Author: DC (Page 1126 of 1133)

ASYLUM DOOR: This animation was the first of it’s kind integrating video effects with animatronic elements to create a truly unique prop. When triggered, a ghoul is seen coming down the hallway. She then attempts to break through the glass before hacking at the door with her axe which leaves actual dents in the door. The Asylum Door also comes with a full digital sound track. This prop must be seen to be appreciated. Price includes pre-programmed control hardware, solid state video player, monitor, flow control valves, digital sound module, 6in. by 23in. mat switch trigger, and all necessary electrical and pneumatic connections. Prop connects to air lines with a 1/4in. male quick connect coupling. Requires 100psi compressed air and 110VAC electrical. $3,750.00

THE LAB ASSISTANT: Every true Evil Scientist needs their own Lab Assistant. The Lab Assistant Halloween Animatronic rocks back and forth while holding a brain and says several sayings. Watch out, he occasionally farts but he will apologize “Sorry.” $1,999.00

SPIDER VICTIM: The DC Spider Victim is a DC Design Studio, LLC original creation. This creation is pneumatic driven multi movement prop that simulates a human figure being entombed in spider webs and eaten alive. Grizzly, life size, foam filled latex, Approximately 6′. You can see only what is left off the face and a hand. Must ship by truck. $3400

GUILLOTINE: Easy to use and set up. Crowd sounds jeer and mock. The blade comes screeching down at high speed and a strobe light kicks in as your patrons are sprayed with blood (water). An unsettling effect that sends them running and screaming! Includes body, table, headbox, blade, squirting mechanism and tank, 2 tape players, 2 tapes and loud amp with speakers. Requires 100 psi air compressor and A/C power. $7,180.00

DIZZY LIZZY: This motorized prop, standing 9′ tall, has a ballerina corpse doing a pirouette. As the sensor is activated, the ballerina’s body spins while her head remains staring at your patrons. This animation has an unbelievable impact on your patrons. Excellent opening scene prop. Your customers will be laughing their butts off giving your actors the perfect opportunity to startle your patrons. Comes complete with: event control timer, PIR sensor, solid state sound board, amplifier, and extra contol circuits for strobes or other lighting you wish to be controlled by the Event Control Timer. $2500

ANIMATED CANDY BOWL: Greedy hand grasps at the goodies in the bowl. Motion activated. Speaks several Halloween phrases! Please note that at the moment we are out of stock of this item however more are due in store in September. If you would like to order this product now please note that we will hold back your order until stock arrives but we will ship your order in time for Halloween! $39.00

MY GHOUL JACKSON: It’s NOT Michael. It’s a dead life-size decomposing zombie in a band uniform. The mask does not resemble Jackson. It’s just a sculpture/mask/mashup. I have been getting a lot of non-fans making DEATH THREATS to ME. WTF? I just made a prop. It’s NOT Michael. I could get sued for an unlicensed MJ product. I never listened to the guy. I like the zombie aspect of the sculpture. Again, this is NOT the artist Michael Jackson. Anyway, you can buy it from me for $2400

SCARY MARY BLOODY HAUNTED MIRROR: Terrify your unsuspecting guests with the latest killer addition in our arsenal of high-tech special effects: the Scary Mary Mirror! This beautiful ornate mirror easily serves as the center piece in any haunted house setting and appears to be innocent enough, until the mirror’s reflection suddenly transforms into a specter emanating from one’s deepest nightmares. Stealthily hidden behind the precisely formulated 2-way mirrored surface is an LCD video screen. Each Scary Mary Mirror system includes: one intricately detailed mirror frame measuring a grand 40″ tall by 28″ wide, LCD panel, DVD player with HDMI output and cable, wall mount, and even a portrait light to illuminate it, if desired. (Mirror frame design subject to change without notice). $2,800.00

GIANT TROLL: This character will get attention at approximately 7′ in heigth. He sits there and snores as his stomach breathes in and out. Suddenly the troll awakens, his eyes open and he begins to speak. $13,399.00

FREAK TANK: Standing 9′ tall, The Freak Tank; is a futuristic cryogenic chamber, containing a freakish Siamese twin corpse, floating in suspended animation. The corpse prop is suspended from an industrial quality slow spinning motor platform. Comes complete with: Motor Platform, Fog machine, event control timer for fogger, and Police Beacon. Simply place a CD Player inside the unit and play our Lab CD as heard on the video on repeat and you have a complete scenic package. $2900

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ZOMBIE GROUNDBREAKER: Zombie Escapes from the Grave! … watch this hideous corpse as he tries to claw and shake his way out of the ground. Includes corpse with moving arms, torso, and head, light up eyes and makes frightening sounds. Requires 3 AA batteries. $899

BUBBA: Backwoods, big boy zombie is feeding … in this case out of a twitching body (DINNER TIME sold separately). This Halloween Animatronic slurps and belches while leaning over, shoveling in dinner with both arms, then stands back up, looking for his next victim. Disgusting! Includes movement controls, digital sound, amp and speaker.Works great with our DINNER TIME Animatronic. $3,950.00

ROSEMARY: Life like movements. Head moves up and down and side to side. Demonic child giggles as she gnaws on a brain, and then lunges at your unsuspecting guests. Glowing white eyes. .Sound activated Item Dimensions: H” x L” x D”- 49″ x 22″ x 28″ Batteries: 4 AA Only $139.99

LIFESIZE HELLRAISER PINHEAD: What’s your pleasure, sir? Please yourself and scare everyone else with this highly detailed Clive Barker Hellraiser Pinhead Animatronic. Demon to some, angel to others – direct from the Labyrinth, this Lifesize Hellraiser Pinhead Animatronic moves his head and mouth and he holds the illuminated Lament Configuration box. The over six-foot tall sound and motion activated figure speaks phrases and utters sounds from the movie to taunt and terrify. $279.99

ZOMBIE GUARD DOG: This high startle effect features a silicone head for realism. A lunging attack combined with lots of noise and realistic head movements create the perfect scare. A great addition to any haunt. Seven independent movements including a powerful lunge and full range of motion in its head and mouth. $5,299.00

BUTCHER ELECTROCUTION: FULL PACKAGE! Butcher stands with cattle prod, then when activated lowers arm to shock victim. Sparks fly as victim flails on table, then butcher turns and lunges forward with cattle prod trying to shock patrons. Great shocker! Comes with 2 Characters, Pneumatics, Table, Wires, Overhead light, Rack stand for overhead light, 2 Strobe lights, Controller, Motion sensor, Powered Speakers and MP3 Player. PLUG & PLAY! $3,674.00

INBRED AXE CHAIR: Hill-Billy jumps out of chair 7′ with axe swinging up & down with Custom Scream Sound.Comes with programmed controller, motion sensor, Custom Sound & Power Speakers. REQUIREMENTS: AC power and Air 100 psi. PLEASE ALLOW 3 TO 4 WEEKS FOR DELIVERY. $2360

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THE GATEWAY: The gateway is an illusion where the audience sees the carnage through the portal. Then the doorway is opened to reveal the same hallway they have been watching through the window and which they now have to pass. Prop includes full length hallway fully constructed in modular components that are easy to attach together, a door with LCD display monitor, DVD and built in speakers in the door. $10,899

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p.s. Hey. Those who’ve been reading this blog for at least a year know how around this time annually my incorrigible Halloween love infects this place whereupon I start decorating its front page accordingly, so you can expect to see holiday decoration-like posts here about twice a week from now until November 1st shows up and ruins my fun. ** Empty Frame, You’re back and from wonderland, it sounds like. Nice, man, very nice. Pine Marten? I don’t know what that is. Like Doc Marten but made out of a wood? Even dolphins like Scotland? Well, I would be very happy to have you back even were you not refreshed. I’m excited about LA Halloween, you bet, but I can’t say that the book tour inspires excitement exactly apart from the cities- and friends-seeing that’ll get to happen on its periphery. ** Pilgarlic, So, the tight space ended up being too much or too little rather? Excellent about starting your screenplay! I would guess that your little knowledge about the filmic and cocksucker habitats will only serve you well. Interesting. Progress reports as you see fit, please. ** David Ehrenstein, Yeah, Schnabel’s the artist-to-director crossover success story so far for sure, We’ll see about McQueen. Oh, before I forget, your lovely TW Day will appear here on Saturday, the 8th, and on the dot. Thank you devotedly again. ** 5strings, Mm, I don’t know about me and the dead. A dead man fell on me — long story — on a bus in Peru when I was fifteen, and it kind of turned me against corpse interaction, but maybe I need to give it the old college try again. I always liked the TZ episodes that had evil, possessed ventriloquist dummies in them. I don’t think 2 – 3 hrs/day of writing is bad. I think when I’m writing I write 24/7, and sometimes there’s a pen in my hand but not as often as there isn’t. I don’t know that Liz Phair tune. I think I was the wrong age or something because I’ve never listened to Kiss voluntarily, but I really like some of their songs via the cover versions by Melvins, The Replacements, etc. ** Kyler, Howdy, Kyler. I would guess that the town Schnabel was referring to was New York. But I don’t know. Yeah, I guess self-absorption is the nature of the artistic beast, and it’s how you behave outwardly that causes the differences. I like your dream. It was tweaked and pretty. Stopping smoking, eh? Well, there’s no good argument in world for continuing to smoke. If quitting wasn’t six months-plus of pure hell and an inability to concentrate and, hence, an inability to write, I’d quit yesterday. If I quit smoking, this blog would either be history or go on a very, very long vacation. No way I could do this. But I am not trying to talk you into continuing to smoke, mind you. I’m just presenting one possible way to rationalize continuing to smoke that has been working for me so far, ha ha. ** Sypha, Hey. Yeah, I think there are writers whose talents are best served by the long form book, Pynchon being one. David Foster Wallace springs to mind. When they go short, it never feels like there’s enough or something. I think maybe it’s rare when a writer can write both long and short novels without losing their total power. I can’t think of examples at the moment. Thomas Mann? Given the completion of your massive epic — huge congrats on that, by the way! — maybe you’re one of those. ** Postitbreakup, Pleased to have amused you, sir. Mm, I’m not a huge fan of Larry Clark’s films. I like the two that were written by Harmony Korine: ‘Kids’ and ‘Ken Park’. I like ‘Another Day in Paradise’ but only because it stars an often semi-undressed Vincent Kartheiser at his physical peak. The film by Clark that most people I know seem to like a lot is ‘Bully’. I didn’t like it much, but I think it might be a way in ‘cos it’s pretty roundly liked. I’m glad you got to see the PR interview, and thanks for lending it your eyes. Well, just ‘cos I think about my work that way doesn’t mean people reading it need to think about it that way, you know? People who go to Disneyland don’t think about it the way Disney CEOs do, you know? That’s totally fantastic that you’ve been writing 750 words a day! That’s great news! It doesn’t matter whether it’s fiction or not. The thing is to get back in the groove, which will help you write what you want to write, So, yeah, that’s splendid, Josh! ** Sublethal, Hey. Thanks much about my interview. Listen, if it gets your writer juices flowing, that’s the best outcome for that thing that I can think of. Having your work inspire others to write is the real Nobel Prize. Yeah, about the PR interviews. I’ve been dreaming about being interviewed in TPR since I was a teenager. I always thought if you were accepted into that canon, you were officially a real writer. So, yeah, that privilege has been an amazing thing. I would think Gary will get in there. He’s such a complicated guy who takes no prisoners, and sometimes that results in him being cut out of honors that he so deserves. ** Squeaky, Oh, I forgot to send the message. Immediately post-p.s. Thanks a lot about the post. And that’s a great story about seeing the Zidane film. Yeah, it’s a deep film in unexpected ways, very strange. ** Sailor, Hey, pal! Okay, cool about your stuff being all squared away. If you see the Rebecca Horn film, let me know what you think. I kind of mostly didn’t like it, but I saw it ages ago, and ages play tricks on one’s memory and all that. I’m good. I hope you’re good too. Are you London-bound any minute now? ** David, Congrats on your popularity at the family reunion. What was the occasion for it? The Salle film has aged well. I think it looks much better now than it did, but I’m not sure why. ** Chris, Hey. You have issues with PayPal? Well, technically, I had squat to do with the PayPal thing, although I don’t have a problem with it. Why, is it more evil than other money transaction options? My Facebook quota … you mean the friends limit? Pain in the arse. ** Pisycaca, Hey! As soon as the schedule is set, I’ll let you know. I’m so glad you’re going to come! Other than the surrounding February weather, it’ll be big fun, I swear! ** Jesse Hudson, Thanks again, mighty Mr. Hudson! And the comments keep coming. Talk to you pronto. ** _Black_Acrylic, Hi, Ben. The French postal service seems to have been unusually efficient as copies seem to be arriving on time. Very cool about Saturday. Yeah, I hear you about the lack of ‘the shock of the new’ factor. Maybe you should really shake it up next year. The initial evidence on your blog looks great. I love your Vega simulacrum, and your buddy worked those glasses big time. Everyone, _Black_Acrylic aka the masterful Ben Robinson is presenting visual evidence of the big ‘Yuck ‘n Yum’ AGK 2 event of this past Saturday, and first up is his eerie karaoke simulation of Suicide performing ‘Ghost Rider’ in words and photos with video to follow. Be there. ** Lee, Well, that UT reunion is a case of ‘now I’ve seen everything’. Or you’ve seen everything rather. Are there any bands left whose members are still alive who haven’t reformed that one would be excited to see reformed? There must be, but I’m blanking. I will peruse the listings for every every UT-shaped space in Paris. So, you’re fully back in school, and you’re happy and even communing with nature in your happiness! Dude, so awesome to hear. Any reports along the way that you would be into passing along would be heavily ace. Great, Lee! ** Steevee, I have to disagree with you about the Bela Tarr, or about the 4/5 of it that I saw. Too bad about the Ferrara. Curious to hear from you about ‘Carnage’. What I’ve heard is that it’s okay but not much more than that. ** Tosh, Oh, Japan, Japan … One of these days. Your retrospective idea is a great one. Mixing the underground with the aboveground. As I was researching the post, I found a bunch of artists who’d gone the opposite route, giving up filmmaking to become visual artists. I think I might do a post about that/them too at some point. ** Math, Hey, Math! How have you been, pal? What’s going on? Thanks about the post. Awesome to see you! ** Chris Cochrane, The CD is out today! I’ll change the blog listing thing. Great! Feel physically better, buddy. ** Ken Baumann, Ken! Will, do, man. I’ll know some spooky LA dope by the weekend. Knott’s Scary Farm is the ‘Infinite Jest’ of the spooky house world. An embarrassment of riches. Exciting about the review! I hope the comments section doesn’t get too scary, ha ha. Thank you, Ken! Hurricane of affection to you. ** Creative Massacre, Whoa, ha ha, it took me a minute to figure that out. Very cool. And it’s even French, for goodness sake! Everyone, courtesy of Creative Massacre and also recommended by yours truly, Post-It War! Sweet about your new dog, and also about your having adopted him. What’s his name? ** MANCY, Hey, man. Thank you a whole lot about the interview. That’s very kind. And you? What’s up? Living in Seattle is … (fill in the blank). ** Kevin Killian, Warmest morning greetings to you, Mr. K. Ha ha, the pictures generation, you’re right! Interesting. Thank you about the PR interview, my friend. Oh, let me pass along your Chicago thing. Everyone, the very great writer and dude Kevin Killian has an alert that, not so coincidentally at all, presents an ultra-golden opportunity for you in the Chicago area. Listen up: ‘If there are any Chicago people who read Dennis’ blog, I’m going to be there for 4 days later this week, please give me a holler. I give a public lecture on Thursday at 5 at Gallery 400 called “In the Light.” Yeah, like the old Led Zeppelin number, my theme song.’ Have fun up and over there, Kevin! ** Bill, Hey. I might be mistaken, but I think maybe ‘Young Soul Rebels’ has been recently reissued on DVD? Don’t quote me on that, but I think that might be how I found it. Yeah, the French are covering the Wall Street thing more than the Americans are too! ** Misanthrope, You can download ‘Ken Park’ from a number of nefarious online places. Wow, she scored! How do you fake bipolar? Would being a nice guy who writes vile, disgusting books qualify me or you? Mansion! I’ll start checking the real estate websites. Ugh, sorry about the all-night proofing thing. What is the opposite of the old saying haste makes waste? Maybe there isn’t one. ** Charlie m, Uh, happy to make you feel less film snobbish, ha ha? ‘Johnny Mnemonic’ is starting to get this reassessment/cult fandom trying going on, so, yeah, I’d grab one of those $1 DVDs soon. Great about the return to music! Results, yes! ** Frank Jaffe, Hey Frank!! Thank you! Word over here in Europe at least is the new McQueen ‘Shame’ is a little bit less artistic but not damagingly so. I don’t think I’ve been in Out’s Top 50 thing, but I don’t know. I was supposed to be in some Top 100 Groovy Gay Guys thing they did recently, but it would have involved me traveling to London and being some fashion shoot thing, and I said no to that in my non-groovy fashion. That’s awesome about Richard Labonte writing up your zine. He’s a total hero of mine and of anyone with any brains, that Richard Labonte. Yeah, encourage Luke. That sounds like something he should do: get his writing out there by all kinds of means. Sorry about your wrists, man, but I appreciate it. Just for you, I’ll have a third cup of coffee this morning. Party! ** Okay. I got this done early-ish today, which means you’ll have extra time with my showroom of props, so everybody wins! Enjoy. See you tomorrow.

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‘For the final night of Britain’s Reading Festival on Aug. 28, the promoters have something unusual lined up to entertain the 80,000-plus rock fans who congregate there annually. On the alternative stage there will be a screening of Nirvana’s legendary performance at Reading in 1992, when Cobain and his bandmates triumphantly headlined a bill of grunge and alternative rock groups they’d personally selected. In an interview earlier this summer, festival booker Tania Harrison declared, “It was such a legendary performance that so many people haven’t seen … one of those seminal moments that changed everything, which is what Reading’s all about.” …

‘One of the primary aims of my book Retromania is to defamiliarize an attitude that has gradually, insidiously installed itself as normal. To do so requires memory exercises and techniques of retro-speculation: in this case, asking yourself whether the promoters of Woodstock, or the first Lollapalooza in 1991, would have lowered a giant screen onstage and projected footage of a gig from two decades earlier? The answer is no: They were too busy confidently making history to bother with referring back to it. …

‘What I’m suggesting is that an undercurrent to grunge retrospection is the music media’s and record industry’s own nostalgia for the heyday of the rock monoculture. It was already crumbling in the early ’90s, thanks to rap (the rebel music of black youth, obviously, but a lot of white kids had defected to hip-hop, too) and to the emergence of rave and electronic dance culture (in America destined always to be a minority subculture, but in Europe the dominant form of ’90s pop). Grunge was the last blast of rock as a force at once central in popular culture yet also running counter to mainstream show biz values. …

‘If grunge was a last blast, the aftershocks carried on deep into the ’90s. Spin and MTV both tried to repeat the grunge effect (an underground sound going overground, overnight) with electronica. By the time nu-metal hit at the turn of the millennium, MTV had shrewdly shed the M in its name and moved decisively toward round-the-clock reality. The heavily edited and contrived quasi-vérité version of young life offered by these programs eclipsed the gritty authenticity that grunge had represented. …

‘Cobain, arguably the last rebel-rocker-as-star, had owed his rise to the centralizing power of the old media; now in his death, he was entangled with the emerging new media disorder. The old media and entertainment channels (what I think of as the analog system) constructed the mainstream while simultaneously creating the possibility of that mainstream being breached and reinvigorated by forces “outside.” In grunge’s case, that meant the flannel-wearing, slacker-minded alt-rock underground that had developed during the ’80s, fostered by a network of independent labels. This curious process of inversion—the underground becoming the overground—was how the analog system had worked repeatedly in the past. (’50s rock’n’roll came initially from the regional independent labels.) And with Nirvana and their fellow travelers, that’s how it worked one last time. …

‘One thing we can definitively say is that the screening of the classic Nirvana gig is an anti-event, a black hole in history. That hour in which young and old alike gawp at a world-shaking performance from 1992, is dead time: the time of repetition and simulation. Another, harsher way of putting it: The dead man on that screen is more alive than the people watching him.’ — Simon Reynolds, Slate

The Melvins
Tad
The Mono Men
Alice in Chains
Mudhoney
Love Battery
My Sister’s Machine
Skin Yard
Blood Circus
Nirvana
The Fluid
Screaming Trees
The U-Men
Hammerbox
Temple of the Dog

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‘By 1988, Seattle’s Grunge Rock scene started to happen. Even though they had left Washington, The Melvins had left their mark as the first Grunge band. Every Seattle band of the late ’80s owes a little something to the Melvins – a band that slowed down the tempo and played sludgy riffs. In 1990, Kurt Cobain and I were driving back from Los Angeles to Washington. We took the opportunity to stop by San Francisco and see our pals in the Melvins, and mentioned that we were without a drummer. Scream were playing in North Beach and we all went to the show. Buzz said we had to see their excellent drummer. Scream played a great set and we met the band. Buzz introduced us to their drummer, David Grohl. The Melvins have always stayed true to their vision of rock. It’s sophisticated metal but there was a lot of schooling in Punk. And it shows. They can really get out there, but there’s a complex method to the madness.’ — Krist Novoselic

‘Hung Bunny/Roman Bird Dog’ (live, ’92)

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‘Tad was among the first bands to be signed to Sub Pop Records and was possibly the first pioneer of what was to be later called grunge rock. In 1987, Doyle had released the “Daisy/Ritual Device” single on Sub Pop, produced by seminal Seattle producer Jack Endino, for which Doyle wrote and performed all music. Tad’s debut album God’s Balls appeared in early 1989 and was also produced by Endino. In March 1990 the band released the Salt Lick EP, recorded by Steve Albini. The single “Wood Goblins” was released in the same year, but was apparently banned by MTV. After a European tour with Nirvana, Tad returned to Seattle and recorded their second album 8-Way Santa (1991), named after a type of blotter acid. Produced by Butch Vig, the album was far more pop-oriented than its predecessors. A lawsuit was filed due to the cover (which was a found picture of a man fondling a woman’s breast). The couple in the photograph, one of whom had since become a born-again Christian and remarried, took exception and sued.’ — The Obelisk

‘Giant KIller’ (live, ’91)

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‘The Mono Men‘s sound contained elements of grunge, but they filtered these through a mimicry of 1960s Washington proto-punk, garage rock bands such as The Sonics. Based in Bellingham Washington, the band came together in late 1987. They played shows in Europe, Mexico, Japan, Canada, and the United States. Their numerous albums and EPs albums all received generally positive reviews. The band split in 1998, although in 2006, the Mono Men reunited to play a series of concerts called the “Spanish Attack.” Guitarist Dave Crider runs the record label Estrus Records, and he and drummer Aaron Roeder are currently members of the band Watt.’ — The Sara Monster

‘Wrecker/Testify’ (live, early ’90s)

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‘Alice in Chains rose to international fame as part of the grunge movement of the early 1990s, along with other Seattle bands such as Nirvana, Pearl Jam, and Soundgarden. The band was one of the most successful music acts of the 1990s, selling over 35 million albums worldwide, and over 14 million in the US alone. Although never officially disbanding, Alice in Chains was plagued by extended inactivity from 1996 onwards due to substance abuse, which resulted in in the 2002 death of Layne Staley, and the 2011 death of former bassist Mike Starr (who left the band in 1993). Alice in Chains is noted for the unique vocal harmonies of Staley and Jerry Cantrell, which included overlapping passages, and dual lead vocals. Alyssa Burrows said the band’s distinctive sound “came from Staley’s vocal style and his lyrics dealing with personal struggles and addiction”. Staley’s songs were often considered “dark”, with themes such as drug abuse, depression, and suicide.’ — Blabbermouth.net

‘Man in the Box’ (live, ’91)

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‘Mudhoney‘s early releases on Sub Pop; the “Touch Me I’m Sick” single and the Superfuzz Bigmuff EP were influential in the Seattle music scene, and helped inspire the dirty, high-distortion sound that would characterize grunge. Word of the band’s rep in Europe quickly crossed the pond, and Mudhoney were the new heroes of underground rock by the time their first full-length album, simply called Mudhoney, came out in late 1989. Mudhoney were notable for their mixing of heavy blues rock and punk rock. Although they have found little commercial success during their long career, which has yielded ten studio albums, they nonetheless inspired many grunge and alternative rock musicians, such as Kurt Cobain of Nirvana.’ — allmusic

‘Hate the Police’ (live, ’93)

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‘Along with Screaming Trees, Love Battery fell into the more psychedelic wing of Seattle grunge, adding a liberal dose of Beatlesque pop to the requisite hunks of mind-bending guitar fuzz. Formed in 1989, the band took its name from a Buzzcocks song, and originally included singer Ron Nine (born Ron Rudzitis, ex-Room Nine), guitarist Kevin Whitworth (ex-Crisis Party), bassist Jim Tillman (formerly of grunge forebears the U-Men), and Mudhoney drummer Dan Peters. Peters left in short order and was replaced by onetime Skin Yard drummer Jason Finn. In 1990, the band released its six-song debut EP, Between the Eyes, on Sub Pop. They tightened up their focus and approach for their first full-length, Dayglo, which was issued in 1992 to highly positive reviews. After a prolonged period of inactivity the band played their first show in 4 years on June 23, 2006 at Neumo’s in Seattle, WA.’ — eskimo.com

‘Fuzz Factory’

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‘Seattle rockers My Sister’s Machine first appeared in early ’90s, riding the wave of grunge into the mainstream and a record deal despite their relatively short existence. Vocalist Nick Pollock had played the guitar in Alice in Chains in the ’80s, and remained in the close-knit Seattle metal scene that included those two bands as well as Gruntruck and Screaming Trees. The band also consisted of guitarist Owen Wright, bassist Chris Ivanovich, and drummer Chris Gohde. After two unheralded albums, they called in quits in 1994. Pollock would go on to form Tanks of Zen in the late ’90s.’ — metal-archives.com

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p.s. Hey. For those of you who are interested, my limited edition chapbook ‘French Hole, being 15 outtakes from The Marbled Swarm‘ will go on sale tomorrow at 6 pm Paris time. There’ll be a post tomorrow introducing and sampling the book that will also direct you to where you can buy it, if you want. ** Alfonso, Hey, man. Always really nice to see you. Well, as I understand it, Mokhorev spends a lot of time with his subjects. If you look at a larger spectrum of his work, you see that he continued to photograph a number of the kids over a period of years. So, I think they trusted him. I’m doing okay. How are you? What are you up to? ** Tomkendall, Thanks, Tom. You’re a pal. Having a book published is pretty stressful, as you’ll see when your turns start coming, and it’s easy to get bent out of shape, and this is first time I’ve had a novel come out while I’m doing the blog/p.s. in its current form, and I guess my moods and worries get spilled into here, and I’m going to try to regulate myself better about that. Yes, I got the email/post/ pictures, and it’s just wonderful. I’ll get back to you soon with the launch date. Thank you so much, man! ** Slatted Light, Hi, David! Awesome to see you! And thank you for the pep talk. I’ll find some way to settle about all this. I’m just not totally there yet. The PW review, like the LJ review earlier, is just a nothing with a negative tilt. It didn’t bother me, except for its possible part in an emerging pattern. Perhaps you’re right about ‘TMS’ being kind of anti-critic. The problem is that I have been unusually excited about the critical response. I’ve been thinking that I wrote a novel that, more than any other novel I’ve written, necessitates an engagement in the processes and style and seriousness of my work. I had an idea that it would be more difficult for the novel to get the kinds of reviews my books usually get, i.e. here’s another Cooper book full of sex and violence that is different in this particular way and is probably only of interest to his ‘cult’ of readers. But that’s the response that, explicitly or implicitly, ‘TMS’ has been getting so far, most troublingly by far to me in the case of the Cohen review, where he, using an authoritative and superior tone, does a total misreading of the novel’s intentions then declares it to be a ‘personal, honest’ confession by me to my ‘fans’ that my work has a stronger relationship to avant-garde knock offs like ‘Story of O’ than to the originals that he thinks the novel is rummaging through, the only real difference between ‘TMS’ and my earlier books being that its my ‘most unreadable’. Given that it’s the only lengthy review of the novel to this point and that I respect Cohen’s fiction, it’s more disappointing to me now than it hopefully will be later. Anyway, I think the best thing to do is stop worrying aloud about all of this. I’m thrown off-kilter, and I’m going to try to dwell silently in my thoughts about this for a while as best I can. All that said, thank you, David. What you said is very wise and helpful. ** David Ehrenstein, Aw, thank you, David motherfucking Ehrenstein! That is a very ‘her’ move on Weld’s part, true, but it’s a shame. Oh, listen, sir, if you want to do a Tuesday Weld Day for here, you know I’ll jump and down with many happy skyward fist pumps. ** Allesfliesst, Well, you know, money is tight, especially these days, and having me come along would be kind of a luxury item, ‘cos I don’t need to be technically. I understand the situation, but sometimes I decide to try to fight a little bit to get dragged along. Very, very interesting about your plan in Stockholm. I’ve never been to Stockholm, which is why I’m pushing to get there. So I don’t know what’s going on there. I’ll ask Gisele. She’ll have ideas, I suspect. ** Kyler, Oh, yes, if anyone should be able to predict the blog’s future, it’s you. But don’t do it, or don’t tell me at least. I don’t want to know where this is going. Yeah, no need for a dawn awakening. Once this place launches, it only gets better as the comments accumulate. Really wonderful to get to read your and Chris’ talk about Sarah Kane. Thank you for making here its home. ** Pilgarlic, Hey. Oh, I never told you I loved your bottle piece, did I? I don’t think so. I did. It was great! Your writing and thinking was just marvelous. A short piece by you, interesting. I like what seabirds do most of the time. ** 5strings, That is one kooky, pretty guitar right there, Thanks! I’ve had completist urges and acted on them re: music a bunch. Now I’m just a Robert Pollard completist, and that’s such an overfull-time quest that I don’t have the time/money to collect anybody else. That ‘Fargo’ snow globe was sweet until it got murky. No idea why the water turned brown. Can smog and cigarette smoke get inside snow globes because that would explain it? I think there are Anger soundtracks or bootlegs anyway. I have a few in LA, I think. Thanks for the pillows-related stuff. Pillows are the Mother Theresas of all the things made out of fabric. ** Sypha, Hey. Ha ha, yeah, so far your dream was just a dream. That B&N; part sounds like it could happen, though. The mom part … well, I don’t know your mom, but it sounds unlikely. Short action/fight sounds good to me. In movies, at least, they always seem to go on forever and ever like the blow job parts of porn movies, ha ha. ** Joakim Almroth, Hey! You came back, cool! Oh, I somehow didn’t make the leap to realizing those photographs are yours. They’re terrific. The new ‘Dino’ one is gorgeous. Assuming you’ll keep adding new ones, I look forward to that. So, do you exhibit your work in galleries or art spaces or anything? You should, obviously, unless you’re not into that form of public roll out. I didn’t know Eli was back in Stockholm, but, yeah, I guess he would be by now. He’s such a great guy and artist. No, I haven’t seen ‘Dance of the Vampires’. I’ve read about it, or about live productions of it as a theater piece, or I thought it was theater piece, but maybe not. I’m curious. Jim Steinman’s songs are kind of a guilty pleasure for me. So, how was it? And if you see this before you see Eli, give him my love. Thanks for the kind words about my stuff. It’s great to be able to get to know your work. Great day to you. ** Killer Luka, Yeah, right? Glad you liked them with an exclamation mark finis no less. Actually, my novel is kind of Nutcracker-ish in a weird way. Why aren’t critics talking about that, ha ha? Thanks, my pal. ** Hyrule Dungeon, ‘TMS’ will probably start getting out and about in a month, I’d guess. No, man, I think your attitude about writing and reading rules, totally. ** Sublethal, Oh, aren’t you nice. I tried listening to Black Flag’s ‘Rise Above’ first thing this morning, and it kind of worked. ** Steevee, I’m so sorry to hear that, man. I hope it’s one of those moods that gather and disperse quickly. ** Chris Goode, Hey, Chris! Oh, great, I’m really glad you liked the Mokhorev pix. The Will McBride thing, sure. Wow, Krivon, I haven’t thought of him in ages, probably for the obvious reasons, ha ha. Thanks for the good words, man. Gosh, yeah, I’d love to do the interview if you still want to. I don’t know, however or whenever you would like. Dreamy idea to do it person, but, yeah, I suspect we’re stuck where we are by work and lack of funding nonsense. Anyway, yeah, I would be honored, sir. Damn, that workshop you’re doing sounds fantastic. It itself and the mode you’re employing too. Major respect to you re: that. Your play in the Bush context sounds quite fascinating. I don’t think you’ve mentioned that project to me before, no. Quite an assignment or thematic there. Grown-ups suck. Imagine what it’s like for me being the same age as those people if not old enough to be their uncles. I guess your actors couldn’t perform the last scene in pig-Latin? Horrible idea, I know, but well intentioned. I hope those censorious fuckers fuck the hell off. ** Sailor, Hi, Sailor! Good to see you! Ha ha, yeah, that PW review was a piffle, but, Jesus, it sucks how sensitive one can be about things. And I always forget the way puritanical people react to fiction like it’s just gussied up true crime. Weird. Anyway, how are you? What’s going on? Are busy getting ready for the big move? ** Little foal, Such a beautiful response to the photos, D. Thank you. That was wonderful. I’m really, really glad to hear things are cool with your friend and that you’ve found a deep understanding and that commonality. Lifelong relationships of all kinds have been built on so much less. If I was really rich, I’d buy a gigantic mansion somewhere and fill it full of young artists who are into being subs, and they could make art all the time, and I would use my master status to say, I order you to work harder on your art, and they would do it ‘cos I’m their theoretical master, and everybody would win ideally. Hope your day was awesome, D. ** _Black_Acrylic, I wouldn’t have known you’d had a few if you hadn’t said so. You were clear as a bell, and awfully nice, too. ** Mvc, Hey! Welcome! I’m a big fan and visitor of Montevideo, of course, so it’s an honor to have you here, thank you! I had somehow never heard of Carlos Robledo Puch until you mentioned him. I checked the link, and, yes, very interesting, and, yes, he is, uh, visually interesting as well. Best serial killer haircut ever, for one thing. That was really nice of you. Please feel free to come back anytime, and lots of respect to you. ** Haitch, Hello, you’re new. Oh, wait, and you’re a friend of Ben’s. Nice to meet you. And you’re right about Mokhorev. Hang out here anytime, please. It would be a pleasure. ** Chris Cochrane, I got the CD. It looks fantastic! I will find things in LA, sure. Oh, and Gisele is asking Stephen who the Wire guy is. I guess he’s the one who knows. More soon. ** Chilly Jay Chill, Hi, Jeff! So great to talk to you! It was really fantastic! From what I’ve seen, this is the most interesting of Mokhorev’s work, although he’s done a series of photos on the street that are quite interesting as well. Some of them were in one of the post’s video slideshows. The Cassavettes screening should be interesting. I can see that going either way, actually, response-wise. ** ‘Matt’, Hi, man. Wow, thanks for the ‘best of’ people’s kind words thing. That was really nice. Yeah, I’m getting over myself, I think. Weird shit, having something that’s very important to you go public. We all know what that’s like. Yukio Suzuki’s work looks very interesting. I’ll investigate further. I didn’t even mind the music. ‘Hanging on the Telephone’ is a weirdly hard song to sing. Or I tried to sing it once with a friend’s band with the idea that I would join them onstage and sing it with them as an encore, and my singing voice isn’t so bad, but I could not nail that sucker at all. Anyway, thanks, Matt. ** Squeaky, Hi, D. Thanks for being here from LA. You hung out with Joel, awesome. Well, yes, perhaps I will make a little inquiry about the beloved’s identity because I still haven’t figured it out. I have a bunch of polaroids that I shot of you on that very visit to that very LA pad of mine. Keep enjoying the last 24 or thereabouts hours, man. I’m sure you will. ** Bill, Hi, Bill. Glad you liked them. Yep, ‘French Hole’ is on the cusp. ** Eli Jürgen, Hi, Eli. Oh, the AC thing, uh … ‘The Sluts’ is set on the internet and mostly in and around an escort website, and all this stuff happens, but one of the threads involves an online group devoted to imagining perverse scenarios involving Aaron and Nick Carter. Yeah, AC kind of went really downhill kind of really fast at a certain point kind of right after ‘Aaron’s Party’, poor guy. Didn’t he end up on rehab reality show(s) in the US? I’m not sure about that. That ’97 clip is wild. Anyway, awesome, ‘cos I want to read your essay bad. So, thanks! I’d be way into making it a blog post, if that idea amuses you at some point. I want to see you new paintings too. So much to look forward to! ** Inthemostpeculiarway, Hey. Glad you liked the photos! Okay, yeah, I really hope Eyebrows becomes or remains exactly what you want him to be. He’d be crazy not to, from my perspective. No, I’ll probably know about the downsizing thing in the next day or two. But Gisele told me she’s going to fight for my show to be exactly what I want, so that’ll help. That poker/’ANoES’ guy sounds interesting. That combination of interests is interesting in and of itself. Oh, but that cigarette pack knocking thing was weird. And, okay, he did start to seem weirder as your report on him continued. Still, all in all, a curious fella. I think the only people who hate Anna Wintour are the people trying to get her to put them in the magazine. Ever since ‘The September Issue’, I think she’s kind of seen as a god or something. I sort of see her as a god. My Tuesday: Tried to fight back my ‘TMS’ reviews-related funk. I.e., cranked some GbV, looked at porn, went on a walk, etc. It kind of worked, I guess. Talked on the phone to d.l. Chilly Jay Chill about his novel, which I finished reading recently and which is really fantastic, as you and everyone will see once he gets it published. Talked to Gisele on the phone about the festival stuff a couple of times. Checked to see when ‘Drive’ opens here ‘cos I’m excited to see it, and it opens next week, cool. Worked on blog stuff, emails, etc. Kiddiepunk called me in the afternoon and said ‘French Hole’ was back from the printer, so I went over to his and Oscar’s room, and, yeah, it looks fantastic as does his zine that is part of the super limited edition version. I signed the super limited edition version and hung out with them for a bit. I bought cigarettes, and the guy at the Tabac place gave me a free lighter I guess because I always buy my cigs there and because he was in a great mood for some reason. I wandered around a bit ‘cos it was super nice out. Came back here, did some more work/ emailing, and Yury came back from work, and we ordered some stuff online that we need (Nissim shampoo, which you have to order from the States, and Melatonin, which you have to order from the UK, and some supplement he likes that you have to order from Russia). And then time ticked inevitably towards sleepiness with me aboard. That’s it. How was Wednesday? ** David, Hey. Very nice riff there. ** Frank Jaffe, Hey Frank! Glad you like the new cover. It’s kind of more nervous or something. I like it too. Thanks! 6 pm tomorrow Paris time: there’s your hint. That Open House is today? If so, I hope it’s packed. Hey, take photos and put ’em up on Facebook? Good idea, right? I think so. ** Misanthrope, The lengths are unimaginable, just the way I like them. The PW review is nothing, yeah, but it’s an annoying nothing. The description was super neutral. Weird review. But … whatever, that’s my new attitude in progress. What-fucking-ever. Anyway, you should read the novel before you defend it. Heck, you might go all wtf?! on my ass. You never know. You never fucking know. That’s my new attitude in progress. ** Okay. The other day I thought, hm, Grunge, I haven’t thought about Grunge in a while, and then I poked around on the internet and, lo and behold, a post appeared as if by very labor intensive magic, and now I ask you to harken back to the days when Rawk had a lot of people’s ears. See you tomorrow.