Out Next Week: FREAKANGELS Vol 1

October 30th, 2008 | Work

They’re looking over unbound advance copies in the office:


It’s Not Too Late

October 29th, 2008 | brainjuice, music

For me to go back to bed or kill myself. It’s plainly going to be one of THOSE days.

Matt Jones FTW:



October 29th, 2008 | brainjuice, music, researchmaterial

Found in the slideshow images for Aaron Cope’s talk on "the papernet" (2007), all of which I was accidentally reminded of by Matt Jones ten minutes ago.


EDIT: per Matt Jones, image is from the mental Schulze and Webb.

Way, way back when, I suggested a model for the conversation about comics to bypass the then fairly fossilised working channels for such. Create a short magazine in simple black-and-white PDF and make it freeware, so that anyone could print it off. And ask people to print off a bunch and dump them in comics stores. (As opposed to the "glossy" high-end PDF-mag model we have today, which in those days was represented by an attractive, dense PDF mag called BORDERLINE.)

Years later, I condensed the idea down to a broadside model, which Alert Nerd adopted and Ectomo experimented with. But it shares the same thing in common — it’s about spitting paper at the other end. It’s also about creating objects where none existed before.

The broadside, one-sheet model can be broken down a little further. Anyone knows you can fold one sheet into a four-face booklet. You can get even more complicated than that, but, you know, I drink precisely so no-one asks me to do things involving fine motor skills.

Aaron Cope sees a "social letterbox." I see a box that spits out Things that require only minimal assembly at best. Broadsheets and pamphlets, a one-sheet culture. Emailable. Printable. Minimal.

Anyway. Just thinking out loud. Ignore me.

A Place To Bury Strangers

October 29th, 2008 | aeropiratika, music

Brooklyn seems somewhat haunted by the bedheaded spectre of 1987-88 right now. I’m hearing a lot of fuzzed-out takes on proto-shoegaze come out of there these days. "I Know I’ll See You" by A Place To Bury Strangers does, in a lot of ways, take me back to shithole venues from the era — particularly the bass sound, which reminds me of something specific that I can’t put my finger on. The guitars are a fusion between midperiod Jesus & Mary Chain and midperiod My Bloody Valentine, the latter’s breakthrough point… I could spit out points of perceived influence all day, and my sense of sonic magpies at work could be completely misplaced. But I like it.

For Sean Bonner, who asked me for it on Twitter.

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