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Home Music Epicly Later’d; Patrick O’Dell

Epicly Later’d; Patrick O’Dell

$95.00

n 2004, before the advent of social media as a global phenomenon, photographer Patrick O’Dell launched the celebrated blog ‘Epicly Later’d’, dedicated to documenting the adventure and mayhem of the NYC skate/music/downtown scene. Two decades later, the influence of O’Dell’s work is apparent, and the original photographs still astonish. Compiled by O’Dell and editor Jesse Pearson, this title collects the best of the blog into a body of work that’s evocative wildly compelling.Patrick O’Dell is a photographer, photo editor, filmmaker, and skateboarder from Columbus, Ohio. In addition to the creation of the seminal photoblog Epicly Later’d, his work includes serving as a photographer for Thrasher magazine and photo editor for Vice. He also created and produced the webshow and television adaptations of ‘Epicly Later’d’, and is an acclaimed director of music videos and the film ‘Dumb: The Story of Big Brother Magazine’.

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SKU: 16294
Categories: Books, Music

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VITAL 20 Zine: June 1991 – Frans de Waard (Staalplaat) CHOP SHOP

$35.00
Original Xeroxed Zine  -

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.

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BLUES CONTROL; Valley Tangents

$24.00
BLUES CONTROL; Valley Tangents LP 2012 (Secondhand) US experimental duo, fourth album, first on Drag City label
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MY CAT IS AN ALIEN; The rest is silence

$30.00
MY CAT IS AN ALIEN; The rest is silence Double Gatefold LP, Used (2003) My Cat Is An Alien are one of the most prolific groups in the international experimental music scene, with more than 100 records in their first 13 years of activity. Tony Herrington, editor-in-chief & publisher of The Wire magazine, wrote:
Roberto and his brother Maurizio are the highly advanced lifeforms crewing the mysterious starship that goes by the name of My Cat Is An Alien (MCIAA), plotting a quixotic course through three millennia of cosmic music, from the celestial drones of the Pythagorean monochord onwards, to land up in the gravity-free realm of the No-mind
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BORBETOMAGUS and VOICE CRACK: Concerto For Cracked Everyday Electronics And Chamber Orchestra; CD (1997)

$32.00
Experimental, Jazz, Improv, Electronic, Noise, Improvised, Free, Knitting Factory; CD (1997) The Knitting Factory was a venue in New York City that had a policy where bands were not allowed to record their own sets. They could only pay the venue to record for them. The rumor is that this album by the double-trio of Borbetomagus (truly one of the top three two-saxophones-and-guitar bands in all of New York) and Voice Crack (Swiss electronics duo + Knut Remond of 16-17 and UnknownmiX) refused to play along with that bullshit, so they discreetly recorded their own set and put it out with this puffery: "Recorded live at Carnegie Recital Hall, New York on May 26, 1994", hence the bloated faux-classical title. Which is very funny. The music is blistering as you might expect.
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