Frans de Waard published Vital, a fanzine for electronic and electroacoustic music, from 1987 to 1995. It was a low-budget, Xeroxed publication, bearing the revolutionary instruction: ‘No Copyright Publication. Reprint Now!’ It featured interviews with Asmus Tietchens, O Yuki Conjugate, Merzbow, P16.D4, Pierre Henry, Jim O’Rourke, Brume, Döc Wor Mirran and many others, hosted discussions on copyright, plagiarism and plunderphonics, house music, ambient music, cassette culture and noise, and included contributions from musicians such as Leigh Landy, Godfried Willem Raes, John Duncan, and GX Jupitter-Larsen. Every issue included reviews of cassette releases, LPs, CDs and books. A total of 44 issues were published. Vital moved online in 1995, where it appeared every week since as Vital Weekly.
Frans de Waard has played with Kapotte Muziek to Beequeen (with Freek Kinkelaar), Goem (with Roel Meelkop and Peter Duimelinks, both of whom are also a member of Kapotte Muziek), Zebra (with Roel Meelkop) as well as solo projects under the moniker Freiband and Shifts, and under his own name. De Waard worked for Staalplaat (1992-2003) and since 1986 as a reviewer for his own independent zine publication Vital. VITAL zine is a lively record of the heyday of cassette culture and industrial music, but also of developments in the wider field of electronic music.
Frans de Waard published Vital, a fanzine for electronic and electroacoustic music, from 1987 to 1995. It was a low-budget, Xeroxed publication, bearing the revolutionary instruction: ‘No Copyright Publication. Reprint Now!’ It featured interviews with Asmus Tietchens, O Yuki Conjugate, Merzbow, P16.D4, Pierre Henry, Jim O’Rourke, Brume, Döc Wor Mirran and many others, hosted discussions on copyright, plagiarism and plunderphonics, house music, ambient music, cassette culture and noise, and included contributions from musicians such as Leigh Landy, Godfried Willem Raes, John Duncan, and GX Jupitter-Larsen. Every issue included reviews of cassette releases, LPs, CDs and books. A total of 44 issues were published.
Frans de Waard has played with Kapotte Muziek to Beequeen (with Freek Kinkelaar), Goem (with Roel Meelkop and Peter Duimelinks, both of whom are also a member of Kapotte Muziek), Zebra (with Roel Meelkop) as well as solo projects under the moniker Freiband and Shifts, and under his own name. De Waard worked for Staalplaat (1992-2003) and since 1986 as a reviewer for his own independent zine publication Vital. VITAL zine is a lively record of the heyday of cassette culture and industrial music, but also of developments in the wider field of electronic music.
The style of the magazine was a mix of interviews, articles, fiction, and music reviews, often written in Glass's absurdist, stream-of-consciousness writing style, which at times bordered on nonsense. The text was complemented by bizarre artwork and photographs, frequently unrelated to the articles they accompanied. One trademark of the magazine was its use of appropriated text and images from uncredited or unknown sources, taken from found objects picked up by Glass, other contributors, or readers. Another regular feature was the inclusion of a compilation 7" record or CD of music by artists profiled in the corresponding issue. Bananafish is often credited with giving many Americans their first exposure to Japanese noise musicians such as Merzbow and Solmania, as well as domestic noisemakers like Emil Beaulieau
Front Cover by Christine Shields from Bananafish Issue #15
The style of the magazine was a mix of interviews, articles, fiction, and music reviews, often written in Glass's absurdist, stream-of-consciousness writing style, which at times bordered on nonsense. The text was complemented by bizarre artwork and photographs, frequently unrelated to the articles they accompanied. One trademark of the magazine was its use of appropriated text and images from uncredited or unknown sources, taken from found objects picked up by Glass, other contributors, or readers. Another regular feature was the inclusion of a compilation 7" record or CD of music by artists profiled in the corresponding issue. Bananafish is often credited with giving many Americans their first exposure to Japanese noise musicians such as Merzbow and Solmania, as well as domestic noisemakers like Emil Beaulieau.
Mondo, Shockumentary, Mixtape, Gore, Real Footage, Disturbing; Zine + 3 DVD-R set - New
Mondo Mysterium is a monthly published U.S. zine showcasing marginalized mondo films (and the occasional shockumentary or other fellow traveler) that been somewhat neglected (which will mean they have never had a DVD release, or at least not the particular version) and are deserving of recognition for their contribution to the genre. Each month, the zine comes with three curated DVD-R's of obscure and unreleased mondo films from the Mondo Mysterium collection archive, complete with essays about the selected films.
The three DVD-R titles included with in Mondo Mysterium Vol 2 are the esoteric mondo film 'Il piacere e il mistero' (1964); one of the more obscure US shockumentaries, 'The Underbelly of America' (1998); and finally something extra special: 'Death Fest' (ca. 1996), a '90s homebrewed gore mixtape.
Mondo, Shockumentary, Deathumentary, Zine, Independent, Rare, USA: Zine - New
MONDO MYSTERIUM #1: Independent US Mondo photocopied zine including 3 ultra rare DVD-R Mondo films per issue + accompanying essays. This is fan made, bloody brilliant, and these films are rare and hard to find anywhere else... This is for collectors and those who know how truly cool this is.
Australia, Graffiti, Street Art, Bombing, Rare, Train, Magazine, Sydney; Zine - Ex Used condition
Another seminal Australian Graff zine, Straight and Narrow issue 3 from Sydney (2005), hard to find in Excellent condition like this.....
