the scalding production and whalloping baselines provide the passing grade for long time enthusiasts.
Originally an eclectic electronica outfit, Dj? Acucrack caught the jungle bug in 2000, and have been honing their skills ever since 2000's "Sorted" album featured a deeper foray in to drum n bass, as well as the trip hop stunner "So to Speak" with Toni Halliday of Curve. 2002 saw the release of "The Dope King" which puts them on the map of many junglists eye, and allowed them to grab opening slots with the like of Bad Company, Goldie, Diesel Boy, Photek, Ed Rush and Optical, plus full North American Tours with KMFDM, Front Line Assembly, Curve and Lords of Acid. In 2004 the duo released the frenetic jungle opus "Mako vs Geist" and the first ever Cracknation dvd in honor of the award winning "So to Speak" video. Complete with live footage, DJ mixes, making of featurettes and interviews. Acucrack returned with the release of "Killing Mobius" in august of 2005 and "Humanoids of the Deep" in 2007. Back to what they do best, the Crack boys litter the pavement with hard jungle, ambient, breakbeat and IDM tracks.
THE CLAY PEOPLE:
The Clay People: A Bio by J. Eric Smith
Posted by J. Eric Smith
Daniel Neet: Vocals
Mike Guzzardi: Guitar
Eliot Engleman: Bass
Dan Dinsmore: Drums
Many bands can lay claim to melodic sense, but The Clay People are one of the rare and precious few who can craft a melody — then play it like they’d just boosted themselves with a dirty adrenaline needle straight to their collective heart. Need proof? Then score and mainline the Upstate New York quintet’s hammering self-titled fifth record, which marks the ensemble’s SlipDisc Records debut while also documenting the creative rebirth of a one-time electronic outfit who have unveiled the underlying truth, strength and magic latent in their music via a powerful, new, all-organic line-up.
That creative rebirth didn’t come as the result of an overnight, media-driven, hype-fueled cram and jam session, however — but rather as the culmination of a decade-long musical search by founding vocalist Daniel Neet. The Albany, New York native was first inspired to take up the microphone by such consummate dark-pop frontmen as Peter Murphy of Bauhaus, Berlin-period David Bowie and Peter Gabriel at the height of his hyper-surrealist powers. Neet organized the first incarnation of The Clay People in the late ’80s to provide a forum for his own ambitions as an audience-mover of the Murphy/Bowie/Gabriel persuasion — although in the group’s early days, his literate and charismatic offerings were presented atop an all-electronic, Skinny Puppy-inspired musical substrate.
Despite the limited instrumental assault power of those early Clay People shows, the larger-than-life Neet’s effectiveness as a vocalist, scene agitator and on-stage ringleader quickly earned the group a dedicated following-not to mention the regular gigs that helped finance their first recordings. After their first two independent records (1991′s synthpop-leaning Toy Box and 1993′s Ministry-flavored Firetribe), however, Neet began looking for new directions — eventually connecting with kindred-spirit guitarist Brian McGarvey, who would play a key role in the reinvention of The Clay People’s approach and sound over the ensuing years.
“I was DJ’ing in clubs regularly back then and Brian would be up in the booth with me a lot of the time,” Neet recalls. “Eventually we started talking and thinking about how we could assimilate and work with the groove-based aspects of the club music we liked. And we went a couple of directions with it: Brian joined The Clay People for our 1995 album, Iron Icon (Cargo/Reconstriction), which was still heavily electronic, although Brian’s guitar work began to erode some of that mechanical feeling. Then he and I also did a project with two members of Acumen Nation called Iron Lung Corporation that had industrial and dance elements, but was again more machine-driven than organic.”
“After the tours to support those projects, Brian and I set off on our own to see if we could make our music feel more natural, to make it less cold and let other people hear all the heart that we felt like we were putting into it,” continues Neet. “We basically felt like we really needed to warm The Clay People sound up a bit because we were just hitting a dead-end with all the sterile-sounding electronics. So for the next record, Stone: Ten Stitches (1997, Cargo/Reconstriction) we were trying to find a midpoint between something like what the Chemical Brothers or Lords of Acid were doing and something like what Tool were doing. And that was definitely a step in the right direction, because I think our songwriting really began to mature there — but we finally realized that what we really needed a live rhythm section to interpret what we did electronically if we were to do the songs justice.”
Neet and McGarvey’s first recruit was guitarist Mike Guzzardi (who had already co-authored standout track “T.M.S.” from Stone: Ten Stitches). Guzzardi, in turn, helped the band recruit drummer Dan Dinsmore and bassist D. Patrick Walsh to complete the Clay People’s definitive — and defining — line-up in 1996. The quintet quickly retooled the best of The Clay People back catalog, adding a heretofore unimaginable muscularity and propulsive energy to the mix, while also developing a strong body of new material collectively crafted from within the band’s rapidly-cohering musical consciousness.
Response to the newly-reborn Clay People’s ferocious, yet surprisingly groove-oriented live attack was instant and largely ecstatic. And that ecstasy was catching: after a year of nearly non-stop music-making, word of band’s prowess reached the Chicago offices of influential cybercore and metal label SlipDisc (now a Mercury Records affiliate), who signed the band to a multi-record deal in late 1997. Four months later, The Clay People departed for El Paso, Texas to record their first SlipDisc record with help from Christ Analogue keyboardist Wade Alin and esteemed producer Neil Kernan (Queensryche, Nevermore, Kansas) behind the board.
“Neil Kernan chose the studio — out in the middle of a pecan farm in the middle of a desert — because he’d done a lot of albums there and liked both the sound and the focus that the isolation forced on bands,” explains Neet. “And he really helped us complete The Clay People formula during those sessions, taking our hooks and our directions and making sense of all of them, pulling the best out of all the musicians and helping us to make that next step with our material and our performances. He was very natural after spending years in the studio working with so many different bands, so I felt like I had gone to a class on how to get a band to write and perform its songs together by the time we were done.”
The quintet formally marked their creative rebirth with an eponymous album released in May 1998. The Clay People was rightly hailed upon its issue as the most important record to emerge from Upstate New York’s fertile and fervent hard music community, with lead single “Awake” quickly making national waves after its appearance on the Dee Snider’s Strangeland soundtrack. Stylistically, The Clay People featured an incredible array of melodies and riffs, all delivered with the same palpitation-inducing boost that defined the group’s live shows. Neet’s lyrics also demonstrated a new-found poise and maturity throughout The Clay People‘s run — detailing the ups and downs of the human (or non-human, in the cases of Neet’s undead or cyborg protagonists) experience with an acute eye for pathos and absurdity, detail and design, horror and humor.
“The material on this album really represents who The Clay People are, as both a band and as five individuals who become something greater than the sum of our parts when we work together,” Neet observes. “The energy and the communication between us are just incredible. And I really think that because of those personal connections and because of our willingness to tap what’s inside us-not only the nervous, aggressive, angry, destructive things, but the thoughtful, intuitive, creative, constructive things as well — we’re making music with longevity. You’re still gonna want to listen to this stuff ten years from now. And we plan to be around then while you’re doing it.”
Hate Dept. is a synthesizer-laden post punk band, created in 1991 by Seibold. Hate Dept.'s debut album in 1994, Meat your Maker, appeared in Rolling Stone's Top 10 alternative albums while Seibold was nominated 'Best New Talent' by Keyboard Magazine. Omnipresent, the second release by the group, again entered charts in Rolling Stone and Alternative Press. Hate Dept. had a brief period of commercial success after the release of the third album Technical Difficulties. The only single, Release It, earned radio airplay in 50 North American markets. Seibold joined Pigface in 2001, touring and recording with Martin Atkins in several projects. During this time, Hate Dept. released their fourth album Ditch in 2003.
“Satantonio’s” industrial pioneers terrorize the Lone Star state once again! After what is essentially a 15-year rehab, groundbreaking industrial-rock band Evil Mothers reincarnate this fall for a highly-anticipated Chicago performance. During the early to mid-‘90s, Evil Mothers pushed the Texas music scene to dark extremes, fusing tribal drumming and incendiary guitar noise with a lyrical exploration of the seedier side of human existence. The band toured relentlessly throughout the U.S. and Europe and released five disks for Chicago’s storied Invisible Records, providing a blueprint for subsequent outfits exploring the boundaries of art and noise. “Evil Mothers was a self-destructive exploration of cultural taboos, transgressive cinema and art chaos put to music and then fatally crashing it into the mainstream.” said singer Curse Mackey, a founding member, “It was subversive, fetishistic, narcotic, psychotic and surreal. In this age of (dis)information, our culture is sicker than ever and deserves another dose of our fine medicine.” In addition to Mackey (who’s since performed as frontman for industrial supergroup Pigface, Thrill Kill Kult and Grim Faeries), the lineup includes original Mothers bassist Patrick Sane and guitarist Sanford Allen (both now of Boxcar Satan), Bobdog Catlin (ex-Pigface, now of Martyrhead), Chip Alexander (now of Martyrhead and Tex Pistols) on drums. The band has also added metal percussionist Bradley Bills of CHANT, a first-time Mother. “This is the strongest lineup of Evil Mothers that has existed,” said Sane, also a founding member. “It’s a band of seasoned sonic agitators ready to chart new territory and push old sounds in fervent new directions."
These two words embody the sonic, visionary, and aesthetic experience that is Chicago’s industrial metal duo, PLAGUE BRINGER. Featuring guitarist/drum programmer, Greg Ratajczak and vocalist Josh Rosenthal, PLAGUE BRINGER is an ever-evolving project whose mission to be as progressive as it is aggressive, has garnered comparisons across the 'heavy' music spectrum from TOOL to GODFLESH to PIG DESTROYER. 'Life Songs in a Land of Death', PLAGUE BRINGER's sophomore release and their first for HeWhoCorrupts INC, is the product of over two years of creative fervor, merciless judgment, and obsessive attention to detail both artistically and conceptually. The album satisfies the duo's selfish need to create intelligent, relevant, and personal art which also aims to captivate listeners by drawing them into a ferocious and uncomfortable yet rewarding and uplifting sonic experience. Thematically, the album addresses ideas of self realization through adversity, the death of the impassioned, and the search and discovery of beauty beneath filth. The album was mastered by Scott Hull at Visceral Sound and is the follow up to 2005's acclaimed debut full length, 'As the Ghosts Collect, The Corpses Rest' (Seventh Rule Recordings/Lo Fi Violence). PLAGUE BRINGER formed in December of 2002, shortly after Ratajczak's work at Clava Studios with producer/engineer BRIAN DECK and MODEST MOUSE on "The Moon and Antarctica". Ratajczak asked long time friend and artistic collaborator, Rosenthal, to contribute his unique writing style to the project and provide lyrics that when read and reflected upon, unveil deeper layers of meaning to the reader.
Ratajczak began the project with and has chosen to continue using the drum machine, which is just as significant to the PLAGUE BRINGER sound, both live and in the studio, as either human member. PLAGUE BRINGER has established a strong presence in the metal underground. Consistent shows throughout the Midwest and several tours to the East coast afforded the group the opportunity to share stages with the likes of BRUTAL TRUTH, PIG DESTROYER, DEICIDE, the BLACK DAHLIA MURDER, KHANATE, the RED CHORD, and RUSSIAN CIRCLES.
In March of 2010, Plague Bringer released a very limited edition cd boxset of 100 copies (95 in black boxes and 5 in special metal boxes) of their cover of Ministry’s “Burning Inside” with Chris Connelly contributing vocals to it to coincide with the Plague Bringer performance at the downtown Chicago location of Reckless Records, for Record Store Day 2010. I would definitely not miss their performance at this year’s Cold Wave II because you will never know who might show up for their set.
ZOLTAR - The Brother from Another Planet
From San Diego to Shanghai, the world-famous DJ known as Zoltar has been a major force on American and International radio as well as a consistent club DJ throughout the United States and Europe. Prior to Zoltar's unmistakable voice finding worldwide recognition, he had already become a seasoned traveler seeing the world as part of the U.S. Military A creative and profound communicator, Zoltar found a home at the legendary FM radio station, 91X in San Diego, California where he hosted a groundbreaking specialty show called ‘Shrapnel’, which fused Rap and Metal. His passion for emerging talent in many forms of music led to his hosting ‘Fast Forward’. His rise in American FM radio had Zoltar crossing the country to Washington DC, where he created a Techno/Industrial dance show called the ‘Mutant Dance Party’ for CBS' legendary WHFS. Still hosting the ‘Mutant Dance Party’ in Washington DC, Zoltar was brought to Chicago where he began a hardcore Industrial show called ‘The Industrial Zone’. During that period Zoltar also turned up the heat in Florida with the creation of a full on metal show called ‘The X Factor’.
Zoltar’s meteoric rise in terrestrial radio led to the next evolutionary step in his career: Satellite Radio. As Program Director of the global dance channel ‘The System’ which was heard in 134 countries via the Worldspace Satellite Radio Network and across North America on XM, Zoltar has been the voice and personality to bring the planet live reports on performances from the Winter Music Conference and Ultra Music festival in Miami, Amsterdam’s Dance Valley, Global Gathering Music Festivals, Lollapalooza, and The Virgin Mobile Festival. His creation of the weekly Trance/Progressive show called ‘Subterranean’ was added to the satellite radio roster and fast became an international hit with syndication to terrestrial radio around the world. Affiliates of the ‘Planet Zoltar Broadcast Network’ include The Sirius/XM channel, Area (Sirius 38/XM80), FM 89.7 The River, Omaha Nebraska, 104.7 FM Radio Safari Ioannina Greece, 97. 6 Radio Flash FM, Targu Neamt Romania, Global Radio FM in Miami, intenet-based stations trancebase.fm (Germany), danceradio.gr (Greece), Ascenddanceradio.com in South Florida and DirecTV. Zoltar is also the head of A&R for Hardwire Records and is also a producer and remixer. Currently his base of operations is Panama City Beach in sunny Florida where his world-famous show, ‘Subterranean’ is recorded. One of the most popular syndicated shows available on the airwaves and over the internet, Subterranean has 491 shows.
Cracknation is the label founded by Jason Novak to house the many projects he and his cohorts were involved in creating, from Acumen Nation and DJ? Acucrack to Iron Lung Corp, Fawn and Czar. Spanning a decade and over 20 releases, the label continues to evolve as evidenced by the Cold Waves festival and pending releases from Iron Lung, Acucrack and Czar (who will be supporting Killing Joke this month on their North American Tour).
A recently completed documentary entitled "Rally and Sustain" covers the umbrella of members and projects over the last 22 years, and will be available on DVD and download this spring.
The gun thread has been buried since the last time I've been able to go online for fun, and rather than resurrect it and get into another argument with the most obnoxious bullshitter on the internet along with his disciples (all of whom know next to nothing about firearms), I thought I would just make a journal entry to explain my reasoning for those who are willing to read it.
I like guns. They're fun to shoot at inanimate objects and, yes, they can also be used for self defense in some cases. Mainly, I own guns because I like going to the gun range. I don't like this pointless legislation around them because, like some of the people in that thread, those guys coming up with these gun laws, know nothing about guns.
It's like someone who has never driven a car before saying what the rules of the road should be. Or someone oblivious to metal music making distinctions on which bans are recruiting people into the Church of Satan. There's just no rational thought behind it.
In any conversation about guns, two things have to be established, or else a civilized discussion can't take place.
1.) Guns have a practical use: sport shooting.
2.) They can be used to defend oneself. But no, they don't make anybody "safer."
There was one smart person who inboxed me about this. I'm not saying who they are because I don't want to involve them. But they politely asked me what my objection was to this "assault weapons ban" and everything else gun related. I think I did a pretty decent job of answering their questions. They may still feel the same as they always have about guns, and that's fine, but I think maybe they got a little bit of perspective from my side as well.
Anyway, here's the response that I gave to them, which I think might be helpful to anyone else who's interested.
There are two things to understand first. There are two terms: assault rifle and assault weapon.
An assault rifle is any rifle that fires a high caliber (.223, 5.56, or 7.62) round, but more importantly has a "selective fire" switch; that means the user can change it from semi automatic (one round fired per trigger pull) to fully automatic (rounds continue to fire as long as the user is squeezing the trigger) and sometimes "three round burst" which is like fully automatic, but only fires a maximum of three rounds per trigger pull.
They've been illegal since 1986. You can still get one in most parts of America if the one you're buying was manufactured prior to the ban; but it's a lot of work, there are many legal steps involved, the rifles themselves are very expensive and, as you can see from the video, you go through ammo pretty fast. That guy in that video didn't stop shooting because he was bored; he ran out of ammo. That magazine holds 30 rounds. Most gun owners see little point in owning one.
An assault weapon is a purely political term. The way the law defines an assault weapon is if the weapon meets two of the following criteria:
A semiautomatic firearm that feeds from a detachable magazine:
A flash suppressor on the end of the barrel:
Pistol grips as handles:
A collapsible stock on the end:
If it also comes with a grenade launcher:
Nobody actually has that.
And that's it. That's how we define "assault weapon." It has nothing to do with the power of the weapon or how many rounds it can fire at once. It's purely aesthetic.
Now, here's where it gets funny.
This is my rifle:
It's a 30-06 bolt action rifle. 30-06 is an extremely powerful round. This is what it can do at 115 yards:
It's considered a hunting rifle, but I don't hunt. I just like shooting it at the range. However, under the "assault weapons ban" it's 100% legal.
Then there's this:
Notice the detachable stock on the end, the flash suppressor over the barrel and the pistol grips? By law this is an assault weapon.
But that's the same exact rifle as I have. It's just been decked out to look menacing.
This is why I oppose the "assault weapons ban." It's basically a bunch of people in Washington who know nothing about guns and say, "Well that looks kind of scary. Let's ban it."
Now you know what 90% of non gun owners know. And hopefully you can understand why, though I'm very sympathetic to people who have genuine concerns about guns and probably get more angry about Sandy Hook type incidents than non gun owners, I can't get behind any ham fisted gun legislation. It's like they don't want to prevent people from being killed, they just want to prevent them from being shot.
It’s been a while, but obviously after a postcard thread is over is when people thank, complain or question the meaning of certain cards, so here’s mine.
Before the original thread was deleted, I curiously asked how I alienated all the RT regulars because that was news to me; and if an actual answer was posted, it was in the six hour or so period that I last looked at it and when it got taken down.
At the time, I had a pretty good idea who did it, and it turns out I was right. But I’m still curious as to how I “alienated” everyone who regularly posts on the RT forums.
I came up with three possibilities.
1.) My opinions on gun ownership might have rubbed people the wrong way.
I suppose that’s possible. However, whenever I argue this topic, whether on VF or otherwise, I’m very polite and understanding of the opposition. I’m not one of those guys who makes silly generalizing statements such as, “Well, if Switzerland can have a high number of gun ownership and very little crime, then so can the US,” or “Cars kill more people per year than firearms. Let’s ban cars!”
I don’t even take an “I’m right, you’re wrong” approach when discussing this topic. Every time I have this conversation, with friends or strangers, I’m constantly trying to find middle ground with the person.
I also don’t try to shoehorn insults into my arguments because I don’t feel I need to. I know what I’m talking about enough so that any insults would cheapen whatever it is I have to say. Of course, this is the complete opposite of what this other guy does whenever he disagrees with what anyone else says.
2.) My objection to a rookie NBA player who didn’t want to fly with his team to away games.
Well, this one wasn’t even on RT. This was on “A Hive of Angry Bees,” or as it looks like it should be called “Agree With Everything Tiffany Says, Or Else.”
The story basically goes that the Houston Rockets drafted this guy who has a fear of flying. Buzzwords like “anxiety,” “OCD,” and “panic attacks” were used in the news articles, but there really wasn’t any evidence, at least from what I can see, that would indicate he actually had those things according to the DSM IV. Based on his interviews, it just seemed like he had a glorified phobia of flying. I half jokingly asked what his problem was. I mean, shit, he got his dream job, he’s going to be making $2 million dollars a year to start (if I’m lucky, that’s about as much money I’ll make in my lifetime), he can’t make an effort to try and eventually break his fear of flying? It’s a pattern I see with young people all the time. They don’t want to handle their own problems; they want someone else to do it for them. This will create a culture where people take zero responsibility for themselves. This is the kind of mentality that I’ve dedicated my life to preventing.
Strangely, The Hive took it very personally and, for some reason, thought that I wasn’t simply objecting to this guy’s lack of initiative, but had a personal problem with people who have mental illness.
As it turns out, the Houston Rockets have suspended this guy indefinitely. He hasn’t played a single game yet, and does nothing but complain on Twitter about how the team isn’t being as accommodating to him as they should. And if you look at the comments section of this article, every fan of the team thinks that drafting this guy was a waste of time. They seem to think he’s a big cry baby who wants everyone to accommodate him, but wants to do nothing to help make it happen. Which is pretty much exactly what I said from the beginning.
Sure, you could say, “Well, everyone on that board was against you, so obviously you’re being stubborn.” Fine, but if you give any constructive criticism about Nickelback on a Nickelback message board, most people are going to be against you too. That doesn’t necessarily negate the criticism. It’s just the Bill O’Reilly method of arguing where if you do it loud enough, you win.
That board kind of sucks anyway. All they did was talk about their wedding plans and the houses they were hoping to buy. It was like reading the script to Extreme Makeover: Home Edition.
3.) My ex relationship
First, I don’t think anyone really cared about my past relationship except for this guy. I was upset about it, sure. But not because the two of us had broken up, but the reasons for breaking up.
She told me that her illness was getting in the way of our relationship, and our problems couldn’t be remedied through normal means, so the only solution was for us to break up and give her time to sort herself out. We’d still be friends and everything.
I’m not saying that’s necessarily true, I’m saying that that’s what she told me.
Anyway, a month after we officially broke up, she got in a relationship with one of her male roommates. That’s pretty damn fast, especially for someone who just got out of a three year relationship because her illness was getting to be too much of a burden on the relationship. And with a roommate too.
Of course I politely and non accusingly asked her to explain how she can go from telling me what she did to being in a relationship with her roommate in the span of a month, which I think is what any reasonable person in my position would do. She got mad at me for asking (although not right away, to be fair) and that was the last time we properly spoke to each other. Then, in an effort to make herself look like she did nothing wrong in this relationship, she started telling people who I also knew that we broke up because I was “scary.” I find this insulting simply because I was very good to her and did everything I could to be supportive to her in terms of her graduate work and her health. Apparently, this was worth dismissing so that she can look innocent while in her new relationship.
If you don’t think that sounds sketchy, you’re either delusional, you know something that I don’t, or you have an ulterior motive. I don’t know what this guy’s motives could be. I mean, they’re not really friends or anything. They just talk on a message board. Maybe he has a crush on her and this is his way of getting close to her? I don’t know.
What she did was pretty fucked up. And I have every right to be upset about it and express it in a polite manner (which I did). I mean, sure, we’re not married, she’s allowed to do it, but she had to expect a reaction. She may not like it, but she has to expect it. If I cheated on her, which is pretty much what she did to me, I would expect her to rant about me to people she knew, and I would expect them to maybe form a negative opinion of me and possibly tell me to go fuck myself when they saw me. That’s the choice I would’ve made by cheating on her. If cheating on her was worth all that, then I can’t complain. If seeing this guy while she was still with me, and finally breaking up with me when she realized a relationship with him would probably work out, was worth it, then what does she or anyone care that I write about it? In a journal. To myself.
Personally, I lost a lot of respect for this guy. I used to think he was a smart and reasonable guy, but it turns out he’s just a dick.
For one thing, he takes disagreements way too personally, and they’re disagreements over things that don’t even concern him. Why would an Englishman care about what some guy in a different country thinks about his own local gun laws? Why would he care that I think a professional athlete, of a sport he doesn’t even follow, is being a sissy for not making an attempt to do his duty and fly on a plane to get to away games?
I’ve done the gun argument with many people, most of whom we’re friends. Despite our disagreements, we’re still friends. Because we discuss the issue like gentlemen. We don’t try and shoehorn insults at each other at every opportunity. Perhaps neither of our opinions have changed after the discussion, and that’s fine. But I would have learned something about the opposing side, and maybe my friend on the opposing side learned something from me. That’s why it’s called a friendly chat.
Also, this guy argues like a complete idiot. He strawmans the hell out of anyone he’s talking to and creates rules and standards with little to no basis for you to adhere.
For example, in our gun talk (paraphrasing obviously).
Me: The gun ban in Chicago didn’t do anything to prevent homicides or gun crime.
Him: According to this graph it did.
Me: Yeah, fifteen years later there was a decline, but what about the spike in from 1989 to 1994
Him: Oh, that was because of crack.
Me: Okay, what makes you say that?
Him: It’s common knowledge.
Me: So the decline in homicides nearly two decades after a gun ban was a direct result of the gun ban, but the spike that happened six years after the gun ban had nothing to do with the gun ban? Basically, that graph works in your favor when it wants to?
Him: *sarcastic response riddled with sly insults*
If you don’t know, or don’t fully understand the topic at hand, why argue about it?
What I really find weird about this whole thing is the timing of the postcard. It was one of the first ones posted. This means that when the idea for a postcard thread came up, he immediately thought of me and wrote how I’ve alienated everyone. Not only does this guy create a beef where there isn’t one, but he clings to it like a goddamn floatation device.
Maybe this entry won’t make me too popular with everyone on the site, but if I’ve already alienated everyone, what difference would it make?
It would've been a lot shorter if some douchebag Englishman A.) knew what he was talking about, and B.) didn't just make up facts and scenarios to fit his needs. But what do I know? I'm just a gun nut, right?
Well I've come to learn that when it comes to certain things, people will not change their minds. With me I will not change my mind on the death penalty. No matter what you say to me I will not believe that and cold blooded killer or child rapist deserves a second chance. Same for the gun situation. No matter what you two say your minds will not change to the other person's opinion. Honestly I just think its best if you two stop debating about guns sense it's like trying to push an unmovable object with an unstoppable force.
I never try and get people to change their opinions on any issue. Like if I get into a discussion with a Christian, I'm not trying to make him stop believing in God, but I'll try and give him some perspective on atheism. Maybe he'll realize that we're not just ornery ingrates who know a god exists but choose not to acknowledge it; we just genuinely don't believe a god exists. When discussing guns, I'm definitely not trying to make anyone pro gun. I only really want to dispel the myths surrounding the gun debate. Like how guns are for sport, or that the overwhelming majority of Americans who own guns are law abiding and would never dream of using them in an unlawful manner.
"Kill it with Fire is the 7th studio album from the Pittsburgh duo Prometheus Burning.
Aimed at annihilating the dance floor, Kill it with Fire, features 9 new cuts
plus remixes from Portion Control and I, Parasite.
This is their hardest hitting release to date and tracks like
"Kill it With Fire" and "We R the Gods" only solidify that statement." CLICK HERE to order!
See InsaneJournal For Guidelines -- I posted the submission guidelines and they are similar to the journal I have on http://np1976.codexed.com. I am taking submissions for nightmares that have a storyline to them and I am writing one out right now for the codexed journal -- I will give the link to that when I have it done and ready. I am back on goodreads as napacione so if you want to add me there go ahead and I will be doing the submission guidelines link for those who want to submit -- just nothing erotic okay and try to keep it PG-13 at most with the content.
The next anthology is going under The Ethereal Gazette banter and that will replace Issue 14 but Issue 15 will go back to the way the things are done with the magazine. I had a year without a computer and now I am just getting caught up with everything on the blog and video blog. Those of you who want to sign the guestbook on the codexed.com journal they may but don't do it every time they read an entry -- read more than one entry before signing the guestbook so that way I can keep you posted on the next entry or when the guidelines are changed for the anthology.
I am going to send the finished anthology to Arkham House and I will be contributing Hello and Good Night. I have written about a few entries offline and posted them from a library computer. That was after I wrote the HTML format out using the fingerpad on the computer. I will be playing around with having the computer on wifi on other locations too when I publish. I have the programs I need to publish now and that means I am ready to do the anthologies. So if you want to submit follow the guidelines as they are posted - don't deviate from them either because this is the difference between being a published author or being blacklisted. If you want to submit the other stuff send it to http://nakedsnakepress.net my old publisher and possibly my publisher again when I submitted to them with four stories. I want to do a chapbook with them with four stories that haven't been published before anywhere -- Joe Lansdale praised one of them too in this.
I got a confirmation with the anthology I ordered for the Morris Library -- it's on its way and waiting for it to arrive to the house so I can deliver the thing to the director. It's cool that a library is interested in the one where it had the most media coverage for now (there will be more papers later looking to send this off to when I send the sequel along the way too.) I had to fix my amazon.com page because some reject kept vandalizing the fucking thing. Why can't they just leave that page alone and let me get some sales with the books does it bother them that much I am a published author, must they also plagiarize my novel too -- that is fucking low too. I am addressing RLBaupader here -- fucking loser get your own titles and concepts, leave mine alone you fucking Boyer.
We have signed with the stellar Chicago based label WTII Records. They will be releasing our upcoming full length KILL IT WITH FIRE in November. We are incredibly stoked to be working with such a prestigious and professional label.
The original Wax Trax has been a huge inspiration to us growing up and even still today, and the current Chicago scene and the friends and fans we have made there feels more like home to us than Pittsburgh does at times. We are honored to be part of the WTII lineup and look forward to future.
The official press release is viewable below, or on their website HERE
It was just after 4:30 am and my doorbell rang like seven times. I’m thinking that there might possibly be an emergency on the street and someone needed my help (my light was still on), but I’m mainly thinking A Clockwork Orange. So I grabbed my gun, but put it on a chair next to my door under a blanket.
I opened the door to this black guy in a wife beater, and he’s pretending to cry. I said to myself, “Well, this should be good.” Through the storm door, he said, “Please sir, you gotta’ help me. My car just got a flat and I need money to get home.”
I told him, “I can’t help you, buddy. And it’s probably not a good idea to ring people’s doorbells at 4 in the morning.”
He said, “Please, that’s my car right there. The white one.” I looked at the car he was referring to and told him that it wasn’t his car; it was my neighbor’s. Then I said he needed to leave.
He took out a wad of keys from his pocket and said that those were his car keys. I said, “Great, but that’s not your car over there. Get the hell off my stoop.”
Then he told me to watch as he tried pressing the remote lock hoping the headlights would flicker, which of course they didn’t because it wasn’t his fucking car. Then I told him that I asked him twice to leave, and now I’m getting my gun.
I thought just saying that would make him leave, but instead he put his face right up to the glass of my storm door, and started fumbling for the door handle still begging for me to help him. That’s when I grabbed the gun, pointed it at him and flicked off the safety.
I didn’t think it was possible for humans to run that fast.
For those of you not from this country, the Chicago Cubs are a major league baseball team, and they play at a place called Wrigley Field which is arguably one of the most historic ball parks in America. It’s a Mecca for baseball fans, and for douchebags as well.
It looks like this:
Although I’m not from Chicago, I’ve always liked the Cubs simply because my first baseball game was at Wrigley and it just stuck to me. I mean, it’s a very beautiful park, and next to Fenway, it’s probably the best place to watch a baseball game.
Oh, also, the Cubs haven’t won a World Series since 1908. So we’re kind of known as losers throughout Major League Baseball.
If you’re American, you can start reading here.
I went there yesterday with my friend. He’s a huge Cubs fan despite being from San Diego. The Cubs were playing the Detroit Tigers which doesn’t happen very often because both teams are in two different baseball leagues. Because of this, there were a lot of Detroit fans at the game. However, because they’re in two different leagues, this game didn’t matter a whole lot. That doesn’t mean there wasn’t any good natured ball breaking going on. I mean, if you can’t handle that, then professional sports just aren’t for you.
But sitting behind us was a Yankee fan from New York (likely upstate by the way he talked) and he wouldn’t shut the hell up about how much he hated the Cubs. My friend and I knew that he was doing it to try and rile us up; partly because he told the girl he was with that he was deliberately trying to rile us up. For the rest of this story, we’ll refer to him as Riley.
In the 8th inning, a series of events began that could’ve resulted in breaking a 3-3 tie. All of a sudden, Riley turned into the world’s most perceptive umpire. Every call made in favor of the Cubs was wrong according to him. At one point, there was a very close call throw to first base. The umpire ruled the runner safe, albeit marginally, and this guy just went ballistic. He was certain the runner was out despite our vantage point.
Then the following dialogue happened.
Riley: I bet they won’t even show the replay on the monitors. This team just sucks so bad! He was out by a long shot.
Me: How do you know he was out?
Riley: Weren’t you watching? How can you call that safe?
Me: The umpire called him safe. And he was five feet away from them. I’d trust his call before I’d trust someone in the upper deck.
Riley: Then why won’t they show the replay on the monitors?
Me: Because they’re used to show replays of home runs and base hits. Not to prove points to skeptics with alleged Superman vision, especially when they don’t care about any of the teams playing.
Riley: No, it’s because they don’t want everyone to see how shitty your team is.
Me: So let me get this straight: Instead of just acknowledging that your vision isn’t that accurate when looking at something over 500 feet away, you’d rather believe there’s a massive MLB conspiracy that wants to brainwash everyone into thinking that the Cubs are only sort of terrible instead of flat-out terrible, and they do this by not showing replays only to those who have come to watch the game?
Then he just shook his head and waved his hand at me, which of course is universal sign language for “just won the argument.”
Look on http://nickpacione.tumblr.com for the guidelines as well as the artwork for the sequel anthology for A Library Of Unknown Horrors. I haven't done an entry on here in a while and was on a sabbatical because of a death in the family (my grandmother passed away.) I had two assholes stealing my pictures and one is impersonating me on twitter.com with doctored pictures -- the fucker created a site which makes a mockery of me trying to make a buck off my misery. So if you see the fucker named C_Mac report him for image theft -- The little fuck is trying to get me looking like a faggot that listens to LadyGaga when I refuse to touch her CDs. Give me Motorhead or VOIVOD anyday. The guidelines for the next anthology are listed on there and the payment for editor's choice is $35.00. I posted the article from the Joliet Herald News from last year for those who are part of the second namesake. (I got the copy of the anthology back but I need to fix the bio page, but can't do it until I get a new monitor. I am on a library computer for the time being.)
California Deathrock Book Kickstarter -BehindTheScenes Photo Shoot Vid
May 28, 2012, 07:46:pm
Our VF friends are probably familiar with Forrest Black's and my photography for Blue Blood and the late lamented VF Magazine. But this is our first Kickstarter. It was hard to make this video happen because working on it was giving me the hugest spasm of shyness. Fortunately, Forrest Black and I still managed to bust it out. So now you can see behind-the-scenes footage of what our nightlife portraiture shoots look like, as part of the Kickstarter for our California Deathrock book project.
I love the idea of doing a creative project where I know how many to print beforehand. The way Kickstarter is set up, people pledge to get a copy of the book, but Amazon only charges you after the funding period is complete (in this case the end of the first week of June) and then only if the project is 100% funded. Our book is 110% funded as of today, which I am super happy and more than a little relieved about.
Special thanks to Death Guild and Release the Bats where some of this video was shot. Much love to Margo, Satoki, Thee Gabe, Domiana, Kat, Thistle (RIP), Talia, Christian, Jenn Bats, Dave Bats, Shane Taleda, Matt Riser, Eva O, and everyone else in the contact sheets and photos and video footage.
Blasphemous Machines 4 with Morbid Angel "Illud Divinum Insanus: the r
May 26, 2012, 02:08:am
So here is the setlist for the 4th edition of Blasphemous Machines which is the combination of "Industrial" and "Black Metal" (and everything in between) from both Dj Abrasion (Abe Bloom) and Myself. We had the best crowd so far out of our four BM events and the excitement just keeps growing. Last month we had giveaways from the local band Czar and thanks to Season of Mist we were able to top that as this edition featured the cd release party of Morbid Angel's " Illud Divinum Insanus: The Remixes"! We were pleased to feature several of the songs off of the new album and many of the remixes got outstanding responses (I know at least a few of them will be sneaking into my regular dj sets for sure!!)
I am already looking forward to the next installment of Blasphemous Machines 5 with much anticipation and are already preparing songs for it! Thanks do have to go out to Robert Pehar, Eric Nelson, Derek Newhall, Rick Lyter, Precious Little, Reuben Chew, Pamela Shaw, Annie, Season Of Mist, Morbid Angel, and lest we forget to thank all of you guys that came out to support a night that is really starting to grow into something special and unique! Now with that said it has come to our attention that another bar in town has started to do their own so-called "metal/industrial" night. Well don't be fooled if you want your "metal" to be Stabbing Westward, Rob Zombie, Def Leppard then by all means go to their event BUT if you want your metal to be a little more evil then keep coming out to the Blasphemous Machines Events. I believe that our setlists from the past 4 events will sway you very quickly towards the real deal. Thanks for all of you being so open minded and we hope to see all of you again very soon!!
Ps we miss you Lauren and hope to see you back behind the bar soon!
Seriously though for those of you who missed these past few events BM #'s1-4, check out the setlists and tell yourself that you won't miss the next one! We're planning something special for the next one as well!!
Emperor- I Am
Pelican- Angel Tears (Justin Broadrick remix)
Motley Crue: Intro/Shout At The Devil
Electric Hellfire Club- Devil Inside (Inxs Cover)
Morbid Angel- Radikult (Fixhead remix)
Nine Inch Nails- Heresy
Dessau-Isolation(Joy Division Cover)
Venom- Black Metal (remix)
Slayer- Criminally Insane (remix)
Fear Factory- Scumgrief (deep dub Trauma Mix)
Godflesh- Somewhere Scorned
Morbid Angel- I Am Morbid (Tantrum remix)
Murder Inc.-Murder Inc. (Busted Corpuscle Mix by J.G. Thirlwell)
2012 is off to a flying start with releases from Stiff Valentine, Stromkern,
Rein[Forced] already in stores and Dead on TV and Lowe releases ready to go. The
spring/summer live schedule is heating up with upcoming shows from Dead on TV, The
Gothsicles, Klutae and Rein[Forced] and more. Here's the news for April.
Don?t forget, for up to the minute information, be sure to check out the WTII
Records website at www.wtIIrecords.com or follow us on twitter
WTII WELCOMES DEAD ON TV
Formed in 2009, Dead on TV has stroked audiences all over the Midwest with their
brand of electro-punk narcissism which, coupled with the smash and grab disruption of ADHD lead singer Dan Evans, the brutal machine-like ineptness of drummer Vince Mcaley and a complete and heinous disregard for the life and welfare of the guitar player Xmas Smits has resulted in some of the most epically offensive shows ever removed from youtube for violation of community standards.
Dead on TV will make their WTII Records debut with the release of Fuck You, I'm
Famous on April 24th. Fuck You, I?m Famous is a fast and furious punk infused,
guitar driven 5 track EP complete with witty sarcastic lyrics reminiscent of the UK
punk scene of the late 70's. Tracks like Dead on TV and Fuck You, I'm Famous
will solidify the bands place in the current punk scene and provide a glimpse of
what lie ahead for this strong up and comer
Dead on TV stole the show at the WTII 10th anniversary show last June and we are
excited to be the ones to unleash this trio to the masses.
DIRT CHEAP CD SALE IN THE WTII STORE.
The WTII online store has 100's of titles on sale for 30-60% off the regular price.
This is a great chance to pick up some catalog titles or look for a new favorite
artist. This sale includes titles from Massiv in Mensch, Psyche, Steril, Sister
We still have a couple copies of the Minifest 2 CD's available for only $5. This is
the 16 track release that was originally sold at the Minifest 2 and features several
artist from the 4 day fest remixing other artist from the fest. All tracks are
exclusive and the compilation features remixes from Stiff Valentine, am.psych,
Rein[Forced], Trigger 10d, The Gothsicles, Ego Likeness and more. Order quickly
because once they are gone that is it.
UPCOMING WTII RELEASES
WTII068 REIN[FORCED] X AMOUNT OF STAB WOUNDS IN THE BACK SUMMER 2012
X Amount of Stab wounds in the Back is the WTII debut from Pittsburgh based electro industrial band, Rein[Forced]. Front man Jim Semonik, aka Jimmy Semtex, and D.A.Turner combine catchy synth hooks and coldwave inspired lyrics and attitude.
Focusing more on song writing rather than club tracks, Rein[Forced] provides a new depth to a style that has become forgotten in today's club scene. The first single from X Amount of Stab Wounds in the Back, Dichotomy, was released digitally on April 3rd.
WTII079 DEAD ON TV FUCK YOU, I'M FAMOUS EP APRIL 24th
Dead on TV has stroked audiences all over the Midwest with their brand of
electro-punk narcissism which, coupled with the smash and grab disruption of lead
singer Dan Evans, the brutal machine-like ineptness of drummer Vince Mcaley and a complete and heinous disregard for the life and welfare of the guitar player Xmas
Smits. Dead on TV's debut, Fuck You I'm Famous, is a fast and furious guitar driven 5 track EP with witty sarcastic lyrics reminiscent of the UK punk scene of the late 70's. Tracks like Dead on TV and Fuck You I'm Famous will solidify the bands place in the current punk scene and provide a glimpse of what lie ahead for this strong up and comer.
WTII081 LOWE MIRAGE (DIGITAL SINGLE) MAY 15th
Mirage is the second single from Lowe?s critically acclaimed Evolver album and the
follow up to Breathe In Breathe Out. The single features 5 new versions of Mirage
including a killer remix from Jade Puget of AFI & Blaqk Audio and a soon to be club
anthem from Swedish DJ Adam Rickfors. This is a must have for fans of Lowe, Blaqk Audio and Depeche Mode.
IN RETAIL AND DIGITAL STORES
WTII074 STIFF VALENTINE AMERICA INBREEDING
Stiff Valentine returns with the hard hitting America Inbreeding, the remix
companion to the critically acclaimed full length America Bleeding. "It's a remix
record featuring artists that we feel are the best of the industrial and hard rock
landscape in Canada and the USA" said Stiff Valentine front man "Loud" Chris
DeMarcus. Included in this lineup are remixes from SMP, 16Volt, Slave Unit,
Deathproof, Dismantled, Am.Psych and more. America Inbreeding delivers another
healthy dose of the industrial/metal mayhem that Stiff Valentine has become known
WTII075 WTII RECORDS FREE SPRING DIGITAL SAMPLER
This release is a FREE digital sampler designed to highlight our releases from 2011
and provided a glimpse to the 2012 release schedule. All of the tracks are
previously unreleased remixes, demo versions, or exclusive tracks. Overall this
should give the listener some good insight into the labels past, present and future.
WTII076 STROMKERN DEAD LETTERS
Dead Letters is the first new release from Stromkern in nearly 7 years. Featuring 5 new tracks, Dead Letters includes the epic Sub-Librarian which was featured on the Dependence 2011 in Europe and the long awaited release of Ruin(ed), which has become a staple in the Stromkern live show. Picking up where they left off on Light it Up, Stromkern continues to blend Hip-hop vocals with layers of programming and elements
of industrial rock. Dead Letters will not disappoint and only sets the stage for
what is to come later this year with the release of Dead Language.
WTII078 REIN[FORCED] DICHOTOMY (DIGITAL SINGLE)
Dichotomy is the first single from the upcoming X Amount of Stab Wounds in the Back album scheduled to be released this summer. The single features several version of the title track including remixes from Ego Likeness, Sensuous Enemy, Stiff Valentine, Dark Clan, Deathproof and a special b-side.
June 30, 2012 @ Live Wire Lounge Chicago, IL (Electronic Saviors 2 Release Party)
Dead on TV Live:
May 05, 2012 @ The Crack Fox - St. Louis, MO
May 11, 2012 @ Ultra Lounge - Chicago, IL
May 20, 2012 @ Club ? - Milwaukee, WI
July 07, 2012 @ Cobra Lounge - Chicago, IL (w/Slick Idiot)
The Gothsicles Live:
April 20, 2012 @ Davey's Uptown Kansas City, MO
April 21, 2012 @ The Crack Fox - St. Louis, MO
May 20, 2012 @ Kinetik Festival - Montreal, Canada
June 30, 2012 @ Live Wire Lounge Chicago, IL (Electronic Saviors 2 Release Party)
July 07, 2012 @ Corporation Sheffield UK
April 14, 2012 @ Dark Munich Festival - Munich, Germany
April 28, 2012 @ INDUSTRIAL BOOOM Festival - Budapest, Hungary
May 25, 2012 @ Wave Gothic Treffen - Leipzig, Germany
November 02, 2012 @ Dynamo - Zurich, Switzerland
June 9, 2012 @ Rex Theater Pittsburgh, PA (Electronic Saviors 2 Release Party)
June 30, 2012 @ Live Wire Lounge Chicago, IL (Electronic Saviors 2 Release Party)
July 10, 2012 @ The Hideout Pittsburgh, PA
The Thought Criminals Live:
May 5, 2012 @ The Elixir Bar London, UK
WTII Records Live Monthly Showcases
Well after what was a quiet 2011 on the booking front (with the exception of the 4 day WTII Minifest) we are back in full swing and have events planned from April-July. You'll also see that we have expanded our scope to include Milwaukee, Wisconsin now!!
April 14th, 2012 Autoclav1.1, Millipede, Aphorism and Candle Nine at Live Wire Lounge, Chicago
May 20th, 2012 Dead on Tv, The Drowning Season and SutureSelf at Club ? in Milwaukee
June 30th, 2012 Chicago Electronic Saviors 2 Benefit show w/ Ego Likeness, The Gothsicles, Rein[forced], Am.Psych, Sensuous Enemy, Cryogen Second, Short to Ground, Patricia Wake and dj's Matt Pathogen and Wade Alin (Christ Analogue) ay Live Wire Lounge, Chicago
July 14th,2012 iVardensphere, W.A.S.T.E, Caustic, AD-VER-SARY, Deadliner,and END: THE DJ in Chicago