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THE OTHER SOUND: ISSUE 2012

This is the PDF version of what was going to be a print magazine re-deux of the early 1980's magazine
published by John Zewizz - "The Other Sound". There were 8 issues printed before the magazine
stopped being pressed. My original idea was to bring it back to press... However, after arranging the
pages and setting up to go to print... I discovered it would have cost too much to make it affordable. So,
I decided not to let the work go to waste... and make it a free zine/blog.

“THE OTHER SOUND: ISSUE 2012" has been a labor of love for quite sometime. Inside you will
find information about various Inner-X-Musick artists (SLEEPCHAMBER, VEIL OF THORNS), as
well as Friends on Inner-X-Musick (Cultural Asylum, KayTwo), and items that just interest me
(Reviews, Ruth White). Finally also included in this online version of the zine is a free download
sampler of the 2009 releases by Inner-X-Musick (coming soon). A Special thank you goes to John
Zewizz, Banshee Goldman, P. Emerson Williams, and KayTwo for their help and support.

Our interests fall in the lines of obscurity and obliqueness, be it to look at... to listen to... or to engage
in. Bound by a pledge to bind oneself and keep the betroth of cryptic interests alive inside oneself. And
so comes the name THE OTHER SOUND, the sound remaining... remaining from the majority - the
masses. THE OTHER SOUND is our musick, our belief, and our interests. OURS.

Table Of Contents
Beyond The Exterieor – The SLEEPCHAMBER Interview .........................................................3
KayTwo – Artists/Interview...........................................................................................................8
Shamanistic Madness - The Veil Of Thorns Interview ...............................................................12
Cultural Asylum – The Banshee A. Goldman Interview ............................................................17
Knifeladder - Music/Concrete - REVIEW ..................................................................................20
Jarboe - Durga & Her Smile Of Radiant Vengeance - REVIEW ................................................21
Mark Bradley - Luminous REVIEW ...........................................................................................22
L'Acephale - Stahlhartes Gehäuse REVIEW ..............................................................................23
Ruth White Biography..................................................................................................................24
Famous When Dead – The Grammal Seizure Interview .............................................................30
Chi-Kitty– Artists/Interview.........................................................................................................37
Inner-X-Musick Biography..........................................................................................................41

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2009 began with a bang. John Zewizz, legendary American Industrial musick pioneer, had been sitting
on a group of tracks titled "Sorcery, Spells, & Secret Charms"...The material was good. It deserved a
proper release. But as often happened in the SLEEPCHAMBER story, tracks were bootlegged off
radio broadcasts, other projects came up, members come and go, and things get buried. But there was
something special about the "Sorcery..." tracks that kept bringing John back.

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 During his hiatus from the musick business John
had paired up with Bob Avakian. Writing musick
never stopped, although it certainly slowed. But
the idea of being screwed by another label made
Zewizz hesitant. And there were doubts. Did he
really want to play the game again.

I received the demos for "Sorcery, Spells, &

Secret Charms" in the fall of 08. I was instantly
amazed. These were not just good... they were
legendary. Zewizz felt they were good too... but
they were old. He said he wanted to breathe new
life into them... SLEEPCHAMBER was headed
back to the studio.

The birth of the newly renamed sessions,

"Sorcery, Spells, And Serpent Charms" were symbolic. The recording. much like the band itself, was
legendary and ready for the breath of new life. Everything about the release was perfect... from the
sacred EE tattoo rising from the flames, to the mix with the old and the new.. SLEEPCHAMBER had
risen to conquer its demons and its past, and was ready to write a new chapter. SLEEPCHAMBER
(now a trio of Zewizz, Avakian, and Gimmie Sparks) wasted no time in beginning the recording
process... which ultimately led to "STOLEN SLEEP", and the upcoming "2012", and "SECOND
INITIATION". During the recording process Zewizz took the time to release "SOUNDTRAX" on the
newly re-activated Inner-X-Musick. "SOUNDTRAX" was a collection of material from the "missing"
years of SLEEPCHAMBER, as well as a few gems from the past....

And now, the CD "Species Interupptus". Originally slated to be released by Fünfundvierzig in 1998,
but lost to suspicious record deals, addiction, and corrupt promoters. "Species Interupptus" documents
the 1997 German tour with amazing clarity. Not your run of the mill live recording, "Species
Interupptus" captures the SLEEPCHAMBER experience, with front row sound quality.

All of that in a year. To catch us up on everything else SLEEPCHAMBER sat down for a little
interview with me at the beginning of August.

TBM: It's been quite a year so far... 2009 has seen the release of 4 CD's so far (most recently as of this
interview "Species Interuptus") as well as the pending release of "Satanic Sanctions", a solo CD
("2012"), the re-launch of Inner-X-Musick complete with a brand new compilation (XXX 69) and host
of artists.... How will you remember 2009.
John Zewizz: It waz a experimental phase for me - SLEEPCHAMBER had been on the shelf and I
had been considering somewhat ov an activation ov sorts. There waz a larger demand than I realized. I
have no PC and no connection to the Internet, so I waz oblivious to what waz going on in cyberspace
pertaining to SLEEPCHAMBER. After I waz introduced to this new dimension I waz intrigued.
Around 2002, when I waz shown the different SLEEPCHAMBER sites and that the demand for the
musick still there, I went into automatic and charged in... well it didn't take long to discover that it waz
too good to be true. I had no education on how the Internet worked or how it had effected the musick
scene and the musick business. In short, with the world ov networking -making things something
instant and something with a new concept, focus and understanding - that would take me a few years to

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 process and conceive. To this day I am still far from knowing how to
digest it all. When I discovered that many people were copying my earlier
musick and selling it with no rights or permission what-so-ever... a system
ov anarchy and unfocused desires taking what they wanted or stealing
what they wanted to satisfy their own musickal demand! Obviously the
web haz killed more ov the musick scene than most realize. The only
people who purchase CD's or DVD's in the shops - usually don't own a
computer and do not live through the Internet.

TBM: "STOLEN SLEEP" is an interesting story. Can you explain the

concept behind the release?
John Zewizz: Well, the concept crossed my path az an idea and without
question - I loved the idea. Stealing or robbing Egyptian crypts iz a
spiritual rape. Most intriguing waz their resting beds are known az "sleep
chambers". How could I resist? The idea waz very inspiring!

TBM: "Species Interruptus" was originally to be released by Fünfundvierzig. Why the 10 year delay
on the release?
John Zewizz: It took so long to arrange the best ov a tour master, it would have been a giant waste,
plus live rekorings can capture more true nostalgia than a studio album. Live performances incorporate
more than just a band and some engineers rekoring over and over the same piece ov musick. Live
shows capture true reaction from emotions to excitement. They are a true period in time. That makes an
audience part ov the event.

TBM: I know that you have been writing with Bob for awhile, but how have the song writing
dynamics changed since the formation of the newest SLEEPCHAMBER line up?
John Zewizz: Its been probably the most difficult for me to adjust to. I have been working without a
band since 2002... for the past 7 years I have been working in the studio (far form the stage and
performance life). I needed a break from this lifestyle to stay alive. It haz not been easy working az a
band az opposed to being the only one rekoriding or producing a musickal concept in the studio, which
iz what I waz doing up till 2009 and the new launch ov a fresh SLEEPCHAMBER... not to mention
dissolving the Barbitchuettes almost at the same time period. But SLEEPCHAMBER haz always had
more drastic changes than any other band I have known personally. SLEEPCHAMBER instinctively
goes through new time eras about every 5-6 years - without choice. It just evolves that way. Band
collaborators constantly kum and go. Keeping us from bekuming stagnant - it's a natural progression I
feel.

TBM: Wayne, and Bob can you tell me a bit about your musical background. How did you first cross
paths with John?

Wayne: I had seen John around the Boston music scene for years, but we never really talked. I had
heard of SLEEPCHAMBER, but had never heard there musick and what I had heard about - the live
shows - was legendary. You know, with the Barbitchuetttes, the lights, and smoke, the show. It was a
mystery to me. I was curious but never got around to seeing them live. I had known Bob for years, we
worked as bike messengers. I was homeless and Bob said that John and him were looking for another
roommate. I thought, 'perfect, a place to live and maybe a chance to resurrect SLEEPCHAMBER. I
told John I played guitar and had plenty of equipment and would he be into starting

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SLEEPCHAMBER back up. He said if I was serious, and I mean serious, he'd be willing to do it. But
once we started there was no looking back. It had to be full steam ahead or nothing. I said perfect, I'm
up for that. That was a little over a year ago and here we are with 4 CD's under our belts. I don't know
of any other band in Boston that can boast that. That's the way John works.

TBM: Given your background Wayne (hardcore/punk), has it been a challenge to move into the
SLEEPCHAMBER format?
Wayne: I've actually had no problem moving into the SLEEPCHAMBER format other than the fact
that in other bands I was writing the majority of songs. Including bass line, lyrical melody and some
drums. After awhile I burnt out on that. Now with SLEEPCHAMBER we all collaborate. We have our
visions and ideas we see them through, we bring them to the table and for the
most part they work. If they don't we let each other know. That's not to say that
what they've done sucks or they suck... it more like it's not working so go back
and try again. We don't get nasty about it cause that gets you nowhere. I respect
John and Bob musically and they respect me. I can take the criticism. I want the
criticism. I don't want to be yessed to death then have the musick suck. Because
no one had the balls to tell me it sucked. I need that honesty. Working for John
and SLEEPCHAMBER has it's ups and downs, but I love it. I love the freedom
to experiment and I also like the free exchange of ideas.

TBM: Do you all share a similar belief system.

Wayne: Good question. I think for the most art we do. I know for certain our
political beliefs are very similar. We all believe this government is completely
corrupt , corrupt beyond repair. It's fat, bloated, extremely slow, and
bureaucratic. Its the same old thing. The rich get rich and the poor get fucked up
the ass. I could go on about this government for ever but I don't want to bore
you. I shouldn't say this cause I'll probably have homeland security on my ass, but I think the only way
this government can change is through revolution. Violent revolution. Just like the revolution of 1776.
Man we are being systematically oppressed,our rights are slowly being taken away, our privacy is
being invaded more and more and we are being told what we can and cannot eat rink or smoke. Sorry
abbot that diatribe, but this is one thing I think everyone in SLEEPCHAMBER believes in. As far as
musick, I think even though we all have very different musickal influence it works as a whole in the
band. I mean Bob's into Jazz and he's a huge Beatles fan. John into electronic muskc, but he also like
bands like the Buzzcocks, Magazine, and Killing Joke. And forget about me, I like everything. Old
delta blues (Muddy Waters, Bo Diddly etc), Aerosmith, Cheap Trick, hundreds of punk bands
(Damned, Clash, Gen X, Dead Boys, Dolls) the list goes on and on, I like a lot of classical shit too.
Especially real violent stuff. I also like a lot of old country stuf too, Johnny Cash and Hank Williams.
John Zewizz: My belief system iz highly evolved. Bob and I cross similar interests at times, but
speaking for myself only, my belief system iz so complex that it would be impossible to classify other
than maybe a mystic. I am a black hole for conception and perception. I walk were most dare not tread.
My belief system iz based on my life experiences. I have no secrets at all, but yet can be quite shy or
extremely aggressive depending on the situation. I guess that's being unpredictable? But az time goes
on my interest about life bekum more esoteric and eccentric. Not intentionally, or just to be different or
to be a competitive individual... but I believe you are what you have made yourself. I believe you
control your destiny and fate iz final. I don't believe that life iz programmed and life iz fair or follows
any sort ov direction. I believe all life iz connected in some sort ov way. All life iz sacred and iz to be
respected - no matter how small or insignificant, beautiful or horrible... it all contains the same

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common denominator - Life - Existence - and
Consciousnesses - and awareness ov reason. Like I said,
my belief system ranges any where from spirituality to
divination, sorcerery, psychology, human behavior,
emotional response, magick, astrology, animal rights,
philosophy,. sexualism, individuality, dimensional
perception, etc, etc...

TBM: There is a great track on the "XXX 69" release

written by you Bob, called "Ex Corpus". The
introduction (featuring John's voice) with the screaming
"THIS IS NOT MY BODY" and then the very eerie
lyrics, delivered in almost random style... almost as if
we are reading your mind. Tell me about "Ex Corpus"?

Bob: The original idea for this piece came from a

distinct feeling I often get (usually during a severe
depression). It comes upon me as a strong, sudden awareness that my essence belongs somewhere else,
that 'this is not my body'. It seems as though the previous memory of a distinct soul journey is rising to
the surface of my consciousness to reveal itself, yet only gets close enough to leave me with a
disturbing feeling of dislocation.

In quieter moments I began writing a vibrational poem to translate this feeling into sound and describe
the possible abstractions of other realities as well asour own constructed three-dimensional existence.
John Zewizz engineered and produced the piece brilliantly, capturing the lost soul essence I felt on
tape. It was perfect.

TBM: Will there be more members added to the SLEEPCHAMBER line up?
John Zewizz: Well, usually we bring on another member for live shows, but it's not always a must. If
the line up iz competent we can usually have managed 3 members.

TBM: How many tracks has this line up put written so far?
John Zewizz: Well that's impossible to say - we have had rekording sessions, jam sessions, and have
rekorded close to 55 songs in 9 months. Some musick (trax) are taken from a jam session or a rehearsal
session... you never know where the original structure ov a track will be born from.

TBM: You have spoken of performing live, perhaps in the fall. What will this live performance look
like, and will it contain a mix of old and new, as well as the various styles SLEEPCHAMBER is know
for?
John Zewizz: Live performances are always unpredictable. The idea grew with the anxiety ov the
show getting closer. But honestly, there iz no rehearsal or organized formula. The songs are chosen -
but they are always improvised - never will you hear the same song sound the same twice -
intentionally.
Anyways, I mean, no one iz allowed to go nuts, but they know what style I expect and they have the
freedom to play their style ov what I need. In short they know what rhythm I want - then create the
sound and style.

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KAYTWO
KAYTWO - you may know KAYTWO from the
brilliant cover art on the front of two new Inner-X-
Musick releases; "Stolen Sleep" and "XXX 69". Or
perhaps you know KAYTWO from NeUrOpTiX.
Or perhaps you know nothing about KAYTWO....

Here is you brush with brilliance.

TOS: How did you come up with the name

KAYTWO?
KAYTWO: First off, my name has nothing to with
the ski company or the mountain. The name came
from an old nick name I had in the early years of my
graffiti days.
My first tag was "KOZMIC -T-". I would carry this
between 1983-1986. I would write it every where.
Bus windows, walls, sidewalks, electrical boxes,
anything within an arms reach or higher. I would
write "KOZ -T-" for short, and on one day in '86 I was doing just that on a bus window. I remember the
bus was really crowded and I had to hit this particular one. It was a route I rode all the time and this
was one I wasn't up on yet. I preceded to write my name, and did it so fast that I forgot the "O" and
stopped to catch myself before anyone saw me. I looked over at the tag, and realized there wasn't any
room for me to put the "O" in between the K and the Z, and on top of that, the top part of the Z was
rounded, so it looked like a 2. I kept staring at it, pissed, thinking no one will know its me. Then after
staring at it a little more, It came to me. "K2...hmmm, kinda sounds futuristic"! I am a sci-fi fiend, so to
to me it sounded kinda cool. I started to spell it out in many different ways, but mostly stuck to "K2"
and "KAYTWO". So I guess in a sense it still is "KOZMIC -T-", but "KAYTWO" sounds more
modern.

TOS: Where are you based out of?

KAYTWO: I am based out of San Fran666co. Originally from San Jose. I moved to the city in the late
90's.

TOS: What do you consider your style of art?

KAYTWO: Well it's hard to sum it up into one particular style because I wander around, but if I had to,
I would consider it "Dark". Since most of my subject matter is mutated women, or deformed creatures,
or death. I use a multitude of technique and processes. Sometimes this makes it hard for people to
figure out. I often hear, "How did he do that", Which I enjoy. Kinda like a magician.

TOS: What got you started?

KAYTWO: In Art? I really don't know. I was always drawn to painting or creating. I recently found
about 15 paintings from Kindergarten that my mom had saved all these years. Those were my very first
paintings, ever! It brought me back to those days when I was so excited that we got to paint that day.
That memory is so vivid! Then I remember as I would get older and meet other kids in school, I would
redraw old horror movies posters to show the other kids what I saw at the drive-in. Going into Jr high, I

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got into the graffiti thing. A disease in the form of an art. I would live everyday for it. I would cut
school to steal paint and hang out with other graff heads. I would also draw the names of many girls in
hopes of impressing them and maybe getting something a little more. Towards the end of high school I
enrolled in R.O.P. in the graphics field. I learned everything from doing color separations by hand, to
type setting by hand. Everything I was taught was the "Old" world of doing things, cut and paste,
shooting stats and half toning photos. In the late 80's Apple came out with "Mcpaint" and I realized I
needed to step up and learn this also. As time went on, and I couldn't afford college, nor did I want to
go, I became self taught in the computer graphics field. Everything I spent time learning in the R.O.P.
course was becoming more and more obsolete. If I wanted to pursue a future in graphic arts, then I
would have to dedicate myself.
This is getting a little of the subject but, in the 90's I had a friend who worked for Apple and was able
to get tons of original software. In the early 90's, graphic software was very expensive! So to
supplement my income I started to deal software on the black market. I made alot of money in those
days! It helped me to afford my first computer, and also assisted in learning the Adobe programs
available for graphic artists at the time. After many hours, little by little, I became literate in photoshop
and illustrator. I am not a pro, but I know enough to produce marketable layouts and designs.
To this day I have mutated all that I have learned and apply it to my art work. I have a style that is a
sign of the times and sometimes, ahead of the times. It reflects my ability to market myself and live off
my art, finally!

TOS: Where do you draw inspiration from?

KAYTWO: The future of human kind, Post apocalyptic visions of the new flesh. Mutants, Cyborgs,
Dead things, Insects, Animals, Nature. Sci-Fi, Horror, Strip Tease, Organ Music, TONS -O-
Noise/Experimental/Industrial Music! Anything showing age or decay. Egyptian beliefs. Womben, The
Occult, Conspiracies, U.F.O.'s, Night time. The color BLACK. Symbols/ism. Art and other artists.
Native American Indians.

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 VEIL OF THORNS - SHAMANISTIC MADNESS

Over the last two years P. Emerson Williams has been extremely busy. His art work has been seen on
the front cover of SLEEPCHAMBER'S return to action release "Socery, Spellls, and Serpent
Charms", as well as the Zewizz tribute releases "That's Romance" (both part 1 and 2). He is heavily
involved with Foolish People.org (with the current "The Abattoir Pages" production as well as the
production "Cirxus" from earlier this year). Not to mention various other cover art project, book cover
projects, creating musick with various bands, AS well as writing musick for his own projects -Veil Of
Thorns, Choronzon, and Kkoagulaa - and that's just the tip of the iceburg.

October see's the release of two new CD's by Williams project Veil Of Thorns on Inner-X-Musick.
Impossible to categorize, Veil Of Thorns began as a Goth band in the early 90's club scene in Boston
but steadily moved toward a more eclectic sound. Not afraid to use any influence - you will hear
styling's of goth, hip hop, industrial, classical, and just about the whole kitchen sink.

TOS: I imagine you are thrilled to be part of historic Inner-X-Musick. You were part of the Boston
scene. You have been booked by John Zewizz for shows... It must in some ways seem like a natural
progression.

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VOT: Being part of Inner-X-Musick is more than I could have hoped for. I can't imagine a better fit.
With most labels, the challenge for me is to rein ideas in to palatable song forms, but with Inner-X, the
challenge is to live up to the long history of innovation, experimentation and forward thinking of the
label and John Zewizz. This is a much more exciting and fruitful kind of challenge than the former kind
which I look forward to taking on.

TOS: Veil Of Thorns (part 1 I shall call it) 1991 to 1994 saw you work with a few different
collaborators before settling upon Chris McClain. Good memories?

VOT: Some amazing times were had, for sure. the first
lineup started with just me and a jazz drummer (Sean
Savoie) but by the time it was filled out with a bass
player (Catherine Chenoweth) and second guitarist, (the
late, great Jarrett Laitinen) that drummer was off to a new
adventure in Japan. If he had stayed, the first demo may
have sounded more like Cognitive Dissonance than what
we ended up with for our first two demos.

At that time, Catherine booked all our gigs, which with

her many biker friends brought us to biker bars as well as
the first shows at TT the Bears in Cambridge and the late
lamented Channel. The recordings from that time are
definitely primitive, but I'm still proud of them. I would
like to see less slickness in underground music than there
is in general right now outside Eastern Europe, the
Middle East and Asia.

Chris McClain came in, bringing a new focus and

maturity to proceedings.

TOS: Everything stopped in 1994. Then nothing till

2002 - 03 really, with "Birthed". Why the hiatus? What
inspired the return?
VOT: Well, we were gigging a lot more in the period between -94 and -98, which ended up cutting into
the writing and recording. If I had been more forward thinking, I would have had these shows recorded
in audio and video. Many of the gigs included guest players and extensive improvisation.

We were slated to release our debut CD through Misanthropy Records by the end of this period, but
was not to happen as Tiziana, head of Misanthropy decided to close the label. What ended up as "Cafe
Flesh" and "The Dead God Sessions" were demos done for the label for this album. There are more
than a hundred hours of material not included in those releases I have on DAT tape, some of which that
may see the light of day at some point.

In 1997 I signed with Nocturnal Art Productions and released the first Choronzon album in 1998. This
brought much more attention than Veil of Thorns ever got, and I focused on that for a bit. I recorded the
Choronzon albums "Lilith", "Era Vulgaris" and "Larvae" in 1989/1999, and dropped out of all normal
society for a few years following.

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Basically I went into the woods and was deep in the grip of the Gwyllt. By the time I re-emerged, I was
psychically stripped down to nearly nothing. There's a world of difference between the work prior to
and following this time. My methods continue to evolve from what I established with "Birthed" to this
day.

TOS: If I am not mistaken "Salon Apocolypse" and

"Necrofuturist" were recorded during the same time.
Was the intention to make two CD's? Was the
correlation between the two releases always intended?
VOT: Both albums grew out of the process of working
on "The Abattoir Pages" as part of FoolishPeople. The
intention was to finish "Salon Apocalypse", as the
concept I had been working with for this release was in
the same realm that John Harrigan tapped into for
"Abattoir Pages". Through countless sleepless nights
and days of madness, "Necrofuturist" wrote itself as a
further expansion of the studies and current we were
working with. I would not have chosen to take on so
much in such a short period of time, but I really had no
choice in the matter.
"Salon Apocalypse", "Necrofuturist" and "Abattoir
Pages" are inextricably linked, through current and
source materials, all preparing the ground for "Pleasure",
for which all this work is a mere prologue.

TOS: Both releases are giant steps in a direction one

would not have suspected after "Cognitive Dissonance".
In fact, as I go through your catalog - this is close to the
shift that occurred with the 2003's "Birthed". Does this
represent a shift in your personal life, or your musical
interests, or both.
VOT: This represents a huge shift in everything I touch.
I can't say that I know what will result, nor what I'll be
when I emerge from the other side. We are all in the
process of experiencing aspects of this process. We'll be
living in a new reality, (or rather, we'll have reality tunnels exploded), by the end of this.

TOS: I suspect that this release is steeped in chaos magick. I could be wrong, as I listen to them - I am
reminded of Burroughs and Gysin early experiments. Was this the process you used with the lyrics?
With the musick?
VOT: Well, there's quite a bit of old school Western magick with more than a little shamanistic
madness and gnosis. Also Goetic methods overlaid with, yes, Burroughs/Gysin experiments to break
down language patterns. The musick was carved out of what started with dense layers upon layers of
sound. The musick is still dense, but given pulse and negative space like a sculpture.

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TOS: Who are the performers on the new releases?
VOT: On guitar I had contributions from the amazing Aidan McGoran. "Salon Apocalypse" was very
loose and amorphous until he got his hands on the material. James Curcio was only on a couple tracks
on this one, but his contribution to percussion and electronic manipulations was invaluable. My
colleagues in FoolishPeople, John Harrigan and Lucy Allin provided the mythological framework these
albums inhabit, as well as some source material which is present throughout. Pandora brings her
contribution from a parallel universe. Too much analysis of that aspect would be unwise.

TOS: Will there be a live version of Veil Of Thorns?

VOT: I would love that, but it's hard to say. Member and collaborators are all over the world and busy
with a lot of other things. If it does happen, it'll not be a regular rock'n'roll show methinks...

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 Cultural Asylum - The Banshee A. Goldman Interview
Banshee A. Goldmann grew up on the cold, hard
streets of Philly and was for lack of a better term
a vagabond, a gypsy. He moved around a lot and
when he was married to his second wife out of
convenience - not love - Banshee decided to try
and get free music. The goal was to see how
many contacts he could make. Culture Asylum
was established in 1998 between him and Nick
Light but was really Banshee’s baby. Through
this he was able to contact and gain notoriety
with bands and writers alike.

In 2000 after a grueling divorce he was with

another woman for four years and created his
solo music project called Prick Of Misery the main
influence on this brand of anti-music was
SLEEPCHAMBER. His brand of music was called
“AUDIO SHIT” claiming to be the deconstruction
of music. Banshee was a byproduct of being an
abused child on all levels, the broken home, the
prophet of the forgotten. As a child he went
through years of physical, mental, and sexual abuse. Against all odds he has
rather a high IQ and grows bored with things rather quickly. He has, due to
certain, conditions cheated death on numerous occasions.

Never a boring individual, Banshee has bedded down with numerous women,
indulged in hedonistic ways and pushed the envelope ever since he was a child.
He has collaborated with many local acts, and met many people throughout his
career such as Sasha from KMFDM to Andrew W.K. all the way through meeting
Grendel, Andy of Combichrist. He loves extreme music from Black Metal to
Industrial and Experimental. He is a very spiritual individual claiming to be an
universalist a belief of many different concepts of magick. His goal is to continue
to share with people true magaick and having those who have been invisible for
so long to finally be heard.

TOS: Where is Cultural Asylum published from?

Banshee: We cater to a lot of people but our publishing company we deal with is in
Michigan. Everything starts in Philly in my home office before being turned over to
my layout designer Regina Steed-Ford. Once everything is finalized it goes over to
Dazzle Printing which is in Michigan.

TOS: What led you to start the magazine?

Banshee: I started the magazine from a simple concept. I was originally just trying
to get free music without work. I was feeling unfulfilled and from some wise Sage

17
advice, started doing interviews. The thing was,
I had no magazine to put them in and no name.
On a whim I came up with Culture Asylum.
Originally I submitted articles, reviews, and
interviews to various publications before trying
my hand at my own magazine. After constant
talks with Nick Light we started Culture Asylum
as a real magazine going through various
phases until finding our niche.

TOS: Is there an overriding philosophy to

Cultural Asylum?
Banshee: I believe in those unheard
underground voices and bringing everything
sub cultured to the surface. Nothing is to taboo
and no one should be ostracized or persecuted
by there vision or ideals, even by a court of
their peers. We want to show all aspects of sub
culture and bring it to the forefront. By doing
this we want to show the talents of not only
bands but artists, writers, and poets alike. Too
many people’s voices have been unheard we
have been scorned by societies notions of what is in and what’s not, what’s right
and what’s wrong. I guess forced fed everything by the norm and our goal is to
break the machine and show what talents are truly hidden in the underbelly of
society today.

TOS: How many are on staff at Cultural Asylum?

Banshee: In the past it was Nick Light and myself then it was my lovely wife and
myself doing a print magazine not up to specs. The cost really to much so we
decided to do a digital magazine. However the system crashed and we were
forced to revamp now my staff consists Niki Perry- Editor; Regina Steed-Ford our
layout designer; Keri- Ann Jackson –Goldmann secondary
editor/webmistress/contributor/ marketing director, Nick Light-Sales rep; and
myself who compiles all the information as well as being the owner. We also have
numerous contributors from all over the world.

TOS: What has been your favorite feature from the past year in Cultural Asylum?
Banshee: Wow that’s a tough one I like all that we have done so far. My favorite
interviews however have been with SLEEPCHAMBER, Clock DVA, Demona Bast, Tyr,
Skitliv, and Shining. As to articles and main features I am fond of Oswald Krenchek’s
section and the reemergence of Jack Mayfair. For those who don’t know Jack
Mayfair was a rather inflammatory writer from the old print issues that incited a lot
of anger with his senseless rantings. Also He loves the sauce it is his vehicle for
writing such outlandish pieces.

18
TOS: After completing a year of reviews... what's your favorite releases of 2009?
Banshee: My favorite releases for the year 2009 have been the following but not
particularly in this order: Shining “Klagopsalmer”, SLEEPCHAMBER “STOLEN SLEEP”,
Demona Bast “Vicious Tongues", Grammal Seizure “Medical Report” , Skitliv
“SKANDINAVISK MISANTROPI”, Razakel “Femicide” and Urgehal “Ikonoklast”

TOS: What does next year hold for Cultural Asylum?

Banshee: Well we successfully be doing bi-monthly events in Philly at The Eris
Temple which is $5 admission and 5 bands play that night. The music ranges from
industrial to experimental, goth, and punk so far. We have plans to have
SteamPunk bands perform as well. I’m trying to have an ongoing night in Philly if
anyone is interested feel free to contact me at revfaust777@yahoo.com Also a lot
of goodies are coming our way in future issues such as band wise: yelworC,
amGOD, Christian Death, Razakel, Urgehal, Experiment Haywire, Collide, Leæther Strip,
the list goes on. Our models are booked through next November and we are
showcasing musician’s music for those that want to give us a certain amount to
be featured and bought through Culture Asylum contact me again on this matter
through my email. So far we have showcased two unsigned acts with a CD of their
work included in our issue. We have a lot in the works it’s a matter of inking deals
and we are trying to reprint the sold out March issue that helped launch our new
professional magazine. So hopefully look for that sometime in 2010. To also check
us out go to www.cultureasylum.com and www.myspace.com/cultureasylum Thank
you for the interest and as our war cry states you are the unheard underground
voices “Stand The Fuck Up And Rise” and VIVA LA REVOLUTION!!!!!

19
 Knifeladder - Music/Concrete - REVIEW
KnifeLadder - Music/Concrete.
The newest release by KnifeLadder is a fucking
beautiful mess. Sound like a strange compliment.
It's because this is a strange release. After falling
head over heals for the 2006 release "The
Spectacle", I listened to "Music/Concrete"
expecting another in your face tour de force.
While very powerful, tour de force does not begin
to convey the power of this release.

The flow of this release is brilliant. Beginning

with the jumbled "White Walls" - a track that is
somewhat reminiscent of the original Death In
June line up - , then delving further into the mess
with the scratchy, bagpipe layered "Eden Falls".
The next tack "Cut and Run" is what I expected
from the release initially. But even with "Cut and Run" there is chaos trying to break out (the keyboard
rhythm that tries to peak out through the static throughout the track is fucking brilliant). "All For The
Culling" is a surprising neo folk track, somewhat similar to Foresta Di Ferro material. "Fearsome
Engine" is sure to be a live classic. Powerful, driving, and more chaos. "You Don't Own It" is another
more traditional KnifeLadder track, displaying almost a M. Gira style delivery (early Swans).

The last three tracks blend together in a wonderful mess. "Alpha Male" starts off as structured piece but
moves into the eerie/atmospheric chaos of "Blind Spot" , which happens to be my favorite track on the
release. "Come" finishes off the release with power, returning to the traditional smash your face sound
of "The Spectacle",

"Music/Concrete" was released by Cold Meat Industry.

20
 Jarboe - Durga & Her Smile Of Radiant Vengeance - REVIEW
Jarboe - Durga & Her Smile Of Radiant Vengeance
2009 has seen a series of CDR releases by Jarboe
which include "Skullgirl", "Ugra", "Daksinakali", and
the release reviewed here "Durga & Her Smile Of
Raiant Vengeance".

The CDR is centered on the Goddess Durga from the

Hindu scriptures where she is referred to as the
"Mother of the Universe - she represents the infinite
power of the universe and is a symbol of a female
dynamism."

Largely a instrumental release, my assumption is that

each track focuses on different aspect of her tale. For
instance the track "Durga's Patience" is, I assume, a
reference to the fact that "Durga manifests fearlessness
and patience, and never loses her sense of humor, even during spiritual battles of epic proportion"

The musick itself varies between noise/soundscape reminiscent of Boyd Rice in tracks such as
"Solitude", to more rhythmic pieces ritualistic beats. Jarboe's voice is not the focus of the release, and
is only really featured as singing (background singing) on the opening track - "A Jewel Shone On
Shakti's Crown, Its Gleam Was Bright And Red" and then in spoken word style on both "Mother Of
Changes" and "Inside The Temple Of Changes". Other tracks feature Jarboe's voice... but it is featured
as more of a growl or gurgle than a traditional vocal performance.

I have always considered Jarboe a channeler. I have heard she often sequesters herself during recording
process. and that solitude evidently allows her to conjure up vocal sounds that appear to be from
another source. Is there studio trickery involved? I doubt it. I tend to believe that she truly becomes
possessed by the spirit invoked in the song/piece. This is very evident in tracks like "Durga's
Patience" where the vocal sounds are down right amazing - even non-human. That's what make this
release so special. It is said that Durga, in Sanskrit means "She who is incomprehensible or difficult to
reach.", that's a fitting description of this release. I have listened to it many times and have found new
treasures each time.

This release can only be found at The Living Jarboe web site

21
 Luminous - Mark Bradley REVIEW
Mark Bradley - Luminous
Mark Bradley is an artist who's creative out put
is hard to match. And while I have heard many
of his releases... there is still plenty out there to
discover. Honestly, I have enjoyed each outing
by Bradley. While his music tends to be
ambient/drone in nature... one can't assume a
lack of beat or rhythm in a Mark Bradley track
(for instance, check out the harshly repetitive
"Zewizz" from the the John Zewizz tribute CD
"That's Romance"). Rhythmic is NOT
however how I would describe "Luminous".
While to cover are suggests a free feel, an at
one with nature and ones surrounding, the
music within has quite a different feel. The
release has a sorrow to it, a feeling that Badley
captures in each swirl.
Perhaps the biggest compliment I can give "Luminous" is that it is everything that it's contemporaries
(ie Hafler Trio for example) is not. Substance with out the widely over priced package. That's not to
say that "Luminous" isn't beautifully packaged. Each CDR comes in a hand mad sleeve, complete
with sting to hold the contents together.

The CDR itself begins with a calming piece.. But I am not sure of the tracks name. I can honestly tell
you I am not sure about any of the song titles. The times on my CDR do not match up with the times
on discogs. For instance, track one on my CD is 2:44 seconds. Discogs list track 3 as that length as
that. Now, I admit, I did the discogs listing, but I did it from Mark Bradley's email... I remember
thinking at the time that everything he sent was in alphabetical order. So, I will call the first track
"track 1" - clocks in at a shot 3 minutes (2:44 exactly) and is a mixture of soft flutes, chimes and
floating bells. While it the description may sound pretty, it's a rather dark piece, "Track 2" is epic.
Coming in at 14 minutes it's a beautiful masterpiece. Multi layered and somewhat reminesint of
Frippertronics - slowly building on each layer then subsiding only to regain momentum again..
"Track 3" returns the darkness. The floating bells from the first track are back... louder in the mix.
Chimes echo in this meditative piece. The CD finishes off with a atmospheric track. Lush textures that
reminded me of Bill Nelson's "Chance Encounters In The Garden Of Lights".

It's hard to adequately describe a piece of music that is as delicate as "Luminous". But Mark does a
masterful job of creating an ambient soundscape that propels the listener through the CD. "Luminous"
is released on Moribund Tree Records.

22
 L'Acephale - Stahlhartes Gehäuse REVIEW
'Acephale - Stahlhartes Gehäuse
Masterfully packaged digipack with all the
muscle and power you would expect - and
lots of Neo Folk, Martial, and even Tribal
twists and turns. This album and it's concepts
are a bit heady for little ole me, but the
mystical nature of the release is palatable.
Every time I listen, spirits fly. The album
itself is based on the writings of Max
Webber. Set Sothis Nox La (the original and
sole permanent member) describes the
concept behind the CD this way;
Stahlhartes Gehäuse is based on
the notable concept of the
German sociologist Max Weber.
Talcott Parsons translated this
term in his 1958 translation of
Weber’s The Spirit Of Capitalism
And The Protestant Ethic as an ‘iron cage’. There is much debate about the accuracy of
this translation, which could also mean ‘steel-hard casing/housing’ or a ‘shell as hard as
steel’.
As our western society has developed, rationalization and bureaucracy have led to an
imprisoning ‘iron cage’ which has bound us to rule-based rational control. Our destiny,
Weber posits, is that of an impersonal, dehumanized life based on calculated goal-oriented
rationalization, and a system of rules and regulations that are completely rigid and
systematic, instead of being flexible to natural variation or circumstance. Order and
structure begets further order and structure… ad nauseam.
This sort of structure lends itself to the development of an oligarchy and the consolidation
of both political and economic power in the hands of a few people. This concept is explored
in several ways throughout the title track, which can be seen as a song of many parts. Some
of the art, samples and writings/lyrics throughout the track and album design support this
exploration in contrast and response. The booklet for Stahlhartes… includes a essay in
conjunction with these ideas.

And that it does. I had to break out the reading glasses to battle through it, but suffice it to say it was an
interesting read. The musick is a perfect multi layer assault that does not simply rely upon crushing the
listeners skull - but can weave in and out of black metal with musick that can best be described as
otherworldly, and even darkly beautiful. This complexity will hit you right off the bat with the title
track "Stahlhartes Gehäuse". Epic in its scale "Stahlhartes Gehäuse" begins with an eerie invocation
of sorts and progresses to a thunder filled aural assault. There is an inexplicable gap of silence at the
end of "Perdition" that still leaves me wondering... but don't fall asleep, the power of the closing track,
"The Book Of Lies - Seventh Gate" is enough to peel one from their skin. Perhaps the best release of
2009.
"Stahlhartes Gehäuse" was released on Parasitic Records.

23
 RUTH WHITE BIOGRAPHY

I set about trying to solve each musical problem by experimenting. In time, I found the
techniques of composing with electricity and sound by myself. Along the way, information
was difficult to find. on the west coast, we were isolated and consequently behind. Ii never
saw another live electronic music studio until last year. most of the instruments in my own
studio were devices built for me by friends in the audio industry whom i met through my
work as record producer. Fortunately, Hollywood is a recording center and we have some
of the best technicians in the world

Ruth White

Ruth White (b. 1925) is an American electronic music pioneer, most notably for her early explorations
of sound using using the moog synthesizer. According to the back cover of her 1971 release "Short
Circuits" "Ruth White is considered among today's most gifted arbiters of what is termed 'the new
music'." Her early recordings, most notably "Seven Trumps From The Tarot Card And
Pinions"(1968), and "Flowers of Evil" (1969) featured surprising and new uses of the moog
synthesizer as well as other pieces of electronic musical equipment.

Ms. White received her education at Pennsylvania's Carnegie Tech. Recognized as gifted early on,
White studied under American Avante-Garde composer George Antheil. Her first studio was totally
self-built in 1964. In fact, White's studio was on display at The Fiske Muesum for Musical Instruments
in Pomona, California for a number of years. In 2008 these items were moved to The Musical
Instrument Museum in Phoenix, a museum scheduled to open in April 2010. Ruth once wrote about
her studio;

24
 "... it is my own personal place. no one else
works in it. i spend from 10-12 hours in it
daily, approximately 9 months out of the
year. it is fairly well equipped. several
multi-channel tape recorders (including 2
new ampex ag 440 machines), a, moog
synthesizer, oscillators, modulators,
electronic organ and electronic clavichord,
two pianos, a harpsichord and variable
speed and reverberation devices are only a
part of the list of machines that i have
gathered."

Early on Ruth became intrigued by electronic music

possibilities. While being an accomplished musician, she had no training on electronic musical
instruments. Ruth wrote;
"...it occurred/to me that i was really hearing pure experiments with noise ... or
unorganized sound. the break-through of the noise concept was very important. i began to
realize the fantastic potential for expanding our musical vocabulary if we could draw upon
the new techniques for capturing and making noise. if we could find ways to manipulate
these materials, it seemed we could bring them into the musical language in a meaningful
way. this could be a breath of fresh air ... new life for our musical systems, which had for a
long time felt thin and lifeless to me."

Ms. White's professional recording career began when she was

commissioned by choreographer Eugene Loring (for the University of
California) to create the music for a performance titled "Seven Trumps
From The Tarot Card And Pinions'. The event was a success, and
shined a light on Ruth's talent. In fact the Los Angeles Times said" ...a
really exciting, organically musical, electronic score by Ruth White.
Not only the soloists but all the participants seemed to draw heat from
this score...". and Dance Magazine said "choreographed on contrasting
planes, pinions comments on the wings of imagination and love, the
shackles of philistinism. and always, Ruth White's specially written and
especially eloquent score heightens the drama of the dance while plumbing its depths .... ". Ruth's
musical recordings, (titled "Seven Trumps From The Tarot Card And Pinions") from the show were
also released on the increasingly experimental Limelight Records (1968).

In 1969 she recorded "Flowers of Evil", a record based on French poet

Charles Baudelaire's volume of poetry called "Les Fleurs du malput",
placing Baudelaire's words to an electronic music. The poems, already
dark and gloomy, were accented eerily by White's use of
"electroaccoustic" music - more specifically the moog synthesizer.
Once again Ruth music was published on Limelight Records.

25
These recording were followed by "Short Circuits" (on Angel Records), "Klassik o'tilt" (on EMI).
Both were released respectively in 1970 and 1971. These release marked a change in direction for
Ruth White. Her aim was to still show case electronic music, however with these releases her desire
was to show the possibilities of synthesizers in classical music.

Perhaps because of these recordings White, along with friend and fellow moog composer Paul Beaver,
were nearly brought in to record with TONTO'S Expanding Head Band. The idea behind TONTO'S
Expanding Head Band recording was for each person involved to create a track, then send it to the next
synthesist to add to the track. The idea never left the studio. White was never involved... the album in
question went on to legendary status in it's own right, 1971's "Zero Time".

In 1971 Ruth White took a different direction. White formed a film company through Cartridge
Television properties (Cartiridge TV or CTV). During this time she produced at least one short stop
animation film titled "Garden Of Delights For Kids No. 1", and included her musical score for "Hush
Little Baby", "Hickory Dickory Dock", "Space Trip" and "Adventures In Underland". Also in the early
1970s she founded (with Paul Beaver) The Electronic Music Association. The Electronic Music
Association even gave concerts "to introduce audiences to new electroacoustic works."
This love of music eventually led White to education.
Most of the rest of White's musical career was spent
developing music for teaching materials aimed at
children and getting technology into the classroom. In
1973 she was already producing "multi media" projects
aimed at getting children to read. Ms. White realized
early on that TV had changed how children learned.
The audio without video was dead. In fact, back in
1973 she was quoted as saying "In the future, audio
without visual, except for dance records, will be
worthless". It was in 1973 she invented the character
Mr. Windbag, a character she continued to use through
her educational recording career with her series "The
Adventure Of Mr. Windbag". Her accomplishments in
education resulted in her earning a Parent's Choice
Award (1983) and an American Library Association
'notable recording' citation. Eventually her interests led
her to begin a children's books publishing company, in Los Angeles, called Tom Thumb Records. But
her music was never far behind. In fact up through the late 1980's her own personal studio was located
upstairs from her publishing company. Apparently in the early 2000's White was experimenting with
an opera composition.

Ruth White Partial Discography (some release years reflect reissues)

The Fundamentals Of Music For Dancers - LP/Rhythms Productions (1962)
Motivations for Modern Dance - LP/Rhythms Productions (1962)
Seven Trumps From The Tarot Card And Pinions - LP/Limelight [LS 86058] (1968)
Flowers of Evil - LP/Limelight [LS 86066] (1969)
Short Circuts - LP/Angel Records [S-36042] (1970)
Klassik o'tilt - LP/EMI (1970)

26
The Peppermint Tiger: And Other Activity Songs - Tom Thumb Records/Rhythms Productions [RPT-
0854] (1973)
Down Lolipop Lane - LP/cassette/Tom Thumb Records//Rhythms Productions [RPT-0852]
(1973/1985)
Activity Songs (Cotton Candy Castles) - LP/cassette/Tom Thumb Records/Rhythms Productions
[RPT-0851] (1973)
It's A Happy Feeling - LP/Tom Thumb Records/Rhythms Productions [T-305] (1976)
In-Out And Round About: Activities For Spatial Relations (1976/1988)
The Rhythm Makers - LP/cassette/Tom Thumb Records/Rhythms Productions [T-303C/T-303] (1977)
Mix And Match - cassette/LP Rhythms Productions [121-S] (1976/1988)
I've Got A Reason To Sing - LP/Tom Thumb Records/Rhythms Productions [T-307] (1977)
Let's measure - LP/Rhythms Productions (1978)
Musical Math: Beginning Concepts - LP/Tom Thumb Records/Rhythms Productions [T-308] (1978)
Musical Math: Addition/Subtraction - LP/Tom Thumb Records/Rhythms Productions [T-309] (1978)
Musical Math: Multiplication - LP/Tom Thumb Records/Rhythms Productions [T-3010] (1978)
Untitled - LP/Tom Thumb Records/Rhythms Productions [CC 614-2] (1978)
Action Songs for Holidays & Special Days - LP/cassette Tom Thumb Records/Rhythms Productions
[T-312/T-312C] (1979)
Animals Are Wonderful - cassette/LP/Rhythms Productions [RTP-323R, RTP-323C] (1984)
Musical reading sound recording : consonants L through Z- cassette/Tom Thumb Records (1980)
Action Songs for Indoor Days - LP/cassette/Tom Thumb Records/Rhythms Productions [RPT-
311C/RPT-311] (1980)
Musical reading (Sound Recording) : consonants B through K- cassette/Tom Thumb Records [T-314]
(1980)
Action Songs For Everyday (Sound Recording) - cassette/Tom Thumb Records [T-316] (1981)
Fiddle-ee-fee - LP/Tom Thumb Records/Rhythms Productions [T-304] (1982)
Singing Games - LP/cassette/Tom Thumb Records/Rhythms Productions [RPT-321C/RPT-321] (1982)
Sing Along with Mother Goose - LP/cassette/Tom Thumb Records/Rhythms Productions [RPT-
322CB/RPT-322RB] (1983)
Mother Goose Fun Book - cassette/Rhythms Productions (1983)
Big Rock Candy Mountain - cassette/Rhythms Productions [RTP-0858] (1985) might be David White
without Ruth
Mr. Windbag and the Birthday Party:Learn About Weight (Heavy/Light) - cassette/Rhythms
Productions [RPT-0861] (1986)
Mr. Windbag and the Magic Cup: Learn About Quantity (More/Less) - cassette/Rhythms Productions
[RTP-0864] (1986)
The Adventures of Professor Whatzit & Carmine Cat (the Dinosaur Adventure) - cassette/Rhythms
Productions [RPT-0872] (1988)
The Adventures of Professor Whatzit & Carmine Cat (the Deep Sea Adventure) [RPT-0871](1988)
Mr. Windbag and the Magic Cup Learn About Quantity (More/Less) (1988)
Mr. Windbag and the Lollipop Race - cassette/Rhythms Productions [RTP-0866] (1988)
The Adventures of Mr. Windbag (The Line Country) (1988)
Mr. Windbag in Shape Land: Learn About Shapes cassette/Rhythms Productions [RPT-0861] (1988)
The Adventures of Professor Whatzit & Carmine Cat (the Space Adventure) - cassette/Rhythms
Productions [RTP-0873] (1988)
The Adventures of Professor Whatzit & Carmine Cat (the Rainmakers) - cassette/Rhythms Productions

27
[RTP-0874] (1988)
Tom Thumb's First Reader's Kit - cassette/Rhythms Productions (date unknown)
The Adventures of Mr. Windbag Learn About Size (Watch Me Grow Series) (date unknown)
The Adventures of Mr. Windbag (Shrink Land) - cassette/Rhythms Productions [862] (date unknown)
Basic Activities - LP/Rhythms Productions [606-617] (date unknown)
Lullabies from 'Round the World - cassette/Rhythms Productions [T-302C] (date unknown)
Folk Dances From 'Round The World - LP/Rhythms Productions [RTP-13] (date unknown)
In-Out & Round About - LP/Rhythms Productions [120-S] (date unknown)
Music For Dance - LP/Rhythms Productions [609-613] (date unknown)
The Adventures of Mr. Windbag (The Line Country) - Cassette/Rhythms Productions [RTP-0863] (date
unknown)
Complete Action Songs - LP/Rhythms Productions [RPT-3] (date unknown)
Dogs and Cats/Bugs Theme - Cassettes/Rhythms Productions [RPT-325] (date unknown)
Santa's Christmas Party - LP/Rhythms Productions [617] (date unknown)
Play Time Rhythms (Elementary Grades) - LP/Rhythms Productions [618] (date unknown)
Farm Animals/Outer Space Theme - Cassettes/Rhythms Productions [RPT-326] (date unknown)
The Adventures of Mr. Windbag (The Birthday Party) - Cassettes/Rhythms Productions [RPT-0865]
(date unknown)
Activity Songs (Bubblegum Band) - LP/Cassette/Rhythms Productions [RTP-0855] (date unknown)
Activity Songs (Chocolate Choo Choo) - cassette/Rhythms Productions [RTP-0853] (date unknown)
Activity Songs (Down Lollipop Lane) - cassette/Rhythms Productions [RTP-0852] (date unknown)
Activity Songs (Peppermint Tiger) - cassette/Rhythms Productions [RTP-0854] (date unknown)
Adventures in Rhythm, Vol. 1 - LP/Rhythms Productions [623] (date unknown)
Adventures in Rhythm, Vol. 2 - LP/Rhythms Productions [624] (date unknown)
Most of the 1999 releases came in Paperback format.
Musical Math: Beginning Concepts - CD/Rhythms Productions/Cheviot Corp-Audio (possibly CDR)
(1999)
Mother Goose: Fun Book - cassette/Rhythms Productions (1999)
Tom Thumb's First Reader's Kit: "Hear, See, Say & Do" Activities -
cassette/Cheviot Corp-Audio (1999)
Singing Games - cassette/Rhythms Productions (1999)
Musical Math: Addition/Subtraction - cassette/CD/Rhythms
Productions/Cheviot Corp-Audio (1999)
Musical Math: Multiplication - Rhythms Productions (1999)
Musical Math: Beginning Concepts - CD/Rhythms Productions
(1999)Musical Math: Addition/Subtraction - CD/Rhythms
Productions (1999)
Musical Math: Division - Rhythms Productions (1999)
Cotton Candy Castles: And Other Activity Songs - Cheviot Corp-
Audio (1999)
Chocolate Choo Choo: And Other Activity Songs - Cheviot Corp-Audio (1999)
The Peppermint Tiger: And Other Activity Songs - Cheviot Corp-Audio (1999)
Bubblegum Band: And Other Activity Songs - Big Rock Candy Mountain (1999)
Big Rock Candy Mountain: Favorite Activity Songs & Games - Cheviot Corp-Audio (1999)
Mr. Windbag in Shape Land: Learn About Shapes - Cheviot Corp-Audio (1999)
Mr. Windbag in Shrink Land: Learn About Size - Cheviot Corp-Audio (1999)
Mr. Windbag in the Line Country: Learn About Letters & Numbers - Cheviot Corp-Audio (1999)

28
Mr. Windbag and the Magic Cup: Learn About Quantity (More/Less) - Cheviot Corp-Audio (1999)
Mr. Windbag and the Birthday Party: Learn About Weight (Heavy/Light) - Cheviot Corp-Audio (1999)
Mr. Windbag and the Lollipop Race - Cheviot Corp-Audio (1999)
Lullabies from 'Round the World - Cheviot Corp-Audio (1999)
Down Lollipop Lane: And Other Activity Songs - Rhythms Productions (1999)

Research on Ruth White come from;

Creel Pone press release for "Seven Trumps From The Tarot Card And Pinions" CD.
Back cover for "Short Circuts" LP
"Women composers and music technology in the United States" by Elizabeth Hinkle-Turner
"Analog Days: The Invention and Impact Of The Moog Synthesizer" by Trevor Pinch and Frank
Torroco
"The Norton/Grove dictionary of women composers" By Julie Anne Sadie, Rhian Samueland
Billboard Magazine, July 17th 1971
Billboard Magazine, September 11th 1971
Billboard Magazine, July 7th 1973

Cheviot Corp-Audio, Tom Thumb Records, and Rhythms Productions all shared the same address.

Found this picture of the address on Google maps for the Tom Thumb Address

29
This interview took place in April of 09.. The contents of the interview remain the same, however, I
have updated the introduction.

In a little over a two year span, Grammal Seizure (the one man Power Electronics tour de force is
actually visual artist Erik Stanger) has produced 20 CD/EP’s, 2 of them released on Inner-X-Musick
("Medical Report" and the Nordhausen release "Project 1"), participated in a several various artists
compilation, including the Inner-X-Musick compilation "XXX 69" and the "Maschinenfest 2009"
compilation through Pflichtkauf. As of November 2009, Erik has stopped the Grammal Seizure
project. Siting burn out, he is taking a hiatus from Power Electronics and is going to focus on other
projects. Many of the early CDR's (all the one's mentioned in this article) are sold out/out of print.
The newer CD's are still available, but quantities don't last forever... The musick it;s self is like a
hammer, smashing through the social taboos of today’s dogmas. Attacking our perceptions of the mind
as band such as SPK and Whitehouse had before him with musick paid for in pain and suffering.
Through his hard work, he has already generated considerable noise the underground musick world.
Sharing a considerable amount of musick with his fans for free. Getting his musick published on two
different labels, starting his own label (Thee Transmissionary Movement Collective), even being asked
by Roger Karmanik of Brighter Death Now to use one of his tracks on a compilation. All this from
Baltimore Maryland.

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 TheeBradMiller (TBM): It’s a strange journey for
most of us from are earliest musick purchases to where
we are now. It’s actually my favorite question to ask
musicians I respect…. what was your first release
YOU bought. And how did you get here from there…
Erik Stanger (ES): The first album I actually bought
and paid for with my allowance money as a kid was
Iron Maiden’s “Killers”… I had been listening to my
Dad’s Black Sabbath albums before that when I was
like 7 years old…. Oh and also obviously growing up
a kid in the 1970’s I listened to KISS as well… I loved
the Alive 1 record my Dad bought for me… My
father was a full time jazz guitarist who exposed me to
a lot of music at a young age. So I suppose when I
first heard the early Iron Maiden stuff, that sprung me
into wanting to play guitar and get involved in bands
and stuff. I just loved the raw energy and fast pace of
the early Iron Maiden records and in a way they were
kind of the beginnings of speed metal in a way (along
with others like Motorhead)…. I wore that “Killers”
album out on my suitcase record player…. Then I
began buying Black Flag and Dead Kennedys records. Also got into bands like Celtic Frost, Bathory
and Venom. Played around in punk and thrash bands as a teenager and it’s been all downhill since….in
a good way.

TBM: Power Electronics, by the very nature of its core, is anger and aural violence. I guess this is a
two part question. Is this therapeutic for you? Or is this punishment for the listener?
ES: I’ll tell you the truth, as I got into punk and hardcore in the early to mid 1980’s, I thought this was
as far as things could be taken in an all out assault on the ears and mind…. Then I got into the anarcho
/ crust and grind scenes around the time Napalm Death put out their first record “Scum” which blew me
away… I also really loved the band AMEBIX and loved there apocalyptic / atheistic sound and views.
Then I found 2 bands that changed my mind and turned me onto power electronic / industrial
music….. The early EXTREME NOISE TERROR, and GODFLESH…. Both bands had done
interviews in zines (can’t remember which ones), and EXTREME NOISE TERROR mentioned being
influenced by this obscure electronic band called WHITEHOUSE…… And GODFLESH had
mentioned being influenced by the founders of industrial music called THROBBING GRISTLE… the
name alone intrigued me to seek those bands out… And to tell you the truth, in my teens … I just
didn’t get it… Especially WHITEHOUSE when I bought a copy of “Total Sex”…. I was like “what the
fuck is this”… my ears hurt… and left it at that till years later.
I really began to get into the power electronic / industrial / noise scene in the mid 90’s sometime and
my passion for the aggressive sound / vocals and lyrics just became a cathartic experience for me as a
visual artist. So I started to dabble in analog synths (when you could get them reasonable) then moved
onto small hand built oscillator type synths, and making contact mic’s from radio shack…. I was also
attracted to this genre because I have bipolar disorder and a host of other mental ailments. So
Whitehouse, S.P.K., and Throbbing Gristle spoke to me.
When I make GRAMMAL SEIZURE recordings they are totally therapeutic to me. It’s a release that
would other wise manifest itself in me harming myself amongst other things. When I record it’s just

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like painting to me, just an extension of being an artist. That’s probably why I quit playing in bands
because I like to work alone for the most part, and you can totally do that with Power Electronics and
make great music. And yes I totally like to assault the listener with the sound as well. I know that I
enjoy the power of this music when it just steamrolls over my brain, it releases something inside. So I
know other’s enjoy that feeling / sound as well. That’s the thing with power electronics, it’s not just a
sound and there is really for the most part no melodic structure to follow… It’s chaotic and it’s a
feeling. I enjoy that. People either like it or not… there is no in between ground in Power
Electronics…
TBM: Oddly enough, your version of Power
Electronics is at times more accessible… You manage
to create a style of Power Electonics that gives the
musick a sense of direction. It’s hard to describe for
those who haven’t heard your musick, but certainly
there is structure to Grammal Seizure. Not just
screaming and noise. That being said; is the musickal
aspect of Grammal Seizure rekorded as an extension
to the theme of the individual track, or is there some
other motivation to the actual musick?
ES: I agree. There is a bit of structure to my sound. I
like there to be twists and turns and a surprise or 2 that
you wouldn’t expect. I suppose that comes from
playing guitar, bass and drums in various bands over
the years. It’s hard to just completely go “chaotic”.
Sometimes I wish that would happen just to hear what comes out… complete randomness. When I
record GS tracks, both the lyrics and the music are 95% improvisational. That basically means I find a
sound I like and hit record and start building from there. I don’t plan anything out, unless I have a
particular sound in my head that I heard somewhere and want to re-create. Once the music tracks are
done, I usually just have a working song title, then I improv the vocals as I listen to the track in the
headphone monitors. Very stream of consciousness vocal approach. If I don’t like something that just
came out, I go back and redo that part of the vocal. I suppose you could say it’s an alchemical
approach to creating. Or even a bit of Burroughs cut up writing style… I am a huge Burroughs fan, so
I guess he rubbed off on me a bit.Well about theme and motivation. When I did the first couple E.P.’s I
really had no theme in mind other than transmitting this sound to people that would listen to it at visual
art installations. Then as things progressed, I started to do theme based E.P.’s like “Power” and
“Soundtrack To A Mental Breakdown”. I have always liked certain soundtrack music / artists like
Wendy Carlos and what she did with “The Shining” and “A Clockwork Orange”… So I wanted my
stuff to play out kind of like a movie to listen to and visualize yourself. As far as motivation for the
music, there is no ulterior motive. I don’t have a manifesto to carry out so to speak. My motivation is
to release my thoughts and whatever it is I am feeling that day through sound. And to confront and
attack vocally anything I have disdain for. Actually though I guess I do have another motivation in
creating this music. I remember hearing a quote from Genesis P-Orridge talking about sound for the
sake of sound and how certain frequencies affect the brain in different ways… That intrigues the hell
out of me. I would love to get to another dimension through sound.

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TBM: On to the lyrics… (Which I was
surprised to find out are improvised).
There are some very common themes in
your recordings. “ECT (Treatment or
Torture)”, “Psychiatric Medication
Regiment”, “Is Your Mind Tearing You
Apart ?”… to name a few. Not to
mention the CD EP “Soundtrack To A
Mental Breakdown”. Can you explain
the obsession with mental
illness/depression/therapy?

ES: I’ve been under a psychiatrists care

since my 20’s. I’m 36 (37 this month)
years old. So that’s quite some time,
also I have seen a psychologist for about
the same amount of time off and on. I
take mood stabilizing / anti-depressants
and anti-anxiety medication every day,
and I’ll have to for the rest of my life.
I’ve been to the emergency room on the
verge of a nervous breakdown due to
panic disorder and depression as well.
My Grandmother was a manic
depressive as well and was in and out of
hospitals in the late 60’s and 70’s where
she received Shock treatment (ECT) like
you see in the movie “One Flew Over
The Cuckoo’s Nest”… So mental
illness runs in my family’s genes and I
inherited that. Also to make things worse for me other than my genetics, I was molested as a child by a
family member from my Dad’s second marriage. So I have a lot of material in terms of thoughts that
develop into the lyrics… I really don’t have to sit and write them down…. I lived them, and continue
to live with mental illness everyday. I take 3 different medications, some 3 times a day…. I can’t help
but have those lyrics come out in the music…I hope some of the songs remove some of the stigma
attached to mental illness as well. S.P.K. started the idea of raising awareness of mental illness with
their first few releases and those records inspire me as well… especially “Information overload
unit”… I believe a few of the S.P.K. members worked in a state run mental hospital and saw the
conditions these people were being treated under. So they wrote about that in their music, which is
some of the most powerful early industrial starting to cross over into noise music I’ve heard… S.P.K.
were real pioneers in that sense.

TBM: You had mentioned that “Soundtrack To A Mental Breakdown” is autobiographical. Was it
difficult to put it together?
ES: In a way Soundtrack to a mental breakdown was tough after I finished it… Listening to it played
back. The track I have the most difficulty listening to is “Fixated on killing the abuser”, it’s completely
auto-biographical about my abuser… I have thought of killing him in very “Saw” / “Texas Chainsaw

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Massacre” / and just plain torturous ways. So that is a dead serious track for me… I can hardly listen
to it. I have done other songs about abuse like “Abuse” on the “4″ release, but “Fixated” was much
more far reaching into the dark subconscious about my personal feelings about child sexual abuse. I
think those people should be tortured / executed… And I don’t apologize for saying it.
Also, “tearing my nerves apart” was tough. That’s completely about my panic / anxiety disorder which
is crippling at times. I can’t do anything, constantly thinking I’m going to die…etc….. It gets to your
nerves so much that eventually you start thinking of ways out of the situation like suicide. Even if you
don’t want to actually kill yourself, the thought of that back door out does cross your mind as a way out
of the situation that won’t go away. So that song is another rough listen…. So in short, I suppose it
was in total a tough recording to do.
TBM: I imagine it would be daunting to perform these songs live… simply from an emotional level.
You have told me that you really have no interest in performing live. Could some of that stem from the
personal nature of these recordings.

ES: Yes. I really have never overly enjoyed performing live even when I played shows in punk and
hardcore bands. It’s a double edged sword really, I love the idea when I think about performing live,
but the actuality of it drains my nerves. That being said, I DO plan to perform live at some local art /
show venues in Baltimore. Maybe even at my friend’s record store where he holds shows on occasion.
The only way I can do this is to have most of the music tracks pre-recorded and do the vocals live over
them. Still I will be able to do some improvisational stuff with my equipment as well, just when I do a
song that has a good deal of lyrics in it, it will have to be pre-recorded and played on a CD player
through the mixer while I perform the vocals.
I plan to have the performances be much more of a performance art sort of thing with short films
projected behind me. Nothing like a “rock out” type show really. It will steamroll the audience, just in
a different way. That suits this genre best I believe. Even Whitehouse and TG use pre-recorded tracks
from their laptops now when they perform (well before Whitehouse recently called it quits anyway). I
think it’s much harder to pull off a live performance of power electronics that are going to sound
exactly like the recorded songs than say a punk band who is using a 4/4 time signature and “verse /
chorus / verse” approach. Also, a lot of the sounds you happen upon with analog / unstable oscillator
equipment while recording are almost magickal… and the chance of finding that frequency or pitch
again is unlikely. But, yes I do plan to do some local live “actions” if you will.
TBM: You’re a visual artist too. Photography, collages, painting, and ready made art. Some of it is
very personal (and award winning, I might add). Particularly pieces like “My life’s daily regiment…”
and “Never Healed”. Would you incorporate some of these visuals into any live performances?
ES: I don’t know if I would incorporate my paintings into a live performance, unless it was just an
actual gallery exhibit of my work and maybe have Grammal Seizure stuff playing in the gallery (as was
the initial concept of Grammal Seizure / music for art installations). Or maybe do a live “action” in the
gallery with my work around me on the walls, of course that would probably be at the discretion of the
Gallery. I may put some of my found object sculpture stuff on stage with me… But I don’t really see
paintings working well….
I do make short cut up films from declassified nuclear test footage / U.S. dept. of health mental
hospital and procedure films of the 40’s, 50’s and 60’s… and other clips of films that I like as well…. I
would love to get a projector and screen to show those silent films behind me while I perform on stage.
I do plan to paint a large Grammal Seizure backdrop; it’s going to be the Deathshead logo with the 4 on
it.

TBM: Tell me about Thee Transmissionary Movement. What is its purpose, and what is your hopes

34
for its future.
ES: Thee Transmissionary Movement was something I created to get local Baltimore area based
visual / sound and performance artist’s together to collaborate and exhibit their work and ideas. I
wanted the group to have a “face” so to speak, and I took some cues from Coum Transmissions for
some help in crafting Thee Transmissionary Movement. Basically an art movement that incorporated
all genres of art, and an anything goes attitude (with some exceptions, obviously anything illegal in the
manner of say child exploitation etc…..) approach to an art movement. As far as the name…. I just
love the word and meaning of “Transmission”… My idea was to transmit ideas through sound / visuals
and performance … so I kind of came up with this made up word “Transmissionary” like a Jesuit of art
transmitting ideas.
My hopes for the movement is much the same as your “Kill Your Godz” idea. To flush out the old and
give the unknowns and newer artists that fit in with that transgressive art community, a voice.
TBM: How do you see artists who join Thee Transmissionary Movement working… separately, or
with you in conjunction for different art exhibits – and have you had much interest in Thee
Transmissionary Movement in Baltimore? Would you consider moving beyond Baltimore?
ES: I have a few close friends / artist’s who I talk and collaborate / exhibit with that are into the
movement. But I guess it’s really me who is the flag bearer for Thee Transmissionary Movement.
There is interest, but not widespread. I would love to have anyone worldwide who wants to be part of
Thee Transmissionary Movement get on board. Maybe we could do a website and exhibit ideas / music
and artwork through the web. Honestly though I am so busy as is, that I don’t honestly know how
much time I could devote to organizing and maintaining a site devoted to the movement. So it will
most likely stay local with the small group of artist / friends I have now.
TBM: You have referred to yourself as an “Atheist”/”reformed catholick”. One of your most
interesting and powerful works is “Burning Book Of Hymn”. How does your belief system tie into that
release?
ES: Well, that’s a tough one. Growing up a Lutheran and then in my early 20’s my wife and I had I
first child and converted to Catholicism. I thought that going to church and all that shit would fix my
mental illness and suicidal thoughts…. You know the saying “Jesus will heal you”… Well the more I
read the more questions arose that couldn’t be answered by anyone in the Catholic church and I
realized this was all bullshit.. Gods and masters… I didn’t need it, and it didn’t work. So honestly I
want to dismantle Catholicism and organized religions in general. They need to be exposed for the
fairy tales that they are. If it works for someone, fine…. just don’t come at me with pamphlets and
how I am going to hell because then you have a verbal fight on your hands with someone who can
debate you into the ground about it.
Atheism just works best for me. I just don’t believe that there is any concrete life after death… I
believe that when you die your energy is released back into the universe, but you’re not going to hang
out with all the loved ones that you lost and live like you did when you were “alive’ for real…. The
more I did an introspection on religion and heaven and hell, I thought to myself “what makes one
human being so important that they need to be immortal / live forever”? Isn’t this life enough for a
person, must we make up stories about “going to a better place”? Honestly the thought of death does
scare me, but it also comforts in a strange way. I won’t have to suffer anymore after I breathe my last
breath. So I live my life by the atheist statement started by the late Margaret Sanger “NO GODS, NO
MASTERS”… And it’s working for me.
TBM: It’s funny, and people really need to hear the release to understand this comment, but the
Catholick (I know I am misspelling it) church is beautiful. Faith in God has produced some truly
wondrous works (hence your cover, and some of the sounds that you use), and you deconstruct it, turn
it into rubble, and shove it up the establishments ass. I imagine that was fun.

35
ES: Yes. That’s the thing as well. I love the iconography the church uses. I have a collection of Mary
statues and old nun dolls, and I think they are great. But they are just objects to me. I like the
aesthetics of the church and its icons, but that’s about it. The cover of Hymns is great. I love Michael
Angelo’s “Pieta”, one of my favorite works of art. Here again, Michael Angelo was a gay man, most
believe, and here he is creating art for a hierarchy that basically hates him. That always astonished me.
From what I have read, they barely paid him as well, and when they did it was always late and little.
That cover has been completely worked over in layers in Photoshop to create the blood stains and old
book appearance. Photography being one of my mediums I know my way around Photoshop.
TBM: Yes; Famous (appreciated) when your dead. You are amazingly prolific. How long can you
keep this pace up?
GS: Well, I am going to start doing some more visual stuff since the weather has warmed up. My
studio is my outside garage, so in winter it’s tough to get out there and mess with frozen paint and
such. I am working on a full length GRAMMAL SEIZURE record right now. It’s going to be 8 songs
or so, the longest release I’ve done thus far. It’s going to be titled “The Modern Age”. It will deal with
a lot of different subjects, most of which pertain to living in the world today. I have some vacations
coming up in the summer as well, so there is some down time there. I have been going at a fever pitch
to get my name and work out there, and it’s starting to pay off.

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CHI-KITTY
CHI-KITTY - Exploring the human canvas with
art that is both shocking an provocative. Explore
the limits of the human condition with Wolfgangg
Photography that is both shocking and beautiful.

TOS: Is there significance to the name Chi-Kitty?

Chi-Kitty: The short answer to this question is
basically to immortalize my cat in some fashion.
I never considered myself a cat person for the
longest time. Until I met The Sin-Chi. After
living with her I learned that my issue with cats
was that I felt threatened by their independence
and grace and honestly had no real problem with
their kind. So I figured, I need to get me some of
that!!! I first took her name as a hip-hop handle
several years ago (she was about one years old at
the time.) I was looking for a name that captured
my dark and aggressive style. After a small
recording session with a close friend NES1 in my
garage, I hit me... The best way for me to embody
the way I perceived my style as an MC was
through my now closest companion. So I decided
to use the name Sin-Chi "The most Vengeful".
Putting a whole new twist on my art, mind state,
and self perception. At this point in my life I was
doing a lot of meditation work, astral projection,
and vision questing. Things got pretty out there in
my mind as well as in reality. My cat at this point in time had become to me a guide, a protector, and a
totem. Without getting to in depth about these events, and to keep this "the short answer" I very
quickly began to understand the mysterious nature of these animals and the rolls they have played in
the lives of empires through out time and history. She has taught me much in the short time we have
been a part of each others lives. So by taking her name and variations of, it is my way of honoring her
spirit and to leave her mark on the world. I'm sure this sounds silly to many people, and there are many
more layers to the significance of the name, but.... this is the short answer after all

.
TOS: Where are you based out of?
Chi-Kitty: Based out of Oakland Rep'n that 925 yo!!!!!!
The Sideshow spends a lot of time in San Francisco. But fuck that noise....We keep it Oakland. ;p

TOS: Much of what you do appears to be performanced based... yet there is photographic art as well.
What do you consider your style of art?

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Chi-Kitty: It all kinda started back in high school
photography class with a former photo partner Steph, and
my current partner Wolfgangg. Basically the two people I
learned how to hold a camera with. Stephanie and I
would do this very intense shock art using me as the
model/actor for these very strange scenes. For years, I
never really thought about it being a part of my life until
out of the blue (so it seemed any how) there was this
rather extensive body of work behind me and I felt it was
time to connect with the work we had been doing. At this
moment, two things came to mind... Being a performance
artist "As a living canvas" and, "the taking of a mental
process, and giving it a physical body."
I'm not sure if any of this really answers your question, but
these are the things I have always considered this type of
art to be.

TOS: What got you started?

Chi-Kitty: After I was able to embrace these concepts of

art, I began to dip into my own life as tho it where
performance art. I began pushing myself, my body, and the people around me, with intense concepts,
visual imagery, and personal discomfort. Be it mine, or the viewers. It never really mattered to me.
My personal artistic visions began to reflect my head and inner thought process just a bit to well.
Basically, people talk, girlfriends leave, and your parents become rather concerned. Indeed, producing
this sort of work out of a garage in suburban San Ramon has it's own set of problems. The number one
issue I noticed people had with our work was, it wasn't a painting, it wasn't a drawing, it was a
photograph.... and it was REALLY happening somewhere at some point in time.... to someone they had
a personal relationship with in some fashion. The reactions we got from our work was a healthy mix of
cultured and ignorant, letting us know that we where crossing lines that had never really been crossed,
and treading lands that had never really been ventured into..... We had found our own way of doing
things... and it made people think.
A few years later, this philosophy was the one that Wolfgangg and I chose to stick to when it came time
to "hit the stage". Combined with a lighting formula that we had been tweaking since the high school
days, a few flesh hooks and body piercer friend Eva Uldfelt... the vision had come full circle.
Everything else would be just because it worked.

TOS: Where do you draw inspiration from?

Chi-Kitty: My inspiration comes from a number of places. One being my own life experience. Be it
things that I have witnessed first hand, or paths throughout my own mental and spiritual evolution that I
find to be significant or of life altering importance. The second source being transition in all it's forms.
And the third source of inspiration being "the Human Condition" The way I feel when I start to think
and break down civilization as a whole. When one starts to look at what we are, not as individuals, but
as one collective organism failing at the hands of our own devices. These are the themes I seem to
work with the most frequently time and time again.

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Inner-X Musick is a record label/mail order catalog run by Boston musician John Zewizz. Over the
years Inner-X Musick has changed its name 3 times and released well over a hundred releases. At its
high point (the mid 1980’s) Inner-X-Musick released musick by bands such as Sleep Chamber,
Controlled Bleeding, Jonathan Briley, 7 From Life, Daze Of Trance, The Flagellents, Hideous In
Strength, Women Of The SS, Cult Ov The Womb, Mahcanik, Dokument, Noizeclot, Hunting
Lodge, Human Flesh, and PSI Field. But by the 1990’s Inner-X-Musick was the solely promoting
Sleep Chamber musick, and usually shared the release with another label (the Italian label Musica
Maxima Magnetica,the German label FünfUndVierzig, and Cleopatra Records out of L.A.)
Innersleeve Records: Mail Order
In mid 1970's John Zewizz interest in musick expanded when he and a friend began a mail order
record distribution company they called "Innersleeve Records". John tried to specialize in records and
cassettes that were autographed by the artists. Sales were good in this specialized market. But as time
went on John grew bored with "rock and roll". It was in the late 1970’s John began listening to bands
like Throbbing Gristle. This was a huge influence on John’s musical direction. Eventually John
amassed quite a collection of rare material, leading to the opening of a store front.
Innersleeve Records: The Record Store
Innersleeve Records was a record store owned by John Zewizz in Allston, Massachusetts. The small
record store carried music mainly from “underground” artists such as Psychic TV, Hunting Lodge, Die
Form, Human Flesh, Current 93, David Ball, XTC, Nocturnal Emissions, as well as more
traditional alternative bands as The Cure and Talking Heads. Zewizz and Friends also sold their own
music through Innersleeve Records. These releases were initially released on the label “Innersleeve
Records”. However, this name was eventually changed to XXX records or Triple X records
(sometimes even “XXX Organisation”).
Along with John Zewizz working at Innersleeve Records, it was not uncommon for Lawrence Van
Horn to be seen working behind the counter, playing and promoting the ‘cassette culture’ represented
not only by the Inner-X army of artists, but other like minded artists as well.
Innersleeve Gallery: The Live Shows
In early 1985 Innersleeve Records closed, but before John left he held a series of live shows out of the
Innersleeve store that featured many of the bands featured on XXX. Beginning December 1st of 1984
and lasting through January 26th of 1985 concerts were held for a small audience of up to 40 people.
Portions of these shows were featured on the XXX/Inner-X Musick release “LAST DAZE”.
According to Zewizz; “In the last days at INNERSLEEVE a rare batch ov people showed up on the
doorstep to see shows put on by XXX people. the INNERSLEEVE shop way the retail outlet for
TRIPLE-X products along with “other” like-minded records, tapes, and magazines. In the last 8-weeks
ov being open, the audience’’s were seduced, assaulted, suffocated, humored, gassed, and subjected to
unheard ov types ov entertainment. Each show being suigeneris and totally unique.The record racks
were removed and mounted to the side walls. This left the ’space’ sort ov narrow but long. (On the idea

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ov a bowling lane). At the end ov this lane waz a very large Union-Jack taken from a battle ship. (This
waz the stage curtain). Backstage-waz a 10 foot by 5 foot square with a door to the right. (the
bathroom)”
Inner-X Musick: Musick With No Inhibitions
Once Innersleeve closed, XXX changed its name to Inner-X-Musick after a XXX label appeared on
the west coast. The Inner-X-Musick catalog was still available through a mail order catalog, that
advertised the Inner-X Musick was “happy to service the obscure taste in musik for, but a few. We are
here for your listening pleasure”. often times you could find one of a kind materials available only
through the catalog (test pressings, personal letters, autographed items).
Inner-X-Musick Recordings: On Line Shop/Catalog
2009 saw the launch of the Inner-X-Musick Shop. 10 full length CD's, and a DVD were released in
rapid fire succession. New bands were added to the Inner-X-Musick catalog; Grammal Seizure, Veil
Of Thorns, Batcheeba . More bands are on their way. And prices were kept low.

Next year promises to be bigger. With new releases coming that our sure to surprise and excite.
Expect more announcements as we get closer to the new year.

Inner-X-Musick 2009 Discography

XXX 63 … JONATHAN BRILEY “I Am My Own Redeemer“
XXX 69 … VARIOUS ARTISTS “XXX 69“
XXX 70 … GRAMMAL SEIZURE “Medical Report“
XXX 71 … VEIL OF THORNS “Salon Apocalypse“
XXX 72 … VEIL OF THORNS “Necrofuturist”
XXX 73 … WOMEN OF THE SS“John Zewizz Presents His Infamous Women Of The SS “
XXX 75 … NORDHAUSEN “Prokekt 1“
IX-001 … SLEEPCHAMBER “Stolen Sleep”
XXX 001…SLEEPCHAMBER “SOUNDTRAX“
XXX 002…SLEEPCHAMBER “Species Interruptus Vol. 1″

Special Releases: (no catalog numbers/no longer available)

SLEEPCHAMBER "Live At The Air Station"
SLEEPCHAMBER "696"

DVD Releases
DVD XXX 003... SLEEPCHAMBER "Mescaline Dreams"

All INNER-X-MUSICK products are available at the INNER-X-MUSICK RECORDINGS

STORE at www.innerxmusick.com

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