Red Door Magazine #30 - The TAKEOVER

RED DOOR MAGAZINE #30 Retro The TAKEOVER issue co-directed by Harrison Owen, the theme of this issue is RETRO and was done as a series of interviews and podcast episodes of Red Transmissions Podcast to Psychic Ills' Elizabeth Hart, Studded Left's Tex Kerschen, Excepter's Lala & John Fell Ryan, Martin Thulin, Chloe Lum & Yannick Desranleau, all orchestrated by Harrison, who has traveled, documented and witnessed the careers of these artists through his camera. Additionally, we welcome Pablo Saborío as poetry editor of Red Door, and Martin Andersen returns with another issue of his illustrated mid-fold interpretations of a selected poem. This time, Numan by Robert Detman. The poetry selection is formed by Alison Jennings, Douglas Colston and Marco Patitucci. The featured artist of this issue is the wonderful NIKTALOPE Christina Arancibia Becht. This issue also features an interview with theater director and writer Marc von Henning, and last but not least, coverage of the recent experimental music festival Intonal. See it all at www.reddoormagazine.com

The TAKEOVER issue

co-directed by Harrison Owen, the theme of this issue is RETRO and was done as a series of interviews and podcast episodes of Red Transmissions Podcast to Psychic Ills' Elizabeth Hart, Studded Left's Tex Kerschen, Excepter's Lala & John Fell Ryan, Martin Thulin, Chloe Lum & Yannick Desranleau, all orchestrated by Harrison, who has traveled, documented and witnessed the careers of these artists through his camera.
Additionally, we welcome Pablo Saborío as poetry editor of Red Door, and Martin Andersen returns with another issue of his illustrated mid-fold interpretations of a selected poem. This time, Numan by Robert Detman.
The poetry selection is formed by Alison Jennings, Douglas Colston and Marco Patitucci.
The featured artist of this issue is the wonderful NIKTALOPE Christina Arancibia Becht.
This issue also features an interview with theater director and writer Marc von Henning, and last but not least, coverage of the recent experimental music festival Intonal.
See it all at www.reddoormagazine.com


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RED DOOR 30<br />

RETRO<br />

THE <strong>TAKEOVER</strong> ISSUE<br />

SPRING 2022<br />



RED<br />

RE<br />




30<br />

3030<br />

20<br />

ED<br />

26<br />

02<br />

39<br />



Chloe Lum & Yannick Desranleau<br />

<strong>The</strong> Parameters of Decay<br />


30<br />

D<br />

3030<br />

34<br />

FEATURED ARTIST of issue <strong>#30</strong><br />


30<br />

OR<br />

3030<br />

7-19<br />

<strong>TAKEOVER</strong> interviews with<br />


AND MORE!<br />

32-33<br />


COVERAGE AND REPORT (Photo of art exhibition<br />

piece by Kris Pannecoucke)<br />


On this issue, the responsible parties are:<br />


RED DOOR MAGAZINE ISSUE <strong>#30</strong><br />


Niktalope .........................................................pg. 34<br />


Editor In-Chief<br />

IN THE EYES OF THE BEHOLDER ......... pg.20<br />

Illustrations by Martin Andersen<br />

of poem “Numen” by Robert Detman<br />

INTONAL: A feast for your ears............... pg. 32<br />

POETRY BY:<br />

.Alison Jennings ........................................... pg.22<br />

Douglas Colston........................................... pg.23<br />

.Marco Patitucci ............................................ pg.24<br />


Takeover co-editor<br />

<strong>TAKEOVER</strong> FEATURES OF.:<br />

- Excepter .......................................................... pg. 8<br />

-Psychic Ills .................................................... pg. 16<br />

-Indian Jewelry / Studded Left.................pg.10<br />

-Chloe Lum & Yannick Desranleau<br />

<strong>The</strong> Parameters of Decay ......................... pg. 26<br />

-Martin Thulin .................................................. pg. 6<br />


Suspending Disbelief with Marc Von<br />

Henning ........................................................... pg.30<br />


Poetry Editor<br />

Listen to <strong>Red</strong> Transmissions Podcast for<br />

all these full episodes on most podcast<br />

providers or directly at<br />

www.redtransmissions.libsyn.com<br />

Collage art along the magazine<br />

by Studded Left<br />

978-87-94003-09-4<br />

<strong>Red</strong> Press, Copenhagen, 2022<br />

www.reddoormagazine.com<br />

All rights reserved by the respective authors.<br />


Illustrator of Eyes of the Beholder<br />

series<br />




<strong>Red</strong> <strong>Door</strong> <strong>Magazine</strong> releases digital & printed issues<br />

quarterly with an emphasis on visual art and poetry.<br />

It includes multimedia art, essays on adventures<br />

and activism, as well as relevant media articles and<br />

documentation of the activities by our network, including<br />

you. <strong>The</strong> magazine always features a poetry selection,<br />

prose, and occasional interviews by established and<br />

emerging artists and upcoming events. We’re here to<br />

give you a handful of essential pieces you can digest in<br />

one sitting.<br />

We’re currently seeking visual art, music, film reviews,<br />

travel and media articles, poetry, fiction, and creative<br />

nonfiction. Simultaneous submissions are always ok,<br />

and if you have a piece accepted elsewhere, please let<br />

us know by adding a note to your submission; we’re not<br />

aiming for exclusivity - but relevant, quality content.<br />

Please visit www.reddoormagazine.com for specific info.<br />

________________________________________<br />

File specifications: Content to be sent via submittable. Your<br />

article may be a maximum of two pages, and we accept<br />

a maximum of 4 poems per submission. All languages<br />

are welcome but please include English translation.Also<br />

include a small biography of up to 10 lines about you. All<br />

this must be included as .doc files . All images must be<br />

attached as .jpeg images in a resolution of 1080 x 1080<br />

px or its equivalent in format so it can be used for print<br />

and hi-res for web. Art call also available on submittable.<br />

ISSUE #31: the CUT-UP issue<br />

(Summer 2022)<br />


July 20<br />






I support the endeavor to live in the present. During<br />

the past two years, however, one can be excused if<br />

some time was spent thinking about the way things<br />

used to be. A little nostalgia can be a helpful coping<br />

mechanism. <strong>The</strong> summer of 2021 marked my 20<br />

year anniversary of moving to my chosen home of<br />

New York City, and I’ve certainly been doing my<br />

fair share of reminiscing. <strong>The</strong> tragic news that Tres<br />

Warren, singer and guitarist for the band Psychic<br />

Ills, had passed away in March 2020 initiated an<br />

intensive journey back down memory lane. <strong>The</strong><br />

Psychic Ills were one of my favorite local bands in<br />

the 2000s and I was thrilled when Tres asked me<br />

to help make some videos for them back then. In<br />

the days following his passing, the first days of the<br />

shut down, I re-watched those videos, listened to<br />

the records, and commiserated with others on the<br />

phone and online. Soon I was visiting the beach<br />

in Queens where we shot footage for one song,<br />

now to escape the endless howl of sirens outside<br />

my window. I found security by the sea walking<br />

slowly on cold grey days, socially distant from the<br />

occasional other and possible pathogens, with my<br />

sleeping six-month old son strapped to my chest.<br />

That favorite of spots, especially in the off-season<br />

and empty, will now forever stir up unprecedented<br />

feelings of fear, loss, and uncertainty about the<br />

future.<br />

Things really kicked off at a show in December 2005<br />

at a gig at the Cake Shop on the Lower East Side.<br />

<strong>The</strong> bands Excepter, Indian Jewelry, and Psychic<br />

Ills were all on the bill, and I’d go on to befriend and<br />

work with all three of them. I traveled to Montreal<br />

with Excepter, Mexico with Indian Jewelry, and<br />

up and down the west coast with both of them,<br />

shooting videos on the beaches of California.<br />

I’m grateful to Elizabeth and <strong>Red</strong> <strong>Door</strong> for allowing<br />

me to essentially take over for an issue so that I can<br />

share with her readership some of these great artists.<br />

It’s been a pleasure to reconnect with them and talk<br />

about their work, from the 2000s to the present,<br />

as well as their plans for the future. I’m hoping a<br />

new audience digs into this rich discography and<br />

keeps an eye and ear open for their voices moving<br />

forward.<br />

Harrison Owen<br />

co-editor of this issue of <strong>Red</strong> <strong>Door</strong><br />

In loving memory of Tres Warren, Clare Amory and<br />

Rodney Rodriguez.<br />

When I couldn’t get to the beach, stuck at home,<br />

I proceeded to look back at other work I’d done,<br />

remembering the vibrant artistic communities that<br />

were documented. Around 2004 I began making<br />

DVD video ‘zines featuring live music I’d shot and<br />

art I liked. Each issue focused on a different city,<br />

with artists I had met and corresponded with online<br />

through social media, similar to the world threading<br />

spirit of this magazine. Over six discs, I managed to<br />

cover a good bit of North America, from New York to<br />

Los Angeles, Montreal in Canada, and Mexico City.<br />


<strong>TAKEOVER</strong><br />


@martinthulinofficial<br />

Martin Thulin is a producer, composer<br />

and founding member of Exploded View,<br />

releasing solo music under his own name.<br />

He co-wrote and produced Anika’s latest<br />

album change. He speaks from his home<br />

in Mexico to <strong>Red</strong> Transmissions about the<br />

mishaps, purpose and magic of the world<br />

of music. A pattern you might notice in<br />

this and other interviews, is that each artist<br />

speaks of failure as a fundamental part of<br />

artistic development.<br />

<strong>The</strong> episode opens with the song “Open<br />

Road” by<br />

Harrison Owen, speaking from New York,<br />

introuces Martin as a Swede who has lived<br />

in Mexico for 2 decades, as a musician<br />

and producer, founder of the bands Los<br />

Fancy Free, and Evil Hippie, and more<br />

recently releasing solo albums and playing<br />

with Anika and the band Exploded View.<br />

Martin Thulin, speaking from Mexico, shares<br />

that he got involved with music as a child,<br />

finding connections of random stuff to play<br />

and go through around the house, playing<br />

records and listening to whatever came<br />

up. From the very beginning Marin leaned<br />

towards psychedelic music specifically.<br />

At a young age Martin moved to Mexico,<br />

so we discuss the mystic connections and<br />

narratives of the different surreal spaces of<br />

that culture influence his work, as well as<br />

the rest of South America as part of a trip to<br />

an art school that actually never happened<br />

due to the economical shift in the country.<br />

“To be able to focus on my art without<br />

needing to work was essential, so I would<br />

go back to Sweden to work for a while<br />

and then live in Mexico city, it was a very<br />

bohemian environment, all centered around<br />

art, around this gallery called La Panaderia.<br />

You had to go somewhere physically to<br />

find out what was going on. I was studying<br />

philosophy at UNAM, but I think most of my<br />

friends later came from that scene of music<br />

and underground shows. I remeber seeing<br />

the audience and knowing these were the<br />

ones to become my friends. ”.<br />

On speaking of failure, Martin shares that he<br />

once worked over 3 months to go straight<br />

into a tour with Exploded View doing all<br />

the paperwork and preparation, and that it<br />

was so exhausting it destroyed his personal<br />

economy, after a whole year of dedicating<br />

himself to the second album of the band...<br />

but at the same time, working on stuff with<br />

commercials and other jobs to bring in<br />

money. He recalls putting all the stuff in the<br />

studio after returning from tour, locking the<br />

door and never opening the door again.<br />

However, the hard work and years of<br />

dedication have paid off, with Martin<br />

continuing to succeed internationally,<br />

composing music, collaborating with other<br />

artists and protecting his creative freedom<br />

at all costs. “As I dont any money with my<br />

art, I decided that everything I do has to be<br />

, if that means I don’t have any fans, SO BE<br />

IT. As a band you spend 95% of your time<br />

not making music, but talking to people and<br />

emailing and stuff... Why should I do that<br />

without having fun? If I am paying for my art,<br />

at least it’s up to me to decide.”<br />

When speaking on his creative process, he<br />

shares: “I have my keyboard, my bedroom, I<br />

prefer to work here rather than my studio. I<br />

play the piano and I go into my head and get<br />

lost. I can improvise, all these ideas flowing,<br />

and that is the most amazing thing that can<br />

happen. When you have this creative flow,<br />

beautiful things can happen. When you<br />

compose, when you create something, you<br />

are tripping. You are somewhere else. It’s<br />

a different state of mind. That’s the luxury<br />

of becoming irrelevant. Sometimes the<br />

lines are blurred. I can really have a good<br />

time, explore, and not put my art on the<br />

production line. It’s so easy to get lost, on<br />

finding a label, promoting... stop it. It takes<br />

away all the fun.<br />

Martin Thulin’s work as a producer is not<br />

only productive but very succesful and<br />

something he really enjoys. He produces<br />

music for commercials, films, international<br />

films, and other projects, which provides<br />

stability and an opportunity to get to know<br />

his collaborators at a different deepth.<br />

---Listen to the full episode at <strong>Red</strong> Transmissions Podcasrt.<br />


<strong>TAKEOVER</strong><br />

08<br />

Seeing a band of the caliber of Excepter is an<br />

experience you don’t easily forget. A musical<br />

group from Brooklyn which started back in<br />

the early 2000s, Excepter is known for their<br />

improvisational approach, a combination of<br />

pop and psychedelic, abstract music, a good<br />

trip that pays close attention to instruments<br />

and melodies. In talking retrospectively for<br />

this issue of <strong>Red</strong> <strong>Door</strong>, Harrison Owen and<br />

I interviewed John fell Ryan and his wife /<br />

bandmate / collaborator Lala Harrison Ryan,<br />

who spoke to us from their home in Chicago.<br />

Starting with the development of the music<br />

style and the band, John shares that the idea<br />

started in the late 90s, bringing in influences<br />

and styles that weren’t allowed in the band he<br />

was in at the time. “Late summer of 2002 was<br />

when the band started playing shows. We had<br />

a DJ night and we just plugged our instruments<br />

right into the DJ mixer and took it from there”.<br />

“When I started bringing other people into the<br />

band, it just seemed to be the easiest way to<br />

just jam on equipment as opposed to trying<br />

to recreate songs, I just wasn’t into practicing<br />

but improvisation, which was a great band to<br />

be fluid, and after a year and a half of this we<br />

just played every month for years, without<br />

practicing” John explains, talking about their<br />

improvisation.<br />

When asked about the text aspect of the<br />

Excepter songs, John shares “Vocals were<br />

going to be the focus, and there are lyrics<br />

for recorded material, but I had a tough time<br />

remembering things on stage, so I would only<br />

sing what I remembered and then improvise<br />

the rest.”<br />

For Lala’s first Excepter show, she shares<br />

that “Caitlin taught Clare pilates, they had a<br />

direct vibe and lineage, which I think is super<br />

important (and controversial, John adds), a<br />

hoodie, tights, heels, so Brooklyn, and that’s<br />

the female vibe that I like to give in Excepter.<br />

I jumped on stage in Montreal, I don’t know if<br />

the band knew I would, but I was just like - I’m<br />

in love, and I’m joining this band. We didn’t<br />

practice much at atll, we just did it”.<br />

Back in those days, the competition was<br />

friendly and exciting. Releasing records with<br />

the guys from Animal Collective, for example,<br />

and being part of an exciting scene, filled their<br />

minds and spirits with a sense of community<br />

and with inspiration, and definitely proved to<br />

be fruitful for all the bands involved in these<br />

exchanges.<br />

“It was great to be there, and even though it’s<br />

not coming back, it’s still an inspiration to keep<br />

creativity going” John adds. “As far as that<br />

time to now, we’re parents now. We’ve focused<br />

and honed our energy, to make room for<br />

experimentation, being hyper-focused, having<br />

a very specific vision” Lala shares. “We started<br />

when Youtube wasn’t even invented! People<br />

are like, oh, algorithm has changed, instagram<br />

is dead, and now you’re like, shit! what are we<br />

going to do?” John adds that the main value<br />

of DIY and community building is the richness<br />

of these connections that build along the way.<br />

When asked about the creative process and<br />

how it has shifted, Lala shares:<br />

“We’ve been trying to find our studio sound,<br />

I’ve been asking myself what are my influences,<br />

I’ve decided that I really love the early LA<br />

60s sound, Love and <strong>The</strong> Seeds, one of the<br />

first bands to have black and white men in it<br />

together, which was crazy revolutionary, and I<br />

find it so inspiring. I play organ and keyboard, I<br />

used to play east-coast and west-coast drone,<br />

we feel more in control now. We collaborated<br />

with our old bandmate Jon in New York, we did<br />

a stream and it was so good!. We’re working<br />

on our sound a lot, and that feels great. We’ve<br />

taken the energy to focus on writing, making<br />

music, recording sound and making demos,<br />

hopefully a European tour coming soon”.<br />

Everything is becoming more 3D. Our place<br />

used to be like a storage spot in New York,<br />

with little space for creativity. Your mind is full,<br />

your house is full, and in Chicago there’s room,<br />

things are different, slower, spacier, allowing<br />

room for interdisciplinary creations such as<br />

large installations and more performative work.


I ask about upcoming collaborations, and<br />

John and Lala look at each other, think for a<br />

while, pause and then say... no.<br />

“We’ve been really in inner focus. If we reached<br />

out we could probably start a few projects<br />

soon, although there is some top-secret stuff<br />

happening. We’re really working on the next<br />

Excepter album, and really in this hybernating<br />

vibe right now... I think in 6 months or so from<br />

now, we’ll need to come out.<br />

John adds: yes, relationships and faces wil lbe<br />

nice again.<br />

Jumping back to the Summer of Love, back in<br />

2008, Harrison recalls that Lala was pregnant<br />

and they were promoting their first album,<br />

with Harrison filming their show with Indian<br />

Jewelry in LA and then filming and recording<br />

Black Beach. “One of my favorite memories of<br />

you” Lala says to Harrison.<br />

<strong>The</strong> concept for Black Beach was I wanted<br />

to perform dressed in black on a nude beach<br />

and play no music” says John. “Yeah” Harrison<br />

answers “Check, check, check”.<br />

John adds: “I recently went back to the actual<br />

Black’s Beach in San Diego and recorded<br />

myself playing no music, but fully nude this<br />

time”.. Well, some music was added to the Black<br />

Beach track, which was later made like a techno<br />

track. Harrison says that there was definitely a<br />

vibe of the Thunderbolt Pagoda, Dub, Drone,<br />

the NY 60s underground film scene, all being<br />

very influential. “Thank god that you filmed<br />

this, thank god you documented this... also<br />

because Clare is in it, Clare is there... and Clare<br />

was so beautiful. All the beautifuls she can be,<br />

Clare was beautiful”.<br />

Lala is referring to their late bandmate Clare<br />

Amory, whom they lost to cancer in 2011, and<br />

whose partner, Nathan Corbin, also a member<br />

of the band, decided he no longer could be part<br />

of the band after the tragic loss. This resulted in<br />

Excepter temporarilly being separated by grief<br />

and disarray, a healing which later resulted<br />

in their album Familiar, which defined their<br />

distinct sound and shapeshifting abilities.<br />

Lala’s instruments and chants in perfect<br />

conversation with John’s electronic noise,<br />

moans and enchanted music.<br />

This was followed by a European Tour, with<br />

Lala and John acting as both a family, a<br />

band and a unit, which sometimes involves<br />

collaborators but is mainly focused on them<br />

two. “Post Familiar “ John adds, “is anything<br />

from then to now.”<br />

“<strong>The</strong> 21st century is a connected time. I mean,<br />

so they say. It’s all interconnected” says John.<br />

<strong>The</strong>re was something about the concept of<br />

permanence that I want you to talk to me<br />

about, I ask, referring to the idea of the nonessential<br />

artist, and our own mortalities, grief,<br />

and uncertainty.<br />

“As an artist, especially in the past few<br />

years, I realized that it’s not just your<br />

duty but your nature to be creative... and<br />

that’s it. You’re just creating.” Says John.<br />

“We’re weirdos and we never cared about<br />

making money or getting fame. All John has<br />

to do is lick his little finger and, because of<br />

the nature of his brain, people immediately<br />

ask, what are you doing? <strong>The</strong>y’re attracted to<br />

his work. I started playing music because it<br />

was the only thing I could do to get through<br />

life, wherever that gets me, whether it gives<br />

recognition or not, it’s what I do. People never<br />

realized until covid that people give their lives<br />

to learn a craft to make life for everyone else a<br />

bit more beautiful. I hope people, the heartless<br />

money people, have found a bit more kindness<br />

in their hearts to recognize the little artists, the<br />

people making music in their bedrooms, and<br />

making our day” - Concludes Lala with a smile.<br />

Follow EXCEPTER at:<br />

www.excepter.bandcamp.com/<br />

http://www.excepter.net/<br />

Interview by Harrison Owen and Elizabeth<br />

Torres for <strong>Red</strong> Transmissions Podcast #58<br />

www.redtransmissions.libsyn.com<br />


<strong>TAKEOVER</strong><br />

H - Tex! I keep coming back and mentioning<br />

the show at the Cake Shop on the Lower East<br />

Side, December 2005. IJ was on a great bill<br />

that included Excepter and the Ills. I was there<br />

specifically to see and video Excepter for the first<br />

time, but fortunately stuck around and saw you<br />

play, too. It was one of those rare and wonderful<br />

occasions where you see a band live without ever<br />

hearing them before, or knowing anything about<br />

them ahead of time, and are completely blown<br />

away. I just remember thinking, ok, this band is<br />

from L.A., let’s see what’s up. You must have been<br />

playing material that came out about a year later<br />

on the album Invasive Exotics, which was on nonstop<br />

rotation when I got my hands on it.<br />

Questions! Who was in the band at that time? And<br />

how long had you been based in Los Angeles at<br />

that point?<br />

Hi, Harrison! I remember that particular show at<br />

Cake Shop fondly. That night had a lot of mystique.<br />

We went on to play a lot of shows with those bands.<br />

We’d been in LA about a year by late 2005. Houston<br />

is a place so hardhearted and perverse that it is<br />

grayed out on google maps. It was killing us.<br />

Fall 2005, when you first saw us, was our doubledrummer<br />

tour, a really special time. We were touring<br />

Invasive Exotics. In addition to Erika and I, Jimi Hey<br />

had joined Rodney Rodriguez on percussion. It was<br />

difficult, since we weren’t making much money, but<br />

fun. At that time we were interested in experience<br />

and performance over songs and music. We’d done<br />

away with most of the music in our music, focusing<br />

on the thing-ness of it. People. Lights. Speakers.<br />

Rhythms. Sounds. Noise. Words. Spells. Presence.<br />

Erika and I hustled indefatigably for the band. One<br />

of the problems was that the way we were doing<br />

things was anti-commercial.<br />

While we were living on the floor in Rodney’s<br />

kitchen, broke, scrounging for burrito money, we<br />

turned down commercial offers from Toyota and<br />

Levi’s.<br />

Most music people think the world of Jimi, and so<br />

do we. He’s got talent, great taste in both music and<br />

comedy, and a dark sincerity. But I don’t want to<br />

miss a chance to remember Rodney too.<br />

Rodney’s funeral should have been in LA. He was<br />

a Houston guy, grew up going to the Axiom and<br />

skating Ez-7, but the life he made for himself, his<br />

preferred life, was in LA. He was a beautiful person,<br />

made for music, not made for this world.<br />

His death devastated us and many other people.<br />

We didn’t see it coming.<br />

Rodney had a lot of mystery about him and a great<br />

sense of humor. It didn’t faze him when we moved<br />

across the country and into his kitchen with all our<br />

gear, our dog Reblito, and a giant tortoise named<br />

Sisyphus whom we were transporting crosscountry<br />

for our friends Mad Dog and Sae Jae.<br />

Rodney was an incredible, inventive drummer and<br />

musician with a dry wit. On that 2005 tour Jimi had<br />

gone nuts for strange percussion details, micing<br />

up pots and pans and empty water-cooler bottles.<br />

I don’t know if he had ever had so much freedom in<br />

a band before. <strong>The</strong> hitch was that we were mostly<br />

playing clubs with underpowered sound systems.<br />

So the effect was visual, but largely inaudible. One<br />

night I overheard a snippet of one of Rodney’s<br />

phone conversations, “And Jimi bought a whistle<br />

that only Jimi can hear…”<br />

On the west coast of that 2005 tour, our friend<br />

Abi Cohen, now a psychiatrist, also hopped in the<br />

van with us. She was intuitive, used to play things<br />

like home-made dream machines or flashlighted<br />

blankets. Now and again, she’d slap the shit out of<br />

some dullards who were asking for it. I don’t think<br />

she was with us that night in New York, which is<br />

ironic, since she’s from Forest Hills, just like the<br />

Ramones. Abi drove like Toonces the Cat from SNL,<br />

but she was a great influence on us on tour.<br />

H - What are you working on now?<br />

We’ve had a full-length STUDDED album that’s in<br />

a constant state of near-readiness, but god only<br />

knows when it’ll see the light of day.<br />

Mostly we persist, like Beckett said: “Ever tried. Ever<br />

failed. No matter. Try again. Fail again. Fail better.”<br />

H - When and where did things begin?<br />

IJ was a Houston band, but Houston spat us out.<br />

Eventually, only other cities wanted to claim us.<br />

Here we are now, back in Houston, and now no one<br />

wants to claim us. But Paradise wants us. Paradise<br />

is waiting. Look around, this world could use a little<br />

touching up. We are the Paradise is Coming For You<br />

band.<br />

Rodney loved metal, glam rock, kraut rock, and<br />

disco. He had great taste and a very private nature.<br />

He seldom spoke of himself.<br />



By Harrison Owen and Elizabeth Torres.<br />

H - And when and why did things settle down, as<br />

it were? What was going on out in L.A.?<br />

Houston was killing us. Almost no one there had<br />

any interest in what we were doing. I had just quit<br />

working for the art maven Jim Harithas. It was my<br />

dream job, but he had taught me that artists are<br />

meant to go for it, even if they fail.<br />

After returning back from three months of insane<br />

touring, I spent one glum summer living with my<br />

mom in a trailer in Deer Park, Texas, a block away<br />

from the charred remains of Gilley’s, smelling the<br />

benzene, thinking dark thoughts, and watching<br />

migratory birds free themselves of the local<br />

oppression. That’s when Rodney saved us.<br />

Not that much was happening in LA when we got<br />

there. Don Bolles had a great weekly party called<br />

Screwball on Tuesdays in West Hollywood. But<br />

LA was in a period of contraction and change. We<br />

played a lot of Monday night noise shows at the Il<br />

Corral.<br />

Even before things got good for us there we<br />

loved it in LA. I had a grueling job in the shipping<br />

department of an online leather warehouse, and I<br />

worked a lot of catering gigs. At one catering gig,<br />

the seat of my pants split while I was waiting tables<br />

for the cast of <strong>The</strong> Daily Show during a televised<br />

Emmys gala.<br />

I walked across central LA several times. Away from<br />

its entertainment lots and shopping strips, LA is<br />

like a Jodorowsky movie, full of frog conquistadors<br />

and time bandits and total desperation as well as<br />

botanicas that will sell you unguents and chicken<br />

feet to lift the curse.<br />

Also, I have to say, Don Bolles and Michael Belfer<br />

(R.I.P.) kept us going when no one else was into<br />

what we were doing. Don Bolles went around<br />

saying nice things behind our backs until other<br />

promoters started to copy his lead. Michael Belfer<br />

used to sneak us into music recording studios after<br />

hours. Nancy Sinatra would be recording by day<br />

with Morrissey, and at night we’d go in the side<br />

door and record for free.<br />

H - When I finally hung out with you guys out there<br />

it was the spring of 2008. It was you, Erika, and<br />

Brandon, and I accompanied you up the coast to<br />

San Francisco on the start of a tour for the album<br />

Free Gold! I remember you telling me at that point,<br />

and I have quoted/misquoted you on multiple<br />

occasions, that L.A. is like a really warm, pleasant<br />

dream, and people come out, and they just never<br />

wake up, but you were definitely no longer asleep<br />

and dreaming, if you ever were, and basically, you<br />

were ready to move on. Sound familiar? Did you<br />

head back to Houston after that tour?<br />

Thinking that we were getting too soft, we left LA<br />

for a very short, cold stint in Chicago, where we<br />

lived with our best boy for life, Brandon Davis, just<br />

across the street from the wonderful Bobby Conn.<br />

But when it got cold we got the message and drove<br />

back to Houston in a van with half a transmission.<br />

H - How’d that line-up/album come together?<br />

Richard Durham, lately of Twisted Wires, had been<br />

a hero of ours since he was a teenage heartthrob<br />

in an incredible Britpop-styled glam band called<br />

the Entertainment System. We invited he and<br />

Mary to play some shows with us in a succession<br />

of small Texas towns and poorly conceived local<br />

music festivals, like the one in Houston’s Hard<br />

Rock Cafe where rednecks were hurling salt and<br />

pepper shakers at us on stage. When Richard and<br />

Mary showed a relish for that kind of abuse and<br />

absurdity, we brought them into the band for real.<br />

Mary brought incredible power to her drumming.<br />

This forced us to build a bigger soundsystem.<br />

By this point we had toured the US too many times<br />

to count. We had played nearly every city in total<br />

darkness, pumping our drum machine beyond the<br />

red-line. Things had gone from brilliant to stupid,<br />

so we relished a change. Playing with Richard and<br />

Mary made it more fun to return to music, to songs,<br />

to funk and to dancing, and other things we’d set<br />

aside.<br />

And then, not too long after that, you guys became<br />

parents! and made the bold move to Brooklyn!!! I<br />

babysat while you went out to play shows! Only<br />

now do I fully appreciate that situation. Being in a<br />

band, living in an communal artist collective in an<br />

old firehouse in Long Island City, Queens. It was<br />

like now or never, no?<br />


Brian Gibson of Lightning Bolt referred to our<br />

move to New York as a “mistake that everyone<br />

has to make at some point.” He was right, but<br />

as you said, it was now or never. Erika and I<br />

both loved New York. We had both meant to<br />

move there many years earlier, but Houston<br />

had caught us with a strange perfume which,<br />

like a corpse flower, it only emits once every<br />

ten years.<br />

But Houston can be stingy. Once it gives you a<br />

pittance, that’s it. You’re done. While Erika was<br />

pregnant, I spent the last grant money I got<br />

to write a book of poetry on our midwife and<br />

a used car. After that money was gone, it was<br />

time to go. New York promises the world. It was<br />

a great place for a kid. Our daughter was eight<br />

months and Erika took her all over the city.<br />

Unfortunately, it wasn’t great for me on a<br />

personal level. I”m a bit of a hothouse flower, as<br />

it turns out, and not as tough as I’d supposed.<br />

Years before any of this, we’d considered<br />

changing the band name. But you make<br />

compromises in a minute, when there’s this<br />

activity or that on the line. And we got trapped<br />

in these activities since we had a band with<br />

our friends and a family and we’d all thrown<br />

in everything so there was no freedom to<br />

walk away from anything. I’m proud of the<br />

albums we made, and I’m proud of our live<br />

performances. At different times, no one could<br />

get close to what we were doing, try as they<br />

might. And as you know, the family size tours<br />

across the US and Europe were something for<br />

the books.<br />

Once we switched our name to Studded Left<br />

most of our bookings dried up. Before this<br />

we’d be invited to play festivals and release<br />

records for different people. Since the change,<br />

we open a lot of Tuesday nights in Houston.<br />

Studded Left is a return to our original form.<br />

It’s empty, open, doomed, infinite. No one is<br />

interested. No one is listening, and we are free<br />

to do what we want to do when we want to<br />

do it. People like what they know and no one<br />

knows us. It’s just how it was when we started,<br />

except now we’re a few months older than we<br />

were 20 years ago.<br />

E - Tex, talk to me about creative process, ritual,<br />

of purpose, as a multimedia artist and as a team:<br />

I’ve been in a dark place lately, so I may<br />

have to glide over some of my feelings right<br />

here. <strong>The</strong>re’s not point in candy-coating the<br />

world, but I despise artists who dwell on their<br />

struggles too much. My own creative process<br />

is a byproduct of growing up in a large family.<br />

I never had much space or time to myself.<br />

This has made me prone to collaborations<br />

and distrustful of long methodologies. It has<br />

also helped me to learn to work piecemeal,<br />

anywhere, at any time.<br />

I was forcefed rituals from an early age. I’ve fled<br />

as far from the world of religion and mysticism<br />

as I can. But there are relics of that world in<br />

things that I do. I have a great love for books<br />

and works of art that require patience, as well<br />

as spaces, including temporal spaces, that<br />

force a person to answer to their own demons.I<br />

grew up in a world of gallows humor, pastiche,<br />

persuasion, and unreliable narrators. Most<br />

of my siblings and I have false memories of<br />

visiting the Grand Canyon, born of repeated<br />

viewings of a Brady Bunch special.<br />

So when I work, much of the energy comes from<br />

love. <strong>The</strong> rest comes from the observation that<br />

nothing works and you have to operate as best<br />

you can nonetheless. Erika grew up differently<br />

and works differently than I. In my opinion,<br />

her way of doing things shows the depth of<br />

her optimism and personal discipline. I think<br />

she gets this from growing up in a musical<br />

family that was both much more private— and<br />

more stable— than my own. She approaches<br />

everything in a confident, purposeful way. For<br />

example, she’s a yoga vet, but she doesn’t go<br />

around putting yoga in people’s faces the way<br />

some posers do. She could though. If Erika was<br />

in charge of a yoga gang the world would be<br />

much more fit.<br />

As a band, we’ve tried to balance our different<br />

ways of thinking and acting. Working with<br />

Erika has helped me to respect other people’s<br />

private spaces and to plan for the possibility<br />

that things might turn out well at some point.<br />

Working with me has probably helped Erika<br />

to become more understanding when dealing<br />

with donkeys.<br />




E - Share with us your thoughts on the<br />

subject of artistic sustainability:<br />

Regarding the sustainability of an artistic life,<br />

my outlook is pretty grim. We live and work in<br />

the USA, where money talks and bullshit also<br />

talks. And say what you like about Europe’s<br />

institutions, but they only seem to import the<br />

most middle of the road stuff themselves.<br />

Neither of us were born rich. Being born rich is<br />

a necessity if you want to be an artist in the US<br />

for a long period of time. Otherwise, you’ve got<br />

to go to work as we have. And going to work is<br />

different than working on the work.<br />

For years I’ve been going to a place where<br />

I work. It is a unique experience, but one<br />

that leaves me psychically and physically<br />

exhausted. At the end of each day there is less<br />

of me. Less to put into music and writing.<br />

Erika works all the time too. And her job is<br />

similarly extractive. Working all the time steals<br />

your energy.<br />

E - Poetry in your career. How it represents<br />

itself in visual art, videos, music, etc, and<br />

how you feel poetry influences your work:<br />

<strong>The</strong> wolves are at my heels, I can only do things<br />

that make sense to me. Poetry has always<br />

made sense to me, but not always as poetry a<br />

person would recognize as such. I’m partial to<br />

poetry as defined by Robert Graves. <strong>The</strong> voice<br />

from beyond. <strong>The</strong> whispers of the belle dame<br />

sans merci. And I’m partial to the poetry in<br />

jokes. Dumb jokes. <strong>The</strong> economy of a stand-up<br />

comedian.<br />

Art often speaks to me, but I might be projecting.<br />

I like the funny parts. Especially when they also<br />

touch on the harrowing of everyday life. <strong>The</strong><br />

reversal of perspective. <strong>The</strong> inverted pyramid<br />

and the fall it implies.<br />

Music has always made sense to me in any<br />

way it comes.<br />

I’m writing a novel. It’s not about music. With it<br />

I’m trying to go beyond my love of language.<br />

So, my thoughts on art are that artists should<br />

strive to be born wealthy. Not doing that was<br />

one of our most critical mistakes.<br />

Every minute you’re in the public eye you<br />

should be spitting and scratching at the eyelids<br />

of the mongers of power. That, or meditating.<br />

Take your pick.<br />

If you can’t be born rich, you have to go<br />

against everything. And when you go against<br />

everything, everything goes against you.<br />

So you’ve got to be stubborn. And you can<br />

never tire because the world won’t forgive you<br />

a moment’s rest. And if you want it to work out<br />

at all you’ve got to get a crew and you’ve got to<br />

train them, so that they can hit hard at the right<br />

moment.<br />

So essentially, if you want to be an artist in the<br />

world still living in the spell of capitalism, and<br />

you can’t be born wealthy, you’ve got to get<br />

up two hours earlier than everybody else to do<br />

your push ups and you’ve got to stay up thirty<br />

minutes later than you’d like to rub your hands<br />

together and cook up evil schemes.<br />

Special thanks to Tex Kerschen (and Erika<br />

Thrasher) for this interview, the art included<br />

in these pages, their music, their poetry, their<br />

light, their friendship.<br />


<strong>TAKEOVER</strong><br />

H - Back in the beginning, around 2003,<br />

where and how did the band get together?<br />

How would you describe the initial Ills sound<br />

that is heard on the early EPs and the first<br />

album, Dins? Who were some influences?<br />

Tres and I met in college at <strong>The</strong> University of<br />

Texas and briefly lived in Los Angeles after<br />

graduating. Tres moved to NY after a year<br />

or so where he met Tom Gluibizzi.. Tres and<br />

Tom started playing together around 2002<br />

and recorded Ills’ first 7” Killers/Vice. I moved<br />

to NYC shortly after in early 2003 and joined<br />

Psychic Ills on bass. We played our first couple<br />

of shows that fall as a 3-piece and toward the<br />

end of ‘03 Brian Tamborello joined on drums.<br />

<strong>The</strong> <strong>Red</strong> Crayola, Dj Screw, <strong>The</strong> Dream<br />

Syndicate, Suicide, Gang of Four is just some<br />

of the music I recall listening to around that<br />

time.<br />

<strong>The</strong> band covered a lot of territory, sonically,<br />

over the years, which speaks to a wide interest<br />

in music and culture. Aside from the Ills, you<br />

played in other bands and you are a dancer,<br />

performing with Skint and other dance<br />

groups. And Tres had a great interest in film.<br />

How did these interests work their way into<br />

the development and evolution of the band’s<br />

sound?<br />

Tres and I played and wrote together for<br />

so long and always considered Ills our<br />

main work, however simultaneously we<br />

were also pursuing separate interests and<br />

collaborating with other artists as well. On<br />

Mirror Eye, Ill’s second LP release, I do feel a<br />

lot of our outside interests did make their way<br />

into our live performances. <strong>The</strong>re was a lot of<br />

space for improvisation at that time so for me<br />

movement was a natural element to include<br />

in our live shows. We often had visuals<br />

accompanying the set back then and that<br />

along with the direction of where the music<br />

was going always came from Tres. I believe<br />

his passion for film and other art mediums<br />

always influenced his writing.<br />

016<br />

H - I met you in 2008, making a video for the<br />

second album, Mirror Eye, which one might<br />

characterize as the second phase of the<br />

band’s sound, incorporating more Eastern<br />

influences and moving further into drone.<br />

What precipitated this development?<br />

That’s right and you did our live visuals often<br />

as well. A lot of our peers/friends (Excepter, No<br />

Neck Blues band…) who were making music<br />

in NYC at that time were coming from a more<br />

experimental leaning, mostly improvising<br />

live, there was a lot unpredictability in how<br />

performances were unfolding, it was an<br />

exciting time! I think that scene did influence<br />

Psychic Ills’ direction then. And, Tres’ guitar<br />

playing definitely reflects some Eastern<br />

influence as well, he often used this electric<br />

guitar that had a sitar bridge. We were<br />

interested in exploring different ways to play<br />

our instruments, including various percussion<br />

instruments and leaving a lot of space in the<br />

sets to just see what happens.<br />

Tres continued with this direction with his<br />

other incredible band, Messages and then<br />

also Compound Eye with Drew McDowall<br />

from Coil, but for the third album you guys<br />

moved to the Sacred Bones label and further<br />

sonic adventures, releasing Hazed Dream<br />

(2011), still a very psychedelic album, but<br />

with a western tinge and more traditional rock<br />

song writing. It seemed like a very organic,<br />

natural destination for the band.<br />

H - What was the process like during that<br />

period?<br />

We had kind of moved into the mode of just<br />

wanting to write ‘songs’ you know verse,<br />

chorus ect. By this time Tom had left the band<br />

and Brian had moved to California. Tres and<br />

I demoed Hazed Dream with a drum machine<br />

in his basement studio apartment in the East<br />

Village, that we called “the bunker.” This was<br />

the first album that we worked on just the two<br />

of us in the initial songwriting process. When<br />

we were ready to to take the songs to the<br />

studio, Brian came in town and we banged<br />

out Hazed Dream in two days. We had so<br />

meticulously recorded those demos and<br />

wanted the album to sound just like them,


except with live drums. I remember Tres<br />

even attempting to use his little Roland cube<br />

practice amp in the session so that he could<br />

replicate the guitar sound in the studio.<br />

H - You did two more albums with Sacred<br />

Bones, building on that sound, adding<br />

new band members and touring the world<br />

- Europe, China, South America. Can you<br />

share a good story or two from those days?<br />

By the time we signed to Sacred Bones, the<br />

band was basically Tres and I with a rotating<br />

door of band members for years. We were<br />

lucky to have gotten to play with a lot of great<br />

musicians but it wasn’t until we started touring<br />

Inner Journey Out, Ills last full length a double<br />

LP, that we found the live band that stuck.<br />

All of the guys (Jon Catfish DeLorme, Adam<br />

Amram and Brent Cordero) are incredible<br />

musicians, the vibes were right, and it just<br />

worked. Tres and I were grateful to finally<br />

have that stability and camaraderie with the<br />

band again. It’s a shame that we never got the<br />

chance to record a full album with that group.<br />

<strong>The</strong>re are so many stories and touring Europe<br />

was always great but two tours that really<br />

stick out for me are Santiago, Chile (Nov 2016)<br />

and a west coast tour that we did in August<br />

2017. We felt a close kinship with a lot of<br />

the people we met down in Santiago, which<br />

led to smoking a tequila worm. On the west<br />

coast tour; playing the Ghetty accompanied<br />

by the fabulous Hummingbirds on backing<br />

vocals, Pappy and Harriet’s in Joshua Tree on<br />

mushrooms watching Minnesota Fats videos<br />

post show, and experiencing totality at the<br />

Atlas Obscura Total Eclipse festival in Durkee,<br />

Oregon with Sun Ra Arkestra are some of the<br />

best memories that I will remember forever.<br />

- This year you put out one more Psychic<br />

Ills album, Songs for Tres. Please tell us<br />

about writing the song “I’ll Walk With You.”<br />

It is beautiful. How did the record come<br />

together?<br />

Thank you Harrison, that means a lot. ‘Songs<br />

for Tres’ is not a Psychic Ills album. Ills just<br />

can’t exist without Tres. ‘Songs for Tres’ is<br />

a tribute album that myself and the band<br />

members made for Tres. During the summer<br />

of 2020, in lockdown after having lost my best<br />

friend and my mom 5 weeks after, I needed to<br />

do something to help me grieve.<br />

. I was isolated on a remote ranch in Texas<br />

with my husband and 6 month old child at<br />

the time. ‘I’ll Walk With You’ is a song that I<br />

wrote the day Tres died and when I got the<br />

news of him passing, I realized it was a song<br />

for him. I reached out to Jon, Adam and Brent<br />

and asked them if they would be interested<br />

in making an album with me to honor Tres. I<br />

wrote 3 of the songs on the record and asked<br />

the guys if they would each contribute a song.<br />

We also covered four songs that have a unique<br />

connection with some of our memories of<br />

Tres. Ivan Diaz Mathe (my husband and Ills<br />

former sound engineer) produced the album<br />

with me and suggested that I reach out to<br />

Hope Sandoval (whom had sung a duet with<br />

Tres on IJO) to sing with me on ‘I’ll Walk With<br />

You’. Obviously having her on the album<br />

would be the greatest honor and I figured I<br />

had nothing to lose in asking, so I reached out<br />

to her. Hope’s contribution is perfect and it<br />

was so generous of her to lend her beautiful<br />

voice for the song. All of the artists proceeds<br />

for the ‘Songs for Tres’ are being donated to<br />

RAICES, a charity who aids children who have<br />

been displaced at the Texas/Mexico Border.<br />



E - And I have a few more questions, here,<br />

focusing more on the present / future:<br />

You’ve toured nationally and internationally<br />

for years. Do you have advice for musicians/<br />

artists on the road?<br />

Jumping jacks and push ups when you stop<br />

for gas and daily journal entries.<br />

If there is one thing you could take with you<br />

from all these years involved in music and<br />

performing, what lesson would it be, that you’d<br />

like to pass on to others?<br />

If you catch momentum, keep it going. <strong>The</strong><br />

best wave is the one that you are riding.<br />

E - And last but not least: Are you working<br />

on any music / dance / performing projects?<br />

Where can we follow up on your upcoming<br />

endeavors?<br />

Yes, I released an experimental album with<br />

Ivan on Sacred Bones in spring 2021, pka<br />

Luca Yupanqui. We have a remix album of<br />

that record coming out some time this year.<br />

I’m really excited about the artists that we<br />

collaborated with on this one! I have another<br />

band called Tierra del Fuego that has mostly<br />

been inactive since the onset of pandemic due<br />

to the circumstances. We were playing out a<br />

lot in 2019 and had just finished our first album<br />

in spring of 2020. I think we will eventually put<br />

that record out, maybe later this year. And, a<br />

couple months ago I started recording a solo<br />

project.<br />




POETRY<br />

Unpacking the Tryst<br />

as a site for a tryst skeletal foundations<br />

an abandoned dream home in the woods<br />

trees for privacy<br />

it worked for her<br />

nearby path into town<br />

a college student<br />

home for summer in ’67<br />

he was no one special<br />

friend<br />

blond and brooding<br />

and hungry for sex<br />

a friend of a<br />

like James Dean<br />

Gatsby-like detach-<br />

with a callous<br />

ment<br />

she felt determination<br />

somewhat<br />

off-balance<br />

no handholding<br />

or eye contact<br />

too soon<br />

bored<br />

decades later<br />

the act ended much<br />

he looked embarrassed<br />

and she felt likewise<br />

she wondered<br />

and not a car back-<br />

was his mel-<br />

was the place<br />

a bleak longing<br />

why at that place<br />

seat<br />

or borrowed bedroom<br />

ancholy<br />

soul seeking an echo<br />

a turn-on of playing house<br />

for domesticity<br />

philosophy<br />

or just the tear-it-down<br />

of those cathartic times<br />

Alison Jennings is a Seattle-based poet who taught in public schools<br />

before returning to poetry. She has had 65 poems published internationally<br />

in numerous journals, including Burningword, Cathexis Northwest Press,<br />

Meat for Tea, Mslexia, Poetic Sun, Sonic Boom, and <strong>The</strong> Raw Art Review.<br />


<strong>The</strong> Moon illuminates, the West is a direction<br />

and people are satisfied with the concoction<br />

‘comfort, consolation and peace’<br />

Trimming or pruning<br />

relief or happiness<br />

plants<br />

physical, psychological and moral conditions and<br />

characteristics<br />

of disobedience, discrimination and differentiation<br />

…<br />

the wind blowing from the West<br />

reveals and discloses<br />

understanding, knowledge and sensibility.<br />

What is clear and manifest<br />

is brilliant and shines –<br />

the western paradise of Amitabha Buddha<br />

is now, a method, reason<br />

and an aspect<br />

of everyone.<br />

Safety and security<br />

provides relief, happiness, comfort and consolation<br />

…<br />

and is fundamental<br />

to agreements involving trade.<br />

Any lovely or agreeable phenomenon:<br />

an ancient inhabitant<br />

of wise existence.<br />

A night<br />

of killing, slaughter, torment or torture<br />

is a type of sycophancy<br />

fittingly associated<br />

with the Roman Catholic rite<br />

known as Placebo<br />

(the vespers sung for the dead).<br />

<strong>The</strong> more westerly Moon<br />

is setting.<br />

Being on the upper side of 50, much of Douglas Colston’s biographical material can be assumed<br />

(various careers, relationships and university qualifications). He is seeking to enroll in a PhD. To<br />

date, a number of his works have been published online (at ‘New World Writing’) and in a number<br />

of print anthologies (including ‘Erotica of eternity’ [2022], ‘Let’s begin again’ [2022], ‘Garden of<br />

poets’ [2022] and ‘My Glorious Quill’ [2022]), in addition to gaining praise such as “... eliciting a<br />

strange sense of awe ... [t]his is ground breaking and gorgeous ... writing and deserves to be read<br />

widely” (<strong>The</strong> Editors, POETiCA REViEW).<br />


POETRY<br />

A Length of Equal Ends<br />

We drift as plates at Thingvellir—<br />

two jagged pieces once seamless now<br />

cracking at harshest melody.<br />

We refused to fade easy—<br />

the heart of us trapped in an old scar.<br />

With chin on forehead and burgundy knit,<br />

you pushed the beat from my chest and<br />

fractured the ice we tested.<br />

Seeds sown in disconnection—<br />

steel-cut confidence matched by tender touch,<br />

gloved hands at thumb and middle finger as<br />

near-honest worship rose to notes of confusion.<br />

A two-tailed coin, we spun and turned our backs.<br />

From such great depth,<br />

we measured a length of equal ends<br />

with the grace we had left.<br />

Tectonic plates say goodbye two-and-a-half-centimeters<br />

at a time.<br />

I wanted to ask if you knew how slow that might<br />

feel<br />

if we failed to consider the size of the pieces.<br />

Instead, I said you looked storm-born<br />

because I’m desperate to be tragic.<br />

We fell in and out in a rift.<br />

I wanted it to reconcile—<br />

like the space made something beautiful.<br />

Marco Patitucci is a singer/songwriter, poet, and novelist living in<br />

Northern California. His folk-rock album Lambs to Lions was released in<br />

2014. His poetry has appeared in Streetlight <strong>Magazine</strong> and the Passionate<br />

Penholders and Sunkissed Anthologies. His debut chapbook, Cracks in<br />

the Devil’s Urn, was published by Finishing Line Press in January 2020.<br />

You can find him on Twitter and Instagram @heytucci.<br />



<strong>TAKEOVER</strong><br />

CHLOE LUM &<br />


Multidisciplinary visual artists based in<br />

Montreal, Canada. <strong>The</strong>ir work focuses<br />

on theatricality and the choreographic;<br />

in their performance work but also in<br />

their interest in staging tableaus and<br />

working with ephemeral materials<br />

that can be said to perform through<br />

re-deployment and decay. <strong>The</strong> duo’s<br />

recent works investigate the agency<br />

of objects, the material condition<br />

of the body, and the transformative<br />

potential that bodies and objects<br />

exert upon each other. <strong>The</strong>ir works<br />

have been exhibited internationally,<br />

and are included in the collection of<br />

the Victoria and Albert Museum, the<br />

Montreal Museum of Fine Art, and<br />

the Musée d’art contemporain de<br />

Montréal.<br />

<strong>The</strong> Parameters of Decay<br />

by Madam Neverstop.<br />


Seripop<br />

Fantomas / <strong>The</strong> Locust / Trevor Dunn’s Trio Convulsant<br />

2005<br />

Concert poster<br />

Silkscreen on paper<br />

64 x 46 cm<br />


Seripop<br />

Little Claw / Eat Skull / Triceratreetops<br />

2008<br />

Concert poster<br />

Silkscreen on paper<br />

81 x 50 cm<br />


On episode 59 of the <strong>Red</strong> Transmissions Podcast,<br />

opening with the song Spit tastes like metal from<br />

their band AIDS Wolf, Harrison Owen and I interview<br />

multimedia artists working across performance,<br />

sound, text, installation and visual art, Chloe Lum<br />

and Yannick Desranleau.<br />

Currently, they’re working on a photo series, along<br />

other projects, and just finished the production<br />

of a musical, something they consider their most<br />

difficult work until now, “<strong>The</strong> Garden of a Former<br />

House Turned Museum”, which honors the work<br />

of Clarice Lispector, for which they consulted her<br />

work archives in Brazil.<br />

Having worked together for over 22 years, their<br />

practice has combined through their collaborative<br />

relationship so that the learning process and<br />

product feels like a mutual, constant conversation.<br />

“<strong>The</strong> important transition happened when we were<br />

doing screenprinting, seeing our posters up on the<br />

walls of the scene, Montreal was allowing that to<br />

happen due to vacant buildings and lots so there<br />

was a strong night life, they became the inspiration<br />

towards this culture because we saw them peeling<br />

off, due to collectors or being weathered down,<br />

and this appealed to our sensitivity” says Yannick.<br />

“Seeing the decay in the streets and playing with<br />

these parameters became the way to see material<br />

as a living entity that has its own willfulness and<br />

drawing parallels to our lives is what attracted us”,<br />

adds Chloe.<br />

Chloe and Yannick openly speak of the economy of<br />

means, the recycling of ideas and products to make<br />

their practice more sustainable, the transformation<br />

and experience from their DIY origins making prints<br />

and posters for bands, playing as AIDS Wolf and<br />

participating at fairs, to returning to school and<br />

now pursuing PhDs, receiving fellowships for arts<br />

and research, integrating visual and performing<br />

arts and the conversation of invisible illnesses<br />

and and mental health. Chloe also focuses on<br />

the subjects of chronic illness from first hand<br />

experience: “<strong>The</strong> contingency of objects, bodies,<br />

and the contingency of health, and thinking about<br />

these relationships was important. It took many<br />

years to be diagnosed, where I gradually became<br />

completely disabled, and these ideas of inanimate<br />

and contingency developed as I grappled with<br />

losing a lot of my ability to do things. <strong>The</strong> creative<br />

process opened a lot of positbilities for narrative,<br />

and not just have the objects as performers but<br />

also scripted recitations, live performers, and that<br />

brings us to where we are now”. Listen to the entire<br />

interview at<br />

www.redtransmissions.libsyn.com<br />

<strong>The</strong> Garden of a Former House Turned Museum, 2021<br />

View of the installation, from the exhibition Crushed Butterflies Can Dream Too,<br />

part of Momenta Biennale, curated by Stefanie Hessler.<br />

Paper mâché, Forton, styrofoam, acrylic paint, powder coated steel, urethane<br />

rubber, fabric, rugs, Acapulco chairs, artificial plants, mixed media.<br />

What Do Stones Smell Like In <strong>The</strong> Forest? , 2018<br />

Double channel digital video, sound, 18 min. 20 sec; installation.<br />

Performers: Karen Fennell, Mary St-Amand Williamson, Maxine Segalowitz,<br />

Marie-Annick Béliveau<br />

Photo by Guy L’Heureux<br />

<strong>The</strong> Garden of a Former House Turned Museum2021 - Production still<br />

HD video, colour, sound, 27 minutes 34 second<br />

Performers: Ruby Kato Attwood, Elizabeth Lima, Sarah Albu, Talia Fuchs<br />

www.lum-desranleau.com<br />



“<strong>The</strong>ater theaters everything in. So our job is to shove<br />

something down its throat every now and again that it<br />

cannot swallow.” – Brecht.<br />

A masterclass with poet, playwright, director and<br />

performer<br />

Marc Von Henning<br />

On episode 68 of <strong>Red</strong> Transmissions<br />

podcast I got to interview <strong>The</strong>ater Director,<br />

performer and writer Marc Von Henning,<br />

whom I met when he spent a few days in<br />

Århus with the Writing specialization of Den<br />

Danske Scenekustskole that I am a part of,<br />

giving a masterclass on the importance of<br />

form, language, and reality in theater. He<br />

explained that there are 4 fundamental<br />

elements of theater:<br />

-<strong>The</strong> visible / visual: content<br />

-<strong>The</strong> audible: sound, music, (and yes,<br />

dialogue)<br />

-<strong>The</strong> language / intellect: associative<br />

narrative, storytelling<br />

-Audience: Interpreters of feeling. <strong>The</strong><br />

processors of the three other elements, who<br />

in their minds complete their story.<br />

030<br />

Marc went on to speak on the textualizing<br />

of forms, which can be done in many ways,<br />

some of which are:<br />

-Double monologue.<br />

-Dialogue<br />

-Reenactment (which Mark especially<br />

recommended because he explained, this<br />

makes an audience feel like they’re being<br />

taken seriously. <strong>The</strong>y can either get lost<br />

in the story, or return to the room and be<br />

marveled at the actors performance, the<br />

setting, etc… <strong>The</strong>y’re “in” on the plot.<br />

-Translation:<br />

Marc explains that bilingual texts provide<br />

2 sides to every story, and that one should<br />

look at languages as an aesthetic idea,<br />

from surtitle to live interpretation. He<br />

recommends looking at language from<br />

an insular perspective, which allows for<br />

understanding of tradition and environment.<br />

“We are often made of more than one thing.<br />

We’re often trying to reduce it, so as to<br />

understand.” he poetically explains. <strong>The</strong>n<br />

he continues: “Like playing an instrument,<br />

writing is also about the notes you do not<br />

play.”<br />

Systems have a price, a value.<br />

Steering towards: rationality, function,<br />

associations, repetitions, composition,<br />




<strong>The</strong> poems that stay close, are the ones you<br />

don’t understand.<br />

Afterwards we learn of his past work,<br />

including that of Primitive Science, and how<br />

his main interest has been to focus on telling<br />

stories or highlighting stories all around us,<br />

or more importantly, to make his audiences<br />

aware that we all have stories, that we are<br />

often in search of making sense of them, and<br />

this is how we also make sense of where we<br />

are going, our connections, and do plenty<br />

of stargazing along the way (looking at the<br />

past, making predictions of the future).<br />

Question: How to engage an audience by<br />

giving the audience problems?<br />

<strong>The</strong> idea of discomfort to help articulate an<br />

idea, lead to meaning… the what, not the<br />

how, is the beginning.<br />

Question: How to relate to an audience?<br />

How to treat them? what to make them<br />

feel? how to involve them / affect them /<br />

touch them?<br />

A construct: build a connection – provoke a<br />

response.<br />

Marc highlighted that there is no need<br />

of knowing what one needs to say, but of<br />

knowing there is something to be said.<br />

Putting direct opinions across misses out on<br />

good material for stage.<br />

<strong>The</strong> wonder of obsession and alternate<br />

mind can open bigger connotations.<br />

Stories are like tasks. <strong>The</strong>y’re modules.<br />

Models for other stories.<br />

ENTANGLEMENTS: secrets we keep from<br />

ourselves.<br />

Hidden agendas.<br />

THE BEGINNING: Work from inside out.<br />

From a concept. a phrase. A part of a<br />

story. Fashion everything around a moment<br />

that needs to happen. An image where<br />

the image originates. <strong>The</strong> claim of being<br />

someone else.<br />

When writing a play, build a tight set of rules<br />

that cannot be broken, but are open in that<br />

one can be free within them.<br />

-Find this form and fill it with content.<br />

-Authenticity can come, f.x, from a talk w an<br />

actor to learn what moves them, and writing<br />

based on these needs, a role that connects<br />

with these emotions.<br />

APPROACH: Writing for a person or<br />

character specifically, moulding the story to<br />

them.<br />

CONTEXT: Juxtaposition. Personality traits.<br />

Duality. When we fall in love, we learn to see<br />

ourselves in the eyes of others.<br />

IMITATION: Until you know your own voice,<br />

take something we all know and give it a<br />

different context. <strong>The</strong> pep-talk, the magic<br />

act, etc.<br />

Take the audience on a journey and let<br />

them choose their involvement. Remove<br />

some of the ground so the audience gets to<br />

be invested in the investigation of the truth<br />

behind the story.<br />


Influenced by Bunraku Japanese puppet<br />

theater, is a method Marc is very passionate<br />

about. In this type of theater, the stage is<br />

divided in four parts.<br />

CONTENT: Veer away from causes, opinion,<br />

things that point out the obvious. Tolerances<br />

and contradictions can be questioned<br />

without patronising an audience.<br />

OBJECTIVE: To break the usual standards<br />

and build one’s own new structures. Recipes<br />

for new thought.<br />

LISTS: the use of lists to make connections<br />

from irrational or uncommon territories to<br />

thread them together.<br />

LETTERS: <strong>The</strong>re are different types of letters,<br />

Marc explains, the epic (episodic) where<br />

audience learns something, or aristotelean,<br />

where the character learns something.<br />

LECTURE: <strong>The</strong> format of a lecture for a<br />

performance is interesting because, just<br />

like in a TED talk, the audience is already<br />

convinced or in favor of the subject being<br />

discussed, and rather than needing to be<br />

persuaded just wants to be pushed deeper<br />

in.<br />

<strong>The</strong> realness of storytelling brings truth to<br />

any story, Marc concludes.<br />

-Elizabeth Torres, 2022.<br />


INTONAL - Highlights<br />

A sanctuary for experimental minds and bodies in motion.<br />

www.intonalfestival.com<br />

A recent surprise for kickstarting life after<br />

restrictions and the dormancy of lockdown<br />

was the festival in Malmo, Sweden called<br />

INTONAL, which focuses on experimental<br />

music and collective forms of expression that<br />

are, according to the organizers, absolutely<br />

essential to human existence.<br />

Seen above is a photo of the impressive and<br />

multitalented Myriam Bleau, who creates<br />

interdisciplinary performances inspired, for<br />

example, by the likes of Donna Haraway,<br />

Manuel DeLanda and the notion of ecological<br />

mysticism, virtual and physical assemblages<br />

of abstract forms, technological artifacts<br />

and inorganic textures, creating immersive<br />

audiovisual sound performances that capture<br />

the audience and truly make an impact.<br />

Over 70 acts including bands, DJs, solo<br />

performers and multimedia shows filled the<br />

various stages, rooms and spaces of this issue<br />

of INTONAL; Some are established artists in<br />

their fields – like Grouper or DJ Bone, and<br />

others are emerging talent, like Kinshasa<br />

based Fulu Miziki or Manchester’s Space<br />

Afrika.<br />

<strong>The</strong> program also introduced several world<br />

premieres commissioned by the festival, in<br />

many cases by artists working with Intonal<br />

residencies, like Hiro Kone and Vincent Bahar,<br />

among others.<br />

One of the must-sees of the festival is the<br />

newly formed band GORDAN, whose three<br />

piece is formed by Serbian singer Svetlana<br />

Spajic, Andi Stecher and Guido Möbius.<br />

Svetlana’s conjuring voice tones and dramatic<br />

recitations combined with chanting and stage<br />

presence are a display of her experience as an<br />

internationally recognized artist, but Andi’s<br />

expressive drumming and Guido’s electronic<br />

sound juxtapositions make of each song a<br />

unique experience worth enjoying fully.<br />

032<br />

A definite highlight was the<br />

band Waq Waq Kingdom. It was<br />

impossible not to join the crowd and<br />

dance intensely to their colorful,<br />

trippy performance and energetic<br />

songs. Waq Waq Kingdom are a<br />

Japanese tribal bass duo, consisting<br />

of Kiki Hitomi and Shigeru Ishihara,<br />

both originally from Japan, lived<br />

in the U.K. for over a decade and<br />

who are now based in Leipzig and<br />

Berlin. “Glitchy Jungle” was done in<br />

collaboration with VJ artist Kalma.

Mutant Radio is physically based in<br />

Tbilisi, but also streams from other<br />

parts of Georgia and internationally.<br />

<strong>The</strong>y feature DJs, live shows,<br />

performances and interviews,<br />

all with a focus on music and<br />

connection. During the festival they<br />

had a program live from Whose<br />

Museum, which included a line-up<br />

of excellent DJs and live streams.<br />

Jenny Graff is part of the <strong>Red</strong> <strong>Door</strong><br />

family, a dear friend and eager<br />

supporter of our projects, so it was<br />

a delight to get to enjoy her latest<br />

performance, created with a series of<br />

porcelain speakers whose vibrations<br />

resonated through the room.<br />

A musician and sound researchier,<br />

Jenny Graff activates peripheral<br />

places and states through sound<br />

composition, improvisation and<br />

participatory works.<br />

Jenny started her experiments<br />

on speakers by creating a series<br />

of them with copper, to expose<br />

the closed system of interactions,<br />

flows, transductions that take place<br />

within a conventional speaker<br />

object. “Later I incorporated<br />

porcelain substrates, which is a<br />

sort of contradiction, as porcelain’s<br />

is rigidity does not give in to the<br />

push and pull of electro-magnetic<br />

forces. As a result, movement of<br />

the copper itself was given a voice.<br />

<strong>The</strong> copper could sing, click, buzz,<br />

flop, whip against the rigidity of<br />

porcelain. For me, such an inquiry<br />

is ultimately about how we relate<br />

with nature and how much we are<br />

willing to live in collaboration with<br />

our environments”<br />

Although the wonderful acts were<br />

many, some that definitely made an<br />

impression were Elena Colombi, Big<br />

Brave, Holy Tongue, Space Afrika<br />

(definitely) and Ninasupsa.<br />

Last but not least, DJ Jana Rush,<br />

who wrapped up the Saturday’s<br />

performance list with soothing bass<br />

sounds,, hypnotic melodies and<br />

poetic tracks that brought back<br />

evocative images from their native<br />

Chicago and other big cities, the<br />

reflection, the melancholy, the need<br />

to fall into the rabbit hole once<br />

again.<br />




Cristina Arancibia Brecht, AKA Niktalope is<br />

a visual Artist from Santiago de Chile.<br />

She studied design at the University of<br />

Chile and finished her studies of fine arts<br />

at ARCIS University.<br />

She has participated in several<br />

international solo and group exhibitions<br />

since 2002.<br />

Her work takes drawing as the foundation,<br />

from there she creates animations,<br />

sculptures, paintings and collages.<br />

Independently, She edits the Niktalope<br />

fanzine and was part of Kraneo ediciones<br />

from 2005 to 2015.<br />

She works on the making of puppets and<br />

various sculptures of recycled materias<br />

whit her son, of which one exhibition has<br />

been made in the past.<br />

in 2015 she created and designed the<br />

puppets and stage for the “Fantasma<br />

Cosquillosa” play written by Alejandro<br />

Jodorowsky.<br />

In 2017 she had her first international solo<br />

show in Barcelona, Spain.<br />

In 2018 she published her first tales book,<br />

Luces Negras.<br />

Now based in Brooklyn, New York, she<br />

continues to grow as an artist, as well<br />

as to co-create along with her husband<br />

the Creative studio Fantasmal, where<br />

they design and perform artistic plays<br />

ranging from puppetry, theater, music and<br />

audiovisual experiences.<br />

Learn more at:<br />

Niktalope.com<br />




<strong>The</strong> <strong>Red</strong> <strong>Door</strong><br />

Network:<br />

038<br />

<strong>Red</strong> <strong>Door</strong> <strong>Magazine</strong> is a quarterly<br />

Arts & Culture publication meant<br />

to document the work of creators<br />

everywhere, as well as facilitate new<br />

conversations on important matters<br />

for our communities in a local and<br />

international way, through the linking of<br />

themes, collaborations, interviews and<br />

hybrid events that can expand the reach<br />

of independent voices and remarkable<br />

projects. <strong>Red</strong> <strong>Door</strong> counts with the help<br />

of correspondents in Australia, Mexico,<br />

the US and Denmark.<br />

<strong>Red</strong> <strong>Door</strong> also counts with:<br />

-A podcast called the <strong>Red</strong><br />

Transmissions, where creatives,<br />

activists and cultural organizers share<br />

their process, projects and initiatives.<br />

-A Poetic Phonotheque, which<br />

serves as an online collection of poetry<br />

in many languages in the voice of its<br />

authors, created to break the barriers<br />

of distance and facilitate free access to<br />

poetry in households around the world.<br />

-An independent print project called<br />

<strong>Red</strong> Press, which focuses on the<br />

publication of poetry (and illustration) in<br />

translation. Bilingual books, handmade,<br />

limited edition books.<br />

-A new Nordic network of publishers,<br />

translators and performers called <strong>Red</strong><br />

Thread, which aims to document<br />

and promote multilingual literature and<br />

performing arts.<br />

-An online independent radio station<br />

with a focus on literature, sound art,<br />

community and performance called<br />

Tremella Radio .EU<br />

-<strong>The</strong> <strong>Red</strong> <strong>Door</strong> Gallery is located<br />

in the cultural hub of Copenhagen<br />

on Møllegade, Nørrebro, where talks,<br />

workshops, exhibitions, performances<br />

and other events are often on the<br />

calendar, as well as limited edition<br />

books and prints, original art,<br />

miniature books and other art related<br />

products, often with a focus on poetry.<br />

See them also on the online shop:<br />

www.reddoormagazine.<br />

com/shop<br />


Litteraturcentrum KVU:<br />

Litteraturcentrum KVU is an international<br />

literary initiative we often promote as<br />

a league of publishers in Scandinavia.<br />

<strong>Red</strong> <strong>Door</strong> is published through this<br />

collaboration.<br />

Kultivera operates international cultural<br />

programs that are physical, social and<br />

creative; that stimulates and inspires both<br />

the artists and the local community. It is<br />

the organization in charge of the Tranås<br />

Fringe Festival and their curriculum of<br />

activities can be seen on the issues of<br />

the <strong>Red</strong> <strong>Door</strong> <strong>Magazine</strong>.<br />

Write4Word: Is a West Wales community<br />

organization with a focus on language<br />

arts. Its director, Dominic Williams, is a<br />

frequent correspondent of <strong>Red</strong> <strong>Door</strong>.<br />

La Libélula Vaga: is a spanish literary<br />

magazine published in Sweden<br />

documenting the work of poets all<br />

over the planet, as well as encouraging<br />

translations, talks and other<br />

collaborations.<br />

Keith FM: is a Berlin-based community<br />

radio. <strong>Red</strong> Transmissions Podcast airs<br />

on the 1st Thursday of each month at<br />

15, the 3rd Sunday of each month at 12,<br />

and the last Thursday of each month at<br />

3am (for the early birds or those in other<br />

timezones).<br />

Trafika Europe Research: seeks to help<br />

renew the role of literature in nudging<br />

along the European conversation<br />

in culture, This is done through a<br />

bookshop, a journal, and a radio, where<br />

<strong>Red</strong> Transmissions Podcast is also on<br />

rotation, as well as a selection of its poets<br />

/ musicians.

This year, RED DOOR <strong>Magazine</strong> is turning 13<br />

years old, and a celebration will take place in<br />

the fall, along with the release of this limited<br />

edition Lucky 13 t-shirt design to celebrate the<br />

anniversary, which will only be made available<br />

to Patreon supporters of <strong>Red</strong> <strong>Door</strong>.<br />

Joining Patreon provides the support to<br />

continue <strong>Red</strong> <strong>Door</strong> initiatives, such as the<br />

podcast, which has already celebrated over 70<br />

interviews, or the phonotheque, which counts<br />

with the voices of over 400 poets around the<br />

world... all of this, including the digital version<br />

of the magazine, are free to ensure access to<br />

information wherever you are in the planet.<br />

However, these projects are indeed time<br />

consuming and not free, especially since it is<br />

necessary to pay to remove the ads so that you<br />

are not distracted and can have a fully immersive<br />

artistic experience when enjoying this<br />

magazine and the RED DOOR website. <strong>The</strong>re’s<br />

costs for hosting and printing and domains<br />

and publishing... and for now, ONE certain<br />

way to show your support directly: PATREON.<br />

WIth a membership starting at 3 EU a month,<br />

yo too can ensure these projects keep existing.<br />

What’s more, now Patreon allows for one<br />

yearly payment, if you’re not into monthly fees.<br />

Join today and receive your collectible shirt.<br />

www.patreon.com/madamneverstop<br />

Eternal gratitude to the current patrons of<br />

this magazine: Michael F. Goldman, Valeria<br />

Schapira, Andreas Frostholm, Valentina<br />

Upegui, Juan Pablo Salas, Ulla Hansen, Tamar<br />

Tkabladze, Sergio Guzman, Jaider Torres,<br />

Mikkel Vinther, Malene Boech Thorborg,<br />

Melissa Albers, Melanie Perry, Juana M.<br />

Ramos, Dominique Storm, Devin Fairchild,<br />

David Miller, Crox Pow, Doktor Hansen, Aleisa<br />

Ribalta Guzman, Alan Pallais and you, who are<br />

reading this.<br />

Love and poetry always,<br />

Madam Neverstop<br />



THE <strong>TAKEOVER</strong> ISSUE<br />

SPRING 2022<br />



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