Hello!

Mike Nobody - GLITCH Portait 022

 

 

“All the various styles are organically connected to one another. I’m an additive person—the entire storehouse of my knowledge informs everything I do. People are so obsessed with the surface that they can’t see the connections, but they are there.” ~ John Zorn

“Cute, cool, and creepy”, is how I have been described by some folks.
Usually, I am classified by my contemporaries as an outsider artist-musician.
Davin Brainard (time Stereo) and Warren DeFever (His Name Is Alive) observed that I do not intentionally TRY to be perceived as weird, that I just naturally AM….. making comparisons to Wesley Willis and Daniel Johnston. I guess that I will just go along with those descriptions.

  • Music, Videos, Noise, Art, etc. /
  • Voice, Tapes, and Reed Trumpet /
  • Bass, Baritone, and other Guitars /
  • Custom-Made Instruments /
  • Plunderphonics, Electronics and Junkyard Percussion
  • Inspiration and Panic

I enjoy creating what I refer to as “Prog-Punk Noise-Rock”, a strange pastiche of many styles tied together. I have collaborated with plenty of other artists.

I have been obsessively into art and music my whole life; drawing, painting, playing with tape recorders and making noise. I built my first guitar from a badly beaten-up body & neck that I found in someone’s trash. A friend’s dad gave me the electrical guts from an unknown 1950’s guitar. Additional parts were improvised from pieces of found junk and bought from a music store.

When I was a twelve year old kid, back in the 1980’s, I was just a runt of the Detroit hardcore punk / heavy metal scene . Lacking enough money to buy any good equipment, I purchased a cheap microphone at a pawn shop, built a homemade mic stand, and passed myself off as a vocalist. I sang in whatever groups that I could find, gaining experience and learning whatever that I could. Mostly, it was shitty cover bands, playing in basements, getting yelled at by uninvited drunks that we suck. Eventually, I improved my bass & guitar skills, playing in many short-lived groups that went nowhere.

I was a writer / photographer for The Jam Rag, a widely-read local music paper, while still a teenager and made friends with other artists along the way. During the 1990’s I was a cameraman, roadie, and occasional collaborator with Princess Dragon-Mom, Mog Stunt Team, His Name Is Alive, etc.. I also performed in a few experimental noise groups; Bionics, Edible Audio, Fresh Farm Raised Catfish, etc.

The Island of Misfit Noise began in the summer of 1998 with only Mystic MarshaKat and myself. She played keyboards & guitar (classically trained) and I played bass & guitar (mostly self-taught). Both of us were former members of N2-Submission, the backing band for our then-roommate The Impaler “Detroit’s Vampire Poet.” Our duo’s name changed a couple of times, before settling on the IOMN.  Other musicians came and went during a period of 15 years, with she & I being the only constant members of the group. She also left in early 2013. MarshaKat and I remain friends. She may continue to assist in some capacity, just not as a full-time band member.

I resurrected the IOMN as a recording project in late 2014, with collaborators from Michigan to Australia. We exchanged material back-and-forth until some music was completed. The style that we made is very freeform. A few collaborators from the IOMN have joined me in other projects. Some of them have experience in film & television and are producing low-budget movies with me.

MickeyBugsBand_1

After years of trial-and-error, I have come to the conclusion that I simply lack the necessary social skills to keep a stable group together. I tried for ages to put a band together. But, I could never manage it for very long. I am focusing primarily on composition and recording, for the time being. I will return to live performance when I am certain that the project won’t immediately disintegrate. Assembling the right line-up and keeping it intact is a big obstacle. I would like to eventually have a live group again. At minimum, I would prefer having a decent drummer accompany me. I get uneasy being on stage alone. But, an ideal line-up would include:

  • Myself on bass, vocals, and tapes.
  • A creative drummer. Someone who is comfortable playing with additional percussionists, drum machines, noise, or other unusual stuff.
  • Maybe two guitarists who could also contribute more percussion, keyboards, samplers, vocals, or whatever.

Maybe I will just go back to replacing musicians as I go along…. again. I’m currently preparing a one-man-band type thing that I can perform by myself with just a bass and my crazy setup. I’ll make it work, somehow.

Some of my current projects;

  • Theee Urban SpaceCat (Cassette-Zine) is a publication of my artwork, ramblings, stories, correspondences, miscellaneous found objects, music, commentary, and anything else packaged with a cassette tape or compact disc of my recordings… whatever they may be. I wish to publish an issue every three or four months (depending on available funds). It is intended as an outlet for all of my artistic endeavors combined into one package, modeled after my decades of correspondences with pen-pals.
  • The Island of Misfit Noise (MovieComix) is an on-again-off-again production for an extremely no budget Sci-Fi Comedy. We are working on it, one piece at a time, as resources become available. It is also series of DIY comic books that I’m working on, at least until the movie gets made. Basically, it’s storyboard ideas. I’m also sending contributions to other zinesters seeking collaborations.
  • Mike Damn Nobody is my experimental noise project. I might book some shows for this again. Recordings are available as “RecycleTapes”, as well as digital downloads.
  • MykNobody is an alternate spelling sometimes used when I’m painting or making other art, just because I can.

♛ ★ ★ ★ ★ ★ ★ ☆ Prog ☆ Punk 🐱 Noise ☆ Rock ☆ ★ ★ ★ ★ ★ ★ ♛

Over time, I have received some frequently asked questions. So, I will add this below, if anybody really wants to know:

Gear Geek Stuff:

I don’t have a rehearsal space, just a tiny apartment that serves as my studio / office.

I have two multi-track machines;

  • one cassette (Tascam 488 MKII 8-track Portastudio)
  • one digital (Roland VS-1688 Digital Audio Workstation)

On my computer, I use whatever freeware programs that are available online. Two old broken boomboxes serve as studio monitors. I also collect various types of tape recorders (cassette, micro-cassette, reel-to-reel, 8-track, etc).

I prefer recording electrical instruments directly, via preamps or emulators, and mic-ing up an ambient “room sound” for acoustic tracks. Analog tape is good for getting a saturated compression sound, well-suited to percussion instruments or creating tape noises. Digital is good at getting a cleaner sound. I record the bulk of my material at home. I make demos during the week and begin multi-tracking by the weekend. My original plan was to lay basic tracks on tape, bounce them to digital, then either take the tracks to someone else for mixing (maybe at a higher quality studio with a good engineer) or figure out how to do it myself.

I don’t have very high quality microphones;

  • A modified telephone receiver, with an XLR jack installed
  • an old abused Radio Shack mic from the 1980’s
  • another stolen from a karaoke machine
  • two USB microphones, from Guitar Hero, I think
  • several cheap models from 1970’s tape recorders

I built a homemade drum kit, affectionately referred to as the ShitKit. It is a hodgepodge of crappy drum parts acquired from thrift stores with scrap metal and junk added, for a clunkier sound. But, I never take it out anywhere. It’s kinda heavy and bulky. So, I just use it for recording. I also have some cheap keyboards and electronics. But, I would like make improvements to my setup as I go along. There are some models of foot drum kits that look interesting. I also have ideas for custom basses / guitars that I would like to get built. Adding other instruments to my arsenal would be fantastic.

My bass / guitar setup has evolved over time into an unusual hybrid rig, splitting the instrument signal three ways, combined with various effects into a “sonic sandwich”;

  • one through a bass amp (SWR)
  • one through a lead guitar amp (Marshall)
  • one direct to mixer (Line 6 POD)

Miscellaneous samples and noise collages are prepared on cassette tape and played back with a pair of foot-controlled Dictaphone machines fed directly into the mixer.

I have two basses;

  • 1987 Guild Pilot with tremolo bar. I use recycled copper/nylon picks, for more attack and articulation.
  • Jay Turser copy of a Höfner’ 500/1 violin “Beatle Bass”, like Paul McCartney’s. I use this shorter-scale bass mainly for cleaner finger-playing techniques.

I have two guitars;

  • Line 6 Variax guitar, to achieve a wide variety of tones.
  • Ibanez RX-Series guitar with a Seymour Duncan Humbucker that I installed at the bridge. It is usually tuned down like a baritone. But, I also use it for other alternate tunings.

I prefer Ground Roundwound strings, for their smooth feel – yet bright tone. Stainless steel armored instrument cables are also very durable and minimize ground noise.

Previous attempts at building circuit-bent and experimental instruments have yielded mixed results. But, I can get some interesting sounds out of them, if the darn things don’t self-destruct first.

Creativity Stuff:

My songwriting style is a mix of eclectic influences juxtaposed together. I like combining a bit of everything, when I can.

Sometimes it is harmonious.

Sometimes it is schizophrenic.

Sometimes it is simple and accessible.

Sometimes it is noisy and irritating

It can be almost anything, depending on the song. I am writing within three basic categories;

  1. Solo: material that I can play alone without additional players.
  2. Band: material that requires other musicians to perform live.
  3. Album: material that is very difficult or impossible to be played live at all, recorded solely for album releases.

Lyrics are kind of an afterthought for me. I’ll write down any ideas I get and go back to them later if I am working on something. But, music comes first. Lyrics might be personal or political. They may be strange and surreal. Overall, it is “the little world”, “the big world”, and the English Language… or any kind of language. I like leaving things a little open to interpretation rather than always being explicit.

I’ve played with hundreds of musicians from many different genres. My output is unified by a “conceptual continuity”, everything is interconnected, it just comes out mixed-together and filtered through whatever I have to work with. Sorta like combining Frank Zappa’s Freak Out List and the Nurse with Wound list into one mutation! Some notable influences include;

  • ¡Tchkung!
  • Alice Donut
  • Bad Brains
  • Bad Religion
  • Beatles
  • Beck
  • Jared Warren (KARP, Big Business, Melvins)
  • Bootsy Collins (Parliament-Funkadelic)
  • The Crazy World of Arthur Brown
  • Bran Flakes
  • Robert Smith (The Cure)
  • Brian May (Queen)
  • Buzz Osbourne (Melvins)
  • Captain Beefheart (The Magic Band)
  • Carl Stalling
  • Caroliner
  • Chris Squire (Yes)
  • Chuck Mosley (Faith No More, Bad Brains)
  • Cliff Burton (Metallica)
  • Comets on Fire
  • Comparative Anatomy
  • Cop Shoot Cop
  • Crash Worship
  • Crass
  • Daft Punk
  • Dale Flattum (Steel Pole Bath Tub, Tumor Circus, Milk Cult)
  • Daniel Johnston
  • David Bowie
  • David Grohl (Scream, Nirvana, Foo Fighters)
  • Dennis Dunaway (Alice Cooper)
  • Destroy All Monsters
  • Gerald Casale (Devo)
  • Bob Log III (Doo Rag)
  • Doug Henderson (Krackhouse, Spongehead)
  • Dust Brothers (Beastie Boys, Beck)
  • East Bay Ray & Jello Biafra (Dead Kennedys)
  • Einstürzende Neubauten
  • Evolution Control Committee
  • Fat Mike (NOFX)
  • Wayne Coyne (The Flaming Lips)
  • Flipper
  • Frank Zappa (Mothers of Invention)
  • Fred Frith
  • Geddy Lee (Rush)
  • Geezer Butler & Toni Iommi (Black Sabbath)
  • Gene Simmons & Ace Frehley (KISS)
  • Godheadsilo
  • Greg Ginn & Kira Roessler (Black Flag)
  • Grotus
  • Hazil Adkins
  • Helios Creed (Chrome)
  • Hide (Ultra Bidé)
  • Ian Mackaye (Minor Theat, Fugazi)
  • Ichirou Agata (Melt-Banana)
  • Iggy Pop & The Stooges
  • Jaco Pastorius (Weather Report)
  • Jad Fair (1/2 Japanese, Strobe Talbot)
  • Jerry Garcia (Grateful Dead)
  • Duane Denison & David Wm. Sims (Scratch Acid, The Jesus Lizard)
  • Jimi Hendrix
  • Joey Shithead Keithley (D.O.A.)
  • John Bonham & Jimmy Page (Led Zeppelin)
  • John Oswald (Plunderphonics)
  • John S. Hall & Bradford Reed (King Missile)
  • John Zorn (Naked City, Painkiller)
  • Juan Garcia Esquivel
  • Jucifer
  • Kevin Rutmanis (The Cows, Melvins, Hepa/Titus)
  • Killdozer
  • Larry Graham (Sly & the Family Stone, Graham Central Station)
  • Kevin Strickland & Larissa Strickland (Laughing Hyenas)
  • Lemmy Kilmister (Motörhead, Hawkwind)
  • Les Claypool (Primus)
  • Lightning Bolt + Black Pus
  • Malcolm Young & Angus Young (AC/DC)
  • Marc Bolan (T. Rex)
  • Mark Sandman (Morphine)
  • Masahiko Ohno (Solmania)
  • Masonna
  • Curt Kirkwood & Cris Kirkwood (Meat Puppets)
  • Masami Akita (Merzbow)
  • Mike Patton (Faith No More, Mr. Bungle, Fantomas, Tomahawk)
  • Mike Watt (Minutemen, fIREHOSE)
  • Negativland
  • Omoide Hatoba
  • Pat Smear (Germs, Nirvana, Foo Fighters)
  • Paul Leary (Butthole Surfers, Melvins)
  • Pussy Galore
  • R. Stevie Moore
  • The Ramones
  • Raymond Scott
  • The Residents
  • Rob Wright & John Wright (NoMeansNo)
  • Roky Erikson (13th Floor Elevators)
  • Root Boy Slim & The Sex Change Band
  • Scott Lucas (Local H)
  • Sebadoh
  • The Shaggs
  • Shannon Selberg (The Cows, Heroine Sheiks)
  • Shockabilly
  • Shonen Knife
  • Six Finger Satellite
  • Skeleton Key
  • Sonic Youth
  • Kim Thayil (Soundgarden)
  • Space Streakings
  • Stan Lee & Leonard Graves Phillips (The Dickies)
  • Stanley Clarke
  • Steve Albini (Big Black, Rapeman, Shellac)
  • Subhumans
  • Superconductor
  • Syd Barrett (Pink Floyd)
  • The Tape-beatles
  • Tatsuya Yoshida (Ruins, Zeni Geva)
  • They Might Be Giants
  • Phil Lynott (Thin Lizzy)
  • Throbbing Gristle
  • Thrones
  • Tom Morello & Tim Commerford (Rage Against The Machine)
  • Tom Waits
  • Tragic Mulatto
  • Trans Am
  • Victims Family
  • Violent Onsen Geisha
  • Ween
  • Weird Paul Petroskey
  • Wesley Willis
  • Wildman Fischer
  • Yamatsuka Eye (Boredoms, Hanatarash, UFO or Die)
  • Zach Hill (Hella)
  • Zen Guerrilla
  • ZZ Top
  • etc., etc., etc., etc., etc.,..

I tried for years and years to arrange having dual drummers play together. We managed to do it a few times, which was great while it lasted. Most drummers are not into that, though. I have been told that they want to be guitarists, instead. I prefer working with someone who enjoys learning the instrument that they are playing, who really spends time improving their skills. Y’know?

I always needed to be collaborating with somebody, whether an individual or a group. It gave me confidence and motivation. I would bounce ideas off of other bandmates, to get a feel for their capabilities and preferences, to find which direction that we were going in. I depended a lot on their input to filter my ideas through. I was always looking for feedback, trying to be as democratic as possible. But, this approach slowed us down, frustrating everyone. In hindsight, it was a mistake, like driving a car with the parking brake on.

My lifelong struggling with mental illness sometimes gets in the way as well. Clinical depression, social anxiety, and obsessive-compulsive tendencies are a debilitating combination. Medications help to keep the highs and lows manageable. But, they aren’t a cure.

Techniques:

I will play almost any instrument available to me. I might not be good at it. But, I’ll play it anyway. My attempts at drumming have been pitiful. My foot coordination is terrible. I finally ended up positioning the bass drum sideways, playing it timpani-style.

My vocals tend to be on the high and nasally side. But, I give it a little growl on the low end. Adding effects makes for a little more variety and covers-up my natural voice a little bit, which I’ve never liked very much.

My guitar / bass playing skills are pretty good, not virtuoso… but still, pretty good. I believe that I’m a better bassist than a guitarist and a better composer than a musician.

I visualize music as abstract sounds, in waves, shapes and colors… like a rainbow oscilloscope. Tape editing / manipulation is often used as a compositional tool. Sheet music feels a little too rigid to me. I will sometimes score parts out on paper where I think it is appropriate. Sometimes, I’ll jam riffs onto demos and pick out the best ones later. Sometimes, I’ll sing everything a capella, bang on found junk, make noises, and interpret it later. On rare occasions, I’ve had entire songs pop into my head while I scramble to get it recorded before I forget. 

“Thinking too much can ruin a good time” – D. Boon (Minutemen)

When I am creating music & art, I probably do my best when my brain is turned off, just mental finger-painting. Everything that I am doing is sort of revealed to me as I am doing it. So, I don’t really know what it is until I am finished. Conscious messages don’t work very well for me. Stressing-out about money, transportation, food, housing, and living conditions REALLY messes-up my mojo a lot, though.

“Write with the door closed, rewrite with the door open.” – Stephen King

Artwork:

I have very little to no training. I did well in high school drafting, wood shop, and art classes. That’s about it. Regretfully, I never attended an art school. I would have liked to. Occasionally, I’ll read books on the subject. But, I don’t spend time trying to figure out what’s up with art. I do not have much interest in current trends.

My work could be categorized as Abstract, Outsider, Pop Art, Art Brut, Raw Vision, Folk Art, or whatever. These are labels found in the art world. To me… art is art is art… I’m an artist who is still looking for the right label only because everybody wants descriptions. They want you to EXPLAIN to them what it is that you do. People love folk and outsider art because it is spontaneous and devoid of most influences.

In the past, my artwork was usually given to friends or destroyed and discarded. I started selling my art locally in the 1990’s. But, not really understanding how the professional art world works, I only sold items in person at music venues or record stores (wherever I happened to be). I have been reluctant about taking it any further than that. But, there seems to be a growing interest in my stuff. So, I’m making it more available.

Physical Appearance:

Having a standard uniform of your own is useful. People like Albert Einstein, Sigmund Freud, and Steve Jobs wore clothing everyday that was nearly identical to all of the other clothes that they owned. It saved time and brainpower finding something to wear, when their entire wardrobes were virtually the same.

 The Science Of Simplicity: Why Successful People Wear The Same Thing Every Day

My physical appearance doesn’t change very much, day-to-day, either. Nearly everything I own is secondhand; from yard sales, garage sales, estate sales and thrift stores. I’ve always been a t-shirt and jeans guy. If I can’t find an outfit for under $12, I probably won’t buy it.

Sometimes I’ll try out new things, making small modifications to my so-called image. None of this is permanent. But, my typical everyday outfit includes;

  • Goatee & long hair (sometimes tied back).
  • Black jeans with a black button shirt (black goes with everything).
  • Converse Chuck Taylors have always been my go-to shoes.
  • Recycled rubber belts adorned with a Captain America shield buckle.
  • Mix it up a little with different t-shirts.
  • Red glitter nail polish adds some color.

Personal Rules of Conduct:

I seldom drink alcohol and I loathe beer. I don’t smoke tobacco or abuse any drugs. It doesn’t really matter to me if anybody else does, unless it gets in the way of working or becomes obnoxious. Marijuana and hallucinogens are more tolerated than harder drugs.

I have little patience for perpetual fuck-ups who will constantly flake out on me.

I am an atheist. I don’t believe in whatever Hell you think I’m going to, let alone your invisible friends. You can believe whatever you want to believe. But, if you’re a religious fundamentalist creationist who thinks that the Flat Earth is 6,000 years old or 72 virgins await you in the afterlife because you won’t eat bacon, I would prefer not to hear about it.

I am LGBTQ-supportive and have friends from all sorts of different backgrounds. Bigots are not welcome. Go away.

There are not many groups that I believe I would fit into if I didn’t begin from scratch. I never had any delusions about “making it big” or getting rich. Making a decent living as a self-employed full-time artist / musician would be great, if possible. I am content if I make enough money to cover expenses, have a good dinner, and pay a few bills.

If you want to check out upcoming events or new stuff available add yourself onto the mailing list in the sidebar. There are also fundraising links there for anybody who wants to support my efforts.

Thanks!

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I Dream of Space Cat

 

Recently, I showed my art and submitted a last-minute entry into the Planet 9 Film Fest, I Dream of SpaceCat. The festival is appearing in Detroit, Chicago, and Los Angeles. The Detroit date did not go as planned. Well, the event got relocated three times and was scheduled as a matinee. A few of the bar regulars and the filmmakers themselves showed up. But, I think that was about it. Oh well. Maybe it will get played in the other cities. I dunno.

If you were unable to see this short video in the full context of the festival, maybe you would like to see it here. I doubt that I will ever commercially release it, as-is. Maybe elements will resurface in other projects, someday. It’s possible. Admittedly, it’s not a cinema masterpiece by any measure. But, all things considered, for what it is it turned out pretty good, I think.

 

Machine Gun TV @ Gold Dollar (1997)

I saw these two perform at the Gold Dollar twenty years ago, today.
I could not find a single bit of information about them beyond their discography.
But, anyway, here is a link to their Discog page. Enjoy!

https://www.discogs.com/artist/233493-The-Machine-Gun-TV

Happy 9/11: New World Order Day!

Mike Nobody

happy 9-11 cake

Happy 9/11, or as we should now call it… NEW WORLD ORDER DAY!

The word “conspiracy” gets thrown around pejoratively, as if they never happen.

It is just what happens when self-interests converge.

The Koch Brothers, Donald Trump, Rupert Murdoch, etc. are very brazen that they have lots of money and power, and want more of it!

Why should that be surprising?

Not every guy that has questions or a suspicion is crazy.

Although, not every wingnut in a tinfoil hat is on the level either.

Let’s keep it real, okay?

David Icke can keep his lizard people.

Maybe he had a bad acid trip once and never recovered.

I don’t know.

Alex Jones isn’t ALWAYS wrong.

But, the guy doesn’t do himself any favors, often making himself sound like a fool by some of his rhetoric.

The official story of 9/11 has too many plot holes, strange coincidences, and…

View original post 43 more words

Gear Geeked

Mike Nobody Bass 02 - Jaguar Urge Bass

I was going through my hard drive, looking at designs for new guitars and custom instruments. I didn’t know if anybody would care about this sort of thing, except other musicians… maybe. Of course, lacking any money, I build these things as opportunities come along. I can probably work on the cheaper ones for awhile.

I always liked the customized design of Jimmy Page’s Les Paul Guitars, with push-pull knobs enabling coil-tapping and phase-shifting. But, I like baritone guitars a lot, too. The first draft at my version went something like this:

NegativeM+ Mike Nobody Jimmy Page Les Paul Baritone Guitar

I kept making further refinements. Although Les Pauls have a nice tone, the original construction needs work. The headstocks are notorious for breaking easily. So, I changed it to a Zachary Guitars “samurai sword” style headstock. Also, I prefer guitar bodies with an offset waist, for comfort. So, I would keep the maple top mahogany body, just shape it more comfortably like a Fender Jazzmaster or Jaguar.

NegativeM+ Mike Nobody Jazzguar Baritone GuitarNegativeM+ Mike Nobody Jazzguar Baritone Guitar 2NegativeM+ Mike Nobody Jazzguar 3 Baritone Guitar

I played around with different pickup configurations, different woods, a graphite reinforced neck, etc.. I gave a Fender Bass VI style body a try.

MIKE NOBODY GUITAR 3

Mike Nobody Bass - Bass VIMike Nobody Bass 02 - Bass VI

Then, I moved on to basses. I want to combine a Fender Jazz, Precision, and Rickenbacker style tones together. Maybe a Gibson Thunderbird. Maybe not. But, I know it would not sound like any of them if I tried to do that. A close approximation would be nice, though.

NegativeM+ Mike Nobody Mike Nobody Jaguar bassMike Nobody Bass 01 - Jaguar Urge Bass

It is possible that the only way around this is to build a different one for each specific tone. But, I thought about including Line 6 Variax Bass wiring hooked to a piezo pickup for variety. Not sure if it would work.

This is all out of my price range, for now. I considered having the body made, then adding parts as I go along. The neck is the most expensive piece. I don’t know to what degree solid graphite necks can be customized. Having a comfortable neck is very important. I think a “Soft V” contour is the right shape for me. But, I’m not sure. If a pro shop could work out details like that with me it would be extremely helpful.

Making experimental “noise machines” is a lot easier for me to put together on a low budget. The most common that I like making are basically stringed instruments built from scrap wood and junk.

NEGATIVEM ELECTRIC HARP

Anything that makes a sound is fair game, though.

NegativeM Smash TableNegativem Rattle of DOOM!NegativeM Penny JarNegativeM Grinding PipeNegativeM Grinding MicNegativeM The WheelNegativeM Devil's DJ Turntable redNegativem CIRCUIT-BENT MYSTERY BOX

One thing that I thought about getting, for a long time, is a DJ rack case & table. It could store all sorts of effects, make room to operate small devices, and give me something to stand behind. But, they aren’t cheap. This is at the very bottom of my wishlist.

NegativeM+ Mike Nobody Rack

So, there it is. That is just some of the things I’ve been working on, for a long time. I’ll probably build the noise machines sooner than the rest. It would great if I could scrape together enough money to do the basses / guitars, though. I’ll just continue doing what I’m doing until then.

Online Punk Rock Radio Stations

Punx In Solidarity

Hardcore Punk Rock Radio Stations Update

10280


ONLINE RADIO STREAMS

STREAM FINDER

http://streamfinder.com/

TUNEIN ONLINE RADIO
http://tunein.com/

WEB RADIO CENTRAL
http://www.webradiocentral.com/

ROCK RADIO

http://www.rockradio.com/

RADIO TUNA
http://radiotuna.com/

07

PUNK ROCK STATIONS

WHATEVER 68 RADIO
http://www.whatever68radio.com/

STENCH RADIO
http://stenchradio.com//stream.php

UNDERGROUND SKANKING RADIO
http://skankingradio.blogspot.com/

GUTTER PUNK RADIO
http://www.gutterpun­kradio.com

CORE OF DESTRUCTION RADIO
http://www.coreofdestructionradio.com/

PUNK FM
http://www.punkfm.co.uk/

A-O-S RADIO
http://www.a-o-s.info

PODUNK RADIO
http://www.podunkradio.com/

ANARCHY OF SOUND

http://www.anarchyofsound.d­e

V103 ROCK RADIO
http://www.v103.net/

REAL PUNK RADIO
http://www.realpunkradio.co­m

POV RADIO
http://www.povradio.com/

Dancing Punker

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Zine Review: Wiseblood #37 The Cat-Sitting Issue

Sea Green Zines

Wiseblood 37

Wiseblood #37 The Cat-Sitting Issue
Fishspit
fuzzybunnyflatbunny@gmail.com

Sometimes you read a zine, and all you can do is experience it. Not think too much because it’s better for you to go along for the ride.

This is definitely one of those zines.

I received Wiseblood #37 (along with another) in a trade with Fishspit himself. After such charming short messages, how could I not be curious about a zine with this cover?

The content doesn’t disappoint from the cover expectation. Inside you’ll find three stream-of-consciousness style stories with a silly sort of humour that I think most people can appreciate. They remind me a little of Billy Connolly long, winding story humour (obviously less long and winding given the format).

I must know his cat-whisperer secrets. Haha.

I was a bit shocked a little at some of the content and language. It’s been a while since I’ve read anything that’s…

View original post 29 more words

Zine Review: Wiseblood #62

Sea Green Zines

wiseblood 62

Wiseblood 62
Fishspit
fuzzybunnyflatbunny@gmail.com

Today’s review is brought to you by an early morning run to the dental hospital for Wanderer’s emergency, followed by a very long day.

How much do you love this cover? I wish I’d had time to take a better photo, because it’s excellent.

Before I get into the content of this zine, I want to mention how cool it is to see a zine that is on issue 62. Last week I reviewed issue 37, and that was impressive in and of itself. But 62? I only just finished Don’t Call Me Cupcake 2.

The Wiseblood website says “A Zine Since 1984”. It’s strange and wonderful to think about how this zine series has been going longer than I have been alive.

Wowza.

Many zines on, and Fishspit still has a stream of consciousness style of writing that picks you up and carries…

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