Gods Prey

Dro Carey Rules!

2011-11-10T13:45:00.000-08:00

Soft Metails - Voices

2011-08-18T15:51:00.000-07:00

HERE: Soft Metals - Voices (Official Video)

Filmed, Edited and Directed by Christian J Petersen
Starring Anna Ryon
From Soft Metals eponymous DEBUT ALBUM on Captured Tracks.

NEW GATTO FRITTO VIDEO (By Dumb Eyes)

2011-06-01T13:08:00.000-07:00

2011-05-27T14:18:00.000-07:00

here

Uploaded by Chris Love

Prisilla Ray

2011-05-19T15:29:00.000-07:00

here

uploaded by Chris Love

New Video from Dumb Eyes

2011-05-13T12:11:00.000-07:00

SUPER RAD HORSEBACK INTERVIEW!!!

2011-04-30T15:59:00.000-07:00

Horseback is an awesome band that creates music that moves you beyond the boundaries of your imagination & then some. CVLT Nation had the opportunity to interview these transcendental music makers. I will go on record one more time: ‘The Gorgon Tongue: Impale Golden Horn + Forbidden Planet’ is a very special album that comes out on May 25th via Relapse records. This is what happens to me: from the very first song, I find myself transfixed in a state of blissed-out euphoria. So after the jump, enjoy this thought-provoking interview with Jenks of Horseback.

Hi Horseback, how are things in your universe?

Very busy. Ever-expanding.

So Horseback started as a one-man-band then expanded into a three-piece...why the transition?

My writing process involves figuring out how different voices can fit together as a whole. This process is usually smoothest when I have time to sit down and write each part, one at a time, fitting the pieces together like a puzzle. However, I won't pretend that I'm an expert on every instrument; live (and often on recordings), it's best if others assume certain responsibilities. John Crouch, for example, of the mighty Southern psych-metal band Caltrop, is one of my favorite living drummers. He lives just down the road a ways. I'm lucky to have the opportunity to work with him live and in the studio.

At what point in your life did creating music become something you had to do for your sanity?

I've played music since I was very young, maybe five or six years old. Music became the focal point of my life after I graduated from college. Before then I was too wrapped up in my studies to give music my complete attention. And yes, now it keeps me sane.

How important is it for you to have an open mind when it comes to the music you listen to? Are there any genres that inspire Horseback that the listener would never guess?

This is critically important. I'm always trying to learn about new music and to further understand music that seems strange or initially unappealing. My favorite artists are often those who initially repulse or confuse me, and thus require me as an audience to work towards a new understanding. Lately I've been listening to raw black metal like Blasphemy, Black Witchery, and Ibex Throne, classic country like Waylon Jennings and Willie Nelson, Brian Eno's first few ambient records, and Kate Bush. My favorite records so far this year aren't metal records. That list would include Arbouretum's The Gathering, PJ Harvey's Let England Shake, Current 93's Honeysuckle Aeons, and Zomes' Earth Grid.

Please explain how important these concepts are to you & what role they play in what you create: juxtaposition, repetition & rhythm?

Repetition is very important. I'm interested in cycles, wheels inside of wheels, that kind of thing. Repetition helps me focus, or unfocus. I suppose juxtaposition comes naturally as contexts and symbols shift and take on new meanings. Rhythm can be important, but so can its absence.

Do you create songs with the intent to expand the listener's imagination?

I don't want to assume anything about the listener, or how Horseback's music will be interpreted. However, if it does expand a listener's imagination, that's wonderful.

I feel like the music you make paints a picture of the world we exist in...meaning in one moment everything is peace & calm...then the next moment it's harsh & heavy. How does your music reflect your world?

The qualities you're talking about -- calmness and harshness -- exist simultaneously, and contain each other on some level. So I guess my goal, in part, is to play with that tension. The simplest melodic phrase or sound can become harsh with enough repetition, and the most grating sound can become relaxing if you're exposed to it for long enough and concentrate properly. There's a great deal of similarity between Eno's ambient records and Merzbow's orgies of noise.

What would you say are the biggest inspirations for what you create?

My single largest source of inspiration is this thing inside me that forces me to create as much as possible, as often as I can. I don't really know how to talk about it. Aside from that, I listen to a lot of music and watch a lot of movies. I live in the woods with my girlfriend and our dogs; that can be inspiring, too.

When did you realize that you could sing in a super sick black metal voice?

Ha! When I was recording The Invisible Mountain.

How has your environment shaped your creative spirit?

I've made a conscious effort to live in a town that allows me to spend time making music. I don't understand how artists living in big cities are able to pay their rent while staying productive creatively (that is, I've thought about it and I can't figure out how I could make it work). So there's an important economic factor there. Furthermore, I like living in the woods. There are trees outside my window and there's a farm across the road. I like Southern USA: its' weather, music, food, and people all feel like home to me. Our politics are sometimes backwards, but we're working on it.

Any last words for the community?

Thanks very much for your interest and support! And thanks for the interview.

Action! International Film Club (Logo by Fergadelic!)

2011-04-29T13:47:00.000-07:00

here

Uploaded by Chris Love

CVLT Nation Interviews Kris Kuksi

2011-04-22T11:18:00.000-07:00

A couple of weeks ago, we posted a feature on the prolific sculptor, Kris Kuksi. Today we are proud to present an interview we did with Kuksi that explores what we imagine is just a tiny corner of his brain. His work speaks of intricacy and delicacy, but at the same time has a heavy darkness to it. After the jump, read our interview with one of the most interesting and prolific artists we have come across this century...

Hi Kris, how are you feeling today?

Oh well, rather quite good thank you.

So you grew up in the open, rural spaces of Kansas, but your art has more of a claustrophobic feel to it that speaks of cities like New York or Tokyo. Is your sculpture a reflection of a crowded imagination or a reaction to your secluded upbringing?

For me my upbringing had nothing really to do with what I ended up having as far as interests. I think had I grown up in New York or Tokyo I would still be making the same sort of art.

What kind of "macabre" or "grotesque" things appealed to you as a child?

I was a bit of a nature lover and the designs and symmetry found in nature were just what I was tuned into. Dead animals really caught my fancy and I would even mimic the Egyptians by building shrines for them with bricks from an old barn near my grandmothers house. You could say that is where my macabre and grotesque interests came from.

Is there any music that inspired you as a teenager that still inspires you today?

Well 80's metal was always a good time in my self-reflection and overall withdrawal from certain norms in society. But classical music bore the best of my adoration as I felt it was very in tune with nature and the symmetry and perfection in design. But electronic music gives me the feeling to push forward to new ideas and produce 'modern' works of art.

Give us an idea of how a Kris Kuksi piece starts. Do you find one object that inspires you, or do you envision the piece as a whole before beginning?

There is not real formula, it just happens. Whether it is from a sketch that is derived directly by the ideas brought down to me from the ultra-world or rather from the objects I have laying about in the studio.

Your work has a decaying quality to it that really appeals to us. Can you explain how death or decay plays a part in what you create?

Decay is a constant. It is a part of life, and it is natural. I do think that making art that shows the evidence of decay captures the interest of the viewer because it ultimately has to do with the removing psychological layers, change, mental re-birth, etc. We are born to die - as the old saying goes that there certainly is beauty in accepting our fate.

Your site mentions an interest in God/Goddess imagery, which is really apparent in your work on Pneumatic with your use of God or Goddess figures and cherubs. What does this focus on the iconography of belief mean in your work?

Well, vaguely I suppose it just has to do with the fact humans have to have some sort of godly reference with the means to solidify purpose and meaning. Humans are rather fragile and frightened when it comes to the emphasis in the question of what is the meaning of life. Well, perhaps there is no meaning to life and we just have to come up with some ways of defining what life should be and God certainly can provide it. Too bad we humans have to argue about all the different Gods or destroy each other because of those particular meanings. Gods and Goddesses are the reflection of what we would truly desire to be, pure, powerful and all-knowing. Too bad we are just human in end.

Your site also mentions that the greed of civilization plays a part in your inspiration, and to me your pieces bring to mind a beautiful version of the modern-day hoarding, albeit maintaining the creepiness of it. How do you feel that over-consumption is reflected in your sculpture?

As you can see in my work, there are masses of 'stuff' everywhere. We are a material collection and production society. The total amount of material goods we collect and what we consume in our lifetime (provided one lives in a progress civilization) is so much; it makes one wonder if it has more to do with the psychological desire to be fulfilled or happy. But product marketing certainly has trained us to believe that what we buy can provide happiness and purpose.

Do you feel that growing up in the United States, in a culture of Wal-Marts and Targets, has dictated the view of mankind portrayed by your art, or do you think it has a more global vision?

Wal-Mart is an empire in some regards. Perhaps the times of kings and kingdoms were replaced with democracy and nation unions, but in the most current of times I'll venture to say the almighty corporations of consumerism have every bit to do with the governing of people. After all, many of our politicians are supported or even used as spokesmen for large corporations. And as we have seen in recent elections, money can buy a political seat. Yet, corporations can help to improve our lives and bring us things we need rather quickly. I would claim to strike out in the neutral gray zone between either supporting corporations or rebelling against them. Same goes for anything mankind does, there is a bit of goodness and virtue, and there is a lot of evil and demoralization happening. It's all about balance. Let's just try to make our journey the best it can be.

Thanks so much to Kris for the interview!

Electric Blue Vol. 1

2011-04-21T17:56:00.000-07:00

here

uploaded by Chris Love

New Film From Rossina Bossio

2011-04-19T13:34:00.000-07:00

WATCH HERE

uploaded by Chris Love

Mandy and Colleen

2011-04-18T17:51:00.000-07:00

here

uploaded by Chris Love

RIDE THE LIGHTINGCVLT Nation interviews ANGELA BOATWRIGHT

2011-04-15T13:23:00.001-07:00

Angela Boatwright is one of sickest photographers to come out of New York City. She is also a heavy metal maniac, & on a good day she gets to combine both of her passions: metal & photography. One thing that makes her photos special is that she breathes her culture into her photos. I feel pretty lucky to say this, but I have known her going on 10 years & she is true inspiration to me on many levels. So after the jump take a trip into Angela's world, where headbangers rule.

When was the first time you wanted to pick up a camera?

My best friend Meagan, her sister Amy and I were going to see this glam band called Vain - this was in 1990. It was the guitar player's birthday and we had baked him a cake in the shape of a snake. I wanted a camera to document all this, as it was a HUGE deal for us (we were 15 years old). I bought a cheapy point and shoot, one roll of film and asked the girl selling t-shirts at the show how to load it. I still have the photos by the way. I'll email you one!

When you started shooting pictures in Ohio, who were your first subjects?

My friends, bands (I went to see a lot of shows even as a teenager) - pretty much the same kind of stuff I shoot now.

When did you become a part of the heavy metal music scene?

I have literally been obsessed with heavy metal for as long as I can remember. I have some very clear memories of seeing Kiss on TV when I was little - and Ozzy actually. I remember my dad seeing Ozzy and saying something like, "that's not real music," but I was totally mind-blown. Ozzy's 'Shot in the Dark' video changed me forever (seriously). Gives me shivers just thinking about it.

I have no idea if I'm even part of the metal scene nowadays. I have a ton of other interests outside of metal and am always complaining about unnecessary scene elitism. Although, as my good friend Jake pointed out the other day, I apparently have a lot of strong opinions about it (glam metal ballads in this case) for someone so against elitism...haha.

Are there any bands that you have photographed that you never envisioned yourself shooting?

I got to photograph the Black Crowes recently which was pretty awesome. When I found out I was gonna work with them, 15-year-old me pretty much shit her (my?) pants. I have no idea how to phrase that, hopefully it makes sense. But yeah, pretty much a teenage dream come true. Sounds dumb as hell but there you go. Oh, and Depeche Mode!

What was the most intense metal show you have ever shot & why? What were you feeling while it was happening?

I got hit by a car in 1997 and was out cold for 11 hours. I had a minor concussion, and a week after the accident found myself at an S.O.D. show at Maxwell's in Hoboken (super small, claustrophobic-if-you-have-a-head-injury venue). I was really out of my mind and kept worrying that my head was gonna get cracked. The photos came out pretty awesome. I can think of a few more shows that were similar...I love that feeling though. Being kinda scared, shit's all dark and intense. Fog machine. Love it.

When you are shooting someone from the skate, metal or punk community, do you feel you can get something out of them that other photographers couldn't because they might not connect to them the way you do?

I'm not sure, I hope so! I'm naturally attracted to fuck-everything type of people and I love rule breakers of all types. I really believe in the people I photograph. It's not some bullshit thing, if I've ever photographed you I probably think you're awesome as shit.

You shoot a wide variety of musical artists, not just those in the metal community. When you do a metal shoot, is there something special you try to convey about that community?

Not sure... I try and bring out people's real personalities as much as I can with whatever time is allotted. I like satanic dark stuff, but sometimes with metal bands it's too gimmicky. I have a harder time photographing people I know really well, too. Sometimes that's a factor with metal bands, even if I don't know them personally I tend to know a lot about their history etc.

What drew you to New York City in the early 90's? Was youth culture different then, & if so why?

I had been to New York once before I moved here permanently. At the time, I really just wanted to get out of Ohio and start my own life. In hindsight I have no idea why I chose NYC. A lot of my friends had come here for hardcore shows etc. It just seemed like the place to be. I fell in love with it right away.

Youth culture was totally different then - there was no Internet and of course the city wasn't nearly as safe although it was much safer in the early 90s than previous decades (see 'Captured'). But still...I do miss anonymity: the idea of leaving your house and not being able to be reached until you get home. I also liked that people and kids specifically had to earn the things they loved. It wasn't just about liking something on Facebook, you had to do your research, make an effort and prove yourself! It's so easy for companies and private interests to collect information on us these days via technology. It's starting to feel like we're all just statistics. I really believe if something's worth loving, it's worth working hard for.

Could you explain how New York City has shaped your creations?

Hmm, that's tricky because as of this coming July I'll have lived here half my life. I'm not sure I can answer that objectively!

For me, when I lived in the lower east side of New York, there was an invisible kinetic creative that felt like it was happening around me all the time. Do you ever feel this? How does that energy effect you?

I used to feel this a lot stronger than I do now, however after some thought yes, for sure that energy still exists. NYC keeps you on your toes, it's really hard to be complacent here with everything going on. Everyone here has 40 things they do and people treat each other like family. We look out for each other. We keep our eyes and ears peeled for homies in regards to jobs, apartments etc. I have a lot of great experiences with this and have so many people to thank. Haha, this is making me wanna go to Max Fish and hug everyone, sheesh!

You told me you are working on a book about all of your metal pictures, can explain whats going on with that and what motivated you to start that project?

I've been wanting to put out a book for a while, but always felt the time wasn't quite right. I've just begun gathering together some of my images and laying them out in new ways to see what I have. About a year ago, I started filming a documentary on metal bands that tour heavily and am hoping that if all goes well a book will come out along with the film. These are big dreams, so wish me luck!!!

Super WOW! CVLT Nation wants to say, nice one Angela on an epic awesome interview!!

CVLT Nation interviews Locrian

2011-04-08T09:20:00.000-07:00

CVLT Nation has had the honor to interview one our favorite bands, Locrian. To us this group of musicians transform sound into sonic cathedrals. This interview takes an in-depth journey into how they create the way they do. The only way to do them justice is let them speak for themselves. After the jump check out this totally superdelic Locrian interview...

You seem to take small sounds & expand them into bigger soundscapes...does this occur organically or do you do it consciously?

André: That’s a nice compliment. I think it happens both ways sometimes. We tend to start out smaller since it gives us more room to expand.

On the song "Triumph of Elimination" you have this haunting vocal mixed in a way that in sounds as if it's being sung from the bottom of an ice cave. What effect did you want this vocal to have on the listener?

Terence: I think, most importantly, I listen to try and change textures. To try and make something I am interested in that is evocative of something else. I tend to always go towards more cavernous sounds, lots of reverb to try and effect the vocals, make them distant or larger than they are. I guess I just want them to sound like they're in some sort of space.

When I listen to your new album The Crystal World I find that many of the songs have a balance between harmonic sounds & chaotic sounds. Is it important for Locrian to compose your songs that way?

André: I don’t think that a balance between harmony and chaos is essential, but it’s definitely something that happens. One of the ways that you can be creative is to change how elements are put together. I think by taking this approach it’s led us to take our music in some unexpected places, which is always essential to how we play music.

Terence: It really is about contrast, we tend to think about our own expectations and how to flip them. How a song can start off harsh and then become melodic or be a drone that suddenly has a beat.

What was your inspiration for the song "Elevations and Depths"?

André: We wrote that track entirely in the studio. We started with the twelve string guitar part that you hear at the beginning. The rest came about very naturally. I think we approached the rest of the song like we were trying to tell a story. By trying to do this is where we came up with the rest of the parts.

Terence: Yeah it just flowed, like we had this idea of like a mountain between two valleys, the softer acoustic and vocal intro that changes to the more intense dirge and evolves to a massive acoustic drone. Again it was all about contrasts and trying to do what we do in a different way, i.e. all acoustic at the end so that is only acoustic guitar, accordion and layers of violin with very little effects.

What is your outlook on these four sounds/concepts & what input do they have on what you create: feedback, drone, space & repetition?

André: I think that all of those concepts are tactics that we might use in order to create the sound that we are going for. Feedback can add an element of chaos and unpredictability to a track; droning and repetition can push the listener into a more trace-like state; and space is essential since it adds to the dynamics of the music.

Terence: We tend to use feedback and drones a lot, but we also try and stray away from the whole feedback drone sub-genres. I think actually space is what helps us, we're always talking about the space something creates or the void is makes. Repetition is important, I think that is something I think about a lot with certain lines in a song. But I borrow it from Minimalism and krautrock I guess.

For me Locrian is very powerful & very emotive - how does this translate when you are performing live?

André: Thanks very much. Performing live is an emotional experience for me. When we play live recently, we have a certain amount of structure to the music that we’re playing, but there’s always an element of unpredictability.

Terence: I am never sure how it comes across. I have a lot of buttons to push and trying to remember to sing or scream kind of dominates my brain. And I always have to make sure I am listening to what my bandmates are doing because really we never know when something ends or another track begins.

André: Unpredictability is something that’s fun to play with. For instance, that’s one of the reasons why we like analog equipment and tapes. Although it’s a pain to use old analog equipment, there’s an element of surprise involved with the sound of this equipment that you can’t really produce digitally.

Terence: Like having your tape delay not work right as your about to go on. Or a Moog not want to tune.

Was there a place you wanted to go in The Crystal World that you had not gone before?

André: For one, this was our first recording with Steven. As much as some people categorize us as being a collaborative project, it’s really just been Terence and I for 90% of the time that Locrian performed before this record. We invited Steven to have equal input to the two of us in the creative process. So the percussion is definitely one thing that brought the record to new places for us.

I think that we took our time with “The Crystal World” more than we had with any other release.

Terence: I think it allowed us to do two things, create a narrative and also generate a long form response with disc 2. Both things we have wanted to do.

Locrian possess a shamanic & meditative energy at times, where do think this comes from?

André: A lot of our music is created intuitively and in order to do that we need to enter this trance-like state. The music becomes something that comes out and it becomes our job to shape it. I think that might be why it has a meditative quality. By the way, that’s very kind of you to say that our music has a shamanic and meditative quality to it.

Would you say you have a group of musical peers around you that inspire you & if so who are they?

André: Of course I’m inspired by a lot of our musical contemporaries. A lot of the stuff on Bloodlust! and Utech Records. We’re working on projects with two of our contemporaries that I respect a lot. We have a one-sided LP with Horseback coming out soon. In June, we will be recording a collaborative album with Mamiffer/House of Low Culture-Faith Coloccia and Aaron Turner. I feel really honored since I think that Mamiffer, House of Low Culture, and Horseback are some of the most exciting projects around.

Chicago has a bunch of really inspiring projects as well: Anatomy of Habit, Neil Jendon, Sun Splitter, and of course Steven’s groups like Pan-American and Haptic.

Although I do listen to a ton of metal and experimental music, I do have to regularly cleanse my musical palate with pop music though.

Terence: Definitely. We're very fortunate to be in contact with some great bands, musicians from many genres. Like a lot of the Weird Records stuff that Pieter is putting out like Martial Canterel and Staccato du Mal gets my interest since I am a synth nerd. But also the underground black metal of Ash Borer and Velnias. I'd have to say locally Anatomy of Habit are perhaps one of my favorites for their intensity and sound and after them I'd put in a few like Del Ray, Oakeater, Monument. I’ve been really into this duo called Light Asylum from NYC, dark synth tones with like a super strong female vocalist.

Photo by Rik Garrett

What was the moment in space & time that you guys got together to start Locrian?

André: Terence and I started Locrian a little over five years ago. I guess we first practiced in a shitty practice space that I had on Chicago’s west side.

Terence: Had our first show in 2005, where we recorded our first CDR, at The Mutiny. And from there we just kind of went where we were invited. I would say our first serious recording was the "Plague Journal" 7" for BloodLust! From then on things got more serious and we figured out a lot about what we wanted to do.

It could be anything, but what's the most enjoyable part about being in this band?

André: I definitely like getting to be able to do the things that I’m interested in: being able to release music that we’re proud of in the format of our choice. I also like getting to meet musicians that I respect and other interesting people. I try to learn from every experience and I think that I’ve learned a lot from the experiences that I’ve had in this project.

Terence: The creative outlet, working with people I respect who bring interesting creative ideas to the table.

It seems that visual art (ex. your videos, lighting during your performances, album covers) is an extension of your music, could you explain how?

André: We try to make this a total experience and we are constantly working to push that for ourselves.

Terence: I am a visual artist so I spend a lot of time thinking about how things look, from the stage to the album covers. I work with a lot of other visual artists and to and tap people who I think are interesting, regardless of their status, to work with us. I think overall I am interested in the entire thing. Even though we live in this digitally mediated world where album covers tend to be after thoughts for the most part I often times buy albums because of their covers or check out a band because they made a video that appealed to me.

Obsidian Facades from Terence Hannum on Vimeo.

Any closing thoughts for the CVLT Nation readers?

André: Thanks for the support and thanks for writing about this kind of music.

CVLT Nation would like to Locrian & Utech Records for all of their support.

ALL Photos by Lenny Gilmore except where noted.
SOURCE:CVLT Nation WEBZINE

UNHOLY OUTBURST

2011-04-04T22:37:00.000-07:00

Blackened doom, satanic blues, demonic sludge, and extremely super fucking heavy only begins to describe Dorset, England's almighty Ramesses. From the ashes of from the UK's gnarliest bands, Electric Wizard and Lord of Putrefaction, this band arose. Since 2003, these doom masters have been causing sonic havoc around Europe and the world. Ramesses at times sounds as if they have devoured the darkest parts of humanity & are vomiting their bile onto to the masses. They can take the listener to a chaotic place, but at the same time they put you into a meditative state of mind. They have discography that does not disappoint. Last year they unleashed the album Take the Curse on to the world - that album was pure molten doom, plus the video for their song "Khali Mist" was stoner eyecandy. On May 19th, 2011, Ramesses releases Chrome Pineal on Ritual Productions. If I could be at this year's Roadburn, theirs is one set I would not miss. Adam (the bassist & vox) is one of the biggest herb smokers in the world & the music he creates with Tim & Mark only makes your high even higher! The year was 2000 in Londontown & Adam from Ramesses became a workmate of mine, and he schooled me on doom (niceone, thanx bruv). Stay tuned to CVLT Nation for an in-depth interview with Ramesses. After the jump check out some sick flicks & videos.

Ramesses: Cult Of Cyclops

Ramesses: Khali Mist

Ramesses

Ramesses

For all news Ramesses, click here&here.
SOURCE:CVLT Nationhttp://www.cvltnation.com

ACROSS THE TIME STREAM...BONG

2011-03-30T17:47:00.001-07:00

With one hit, actually I mean one listen, to Bong's soon to be released album "Beyond Ancient Space" on Ritual Productions, they totally live up to their name sake. To me there are many different ways for doom metal to effect the listener. While checking out this epic record from the Newcastle-based band, I found myself awash in meditative doom bliss - a mindstate where space & your imagination become one, which allows you to ride Bong's wave of feedback. With an undercurrent of hypnotic drone, each one of the three songs (the album is over 79 minutes long) on "Beyond Ancient Space" have a slow build that puts you in transcendental state of being. So on May 16th, 2011, don't only light your bong, make sure to pick up Bong's spaced album. Check out flicks & one of their tracks after the jump.

BONG'S "Beyond Ancient Space"

COVER!

BONG: Across the Timestream

DAVE

Photo by Lee Edwards

Mike V

Photo by Lee Edwards

BEN

Photo by Lee Edwards

Mike S

Photo by Lee Edwards

STAY TUNED FOR A BONG & CVLT Nation interview...

((((D.I.Y))))((DOOM))

2011-03-28T17:22:00.001-07:00

CVLT NATION

Text: Sistine Press
Sistine Press is an independent publisher in Fort Wayne, Indiana. Based on underground culture, we focus on publishing and selling editioned books of art and writing. We are devoted to creating high-quality paper goods made with the best materials, while always considering the interests of our supporters. We put effort into making meaningful zines to be treasured and hold your attention long enough for you to forget about pop-culture. Check out some of there epic zines after the jump.

RITUALS cover.

ESOTERICA (No Love Could Exist Here) cover.

ESOTERICA
(No Love Could Exist Here)

8.5×8.5″ – 182 Page Book
Perfect-bound, Soft-cover.

This is the first real book release by Sistine Press. Esoterica is simply black and white photography, by Dusty Neal, focused on esotericism, religion, and occult.

The first 50 copies come with a post-black metal soundtrack (debut 3-song e.p. by Coffin Maker). Listen to a track at Coffin Maker’s bandcamp site.

††† TO PICK UP A COPY OF THE BOOK †††

RITUALS cover.

20-page zine
5.5×8.5″

Limited to 50 copies

RITUALS is writing, much like that of the “Sad Men..” zine, with art, much like the original “OVVERKVILL” zine, and even some traditional cut-and-paste collage pieces.

There seems to be a loose theme of religion, life, and death in this one.

††† TO PICK UP A COPY OF THE ZINE †††
Who is Sistine Press:
Sistine Press is an ongoing project by Dusty Neal, with tremendous support and help from his wonderful wife, Jennifer Neal.

CVLT Nation totally salutes these two very creative beings!...
Stay tuned for more from Sistine Press on CVLT Nation

God's Prey'sCosmic FunhousemixtapeSlow Burnvol.1

2011-03-15T13:15:00.001-07:00

To celebrate God's Prey's Spring/Summer 2011 collection, Cosmic Funhouse, we mixed and dubbed out some epic tunes...together they create a superdelic mixtape, Slow Burn Vol. 1! These songs capture the spirit of this collection. It's your job to download it & bring a little bit of the Cosmic Funhouse into your universe. Some of the artists that paint this sonic portrait are The Cure, Fugazi, Talking Heads, Roots Manuva, A Gun Called Tension & many more...Now it's time to zone out & tune in!

1.The Cure : Primary
2.Theater of Hate :
3.Roots Manuva : Witness Dub
4.Fugazi : Waiting Room (Sub Swara Remix)
5.Tenor Fly : Roughneck Fashion
6. Gang Gang Dance : Glory in Itself / Egyptian
7.Siouxsie and the Banshees : Happy House
8.Talking Heads : Once In A Lifetime
9.The Clash : The Magnificent Dance
10.Big Audio Dynamite : The Globe
11.A Gun Called Tension : Black Eyes
12.Drink to me :B1

GOD'S PREY.

HELPJAPAN

2011-03-13T17:27:00.003-07:00

You probably already heard the news.
On 3/11, 8.9 Magnitude Earthquake hit Northeast of Japan, also triggered 30-foot ferocious Tsunami to destroy coastal city of Sendai, the city in Miyagi prefecture (state) closest to the quake's epicenter. After the earthquake, the whole nation was followed with over 100 aftershocks, and we just got another one as I write this. The images are apoclayptic, so surreal that it almost resembled scenes from a Hollywood disaster movies.

*Hover over each satellite photo to view the devastation caused by the earthquake and tsunami at the bottom link↓↓↓
JAPAN EARTHQUAKE: BEFORE & AFTER

Hundreds of miles of Japan's northeast coastline, entire towns are swamped, leaving thousands dead and thousands (still counting as I write) left with no homes, food, and water and heat. And there are not enough resources to quickly reach - or even contact - the tens of thousands who remain missing.
Prime Minister Naoto Kan called the disaster the country's worst crisis since World War II. While Tokyo was given a good shake, amazingly it survived largely undamaged. However, one feeling we've all sharing at the moment is a terrible sense of uselessness. I wish I can taken it upon myself to get in a car and head north but it's not the most sensible option at this moment. :(

WE NEED YOUR HELP!!!!!!!!
Even if its just $10, it can really be saving someone's life right now!!! One man's meal could mean another man's life. I recommend the following sites:

American Red Cross
*If you are in US, simply text REDCROSS to 90999 to donate $10 from your phone (you'll be prompted to confirm with a second text reading YES).

International Medical Corps

WORLD VISION

Doctors Without Borders

Save the Children

THANK YOU FOR YOUR SUPPORT!!! <3

STORY via YOON

Japan

2011-03-13T16:01:00.000-07:00

here

Uploaded by Chris Love

Lizard

2011-03-12T20:26:00.000-08:00

here

uploaded by Chris Love

Smile Tribe

2011-03-10T22:12:00.000-08:00

here

uploaded by Chris Love

GOD'S PREY SPR-11COSMIC FUN HOUSE @NOUVELLE NOUVELLE

2011-03-09T18:24:00.000-08:00

GOD'S PREY SPR-11 "COSMIC FUNHOUSE "@ NOUVELLE NOUVELLE

Penetration Boy

2011-03-07T18:53:00.000-08:00

here

uploaded by Chris Luv

((((BOOM))))((DOOM))

2011-03-07T12:51:00.000-08:00

BBC Four examines the influence of reggae music throughout Great Britain in their documentary titled Reggae Britannia. The influential form of music captivated a massive audience which would eventually see itself become a cornerstone of other musical genres including punk. If you have a lazy weekend in your plans, the documentary definitely worth checking out.

Source: FRESHNGOOD.COM