Just to prove that I am actually working on this and it will eventually exist, here are some excerpts from issue V:
From "The Journalist's" contribution, an article on the similar trajectories of various forms of grating music:
If you've ever wondered what a William Burroughs/Sachiko M collaboration would sound like I advise picking this ‘lil gem up and listening a hundred times or so. It only gets stronger, and a clearly-defined logic becomes apparent, the closer one listens, long passages of surprisingly well thought out electronic experimentation offering great pacing for the humorous story, that seems as much a critique on an undiscerning acceptance of anything related to faaarrr ouuuttt 60’s counter culture as it does an indictment of square society, so prevalent at the time in the freak flag scene from which I rest assured they sprang.
From an interview with Scott Foust:
SF-Well I’ll tell you a different story (laughs). I call this “The curse of Harry Partch.” You know Harry Partch? He was a weirdo composer, eccentric composer, built all his own instruments...
P-Yeah.
SF-In the early 80's I saw a documentary about him on public TV, and there's a scene in it where he had a label, he had his own label because no one would do the records, called Gate 5, and there's a scene in it where he's boxing up these records and he's this old man boxing up these records to send to distributers to sell his records, and I saw this thing and I thought “That is the fucking coolest thing I’ve ever seen in my life! I want to be just like that!” Well here it is, I am just like that, and it's not so cool.
From an interview with Good Area:
A-A good label shouldn't be a potpourri, it shouldn't just be a big pot where 'ya go in the closet and you take every single thing that you have on hand and 'ya throw it in. It should be a bit more considered. You might be cooking a quiche that has different elements that are, that might be unexpected, elements to put side by side in the same dish, but it should be like a good quiche (laughs) where the sort of differing elements, they should accentuate the differences and accentuate the flavors and like the parameters of each individual item.
From review of Cured Pink "S/T":
On this ‘un, with the help of some buds, he paints a pretty rare bird of dark Psychedelic exploration, sorta like the logical extension of Father Yod, with focus shifted towards electronics rather than fascistic orgies. I’m often reminded of early UK Industrial too, the kinda stuff that still had one foot in Rock, like Cab Voltaire or the extended live version of Leather Nun’s “Slow Death.” A bit of a hippy take on SPK too? At times it ‘aint even too far removed from the type of snuff Twink was flingin’ on Think Pink. And why not? Let’s through it all in there!
From review of V/A Wandelweiser und so Weiter:
And sure, that’s easy to make fun of (Ey vant to fvck ze heir conidizioter! Zuch bootifull zounds it maycake!), but is it really any worse than cartoon Punk-ity Punks with their leather gloves and fire crackers, or scruffy fake Psych dudes who talk Privates but play Dino-Jr. covers, or “edge men” who live the artisanal life style-wearing freshly procured designer clothes, brushing their teeth w/ organic plant cum toothpaste and ridin’ about town on café racers w/ goofy Clark Kent/Hitler Youth haircuts flappin’ in the breeze? I mean, fuck everybody, really.
All this and plenty of surprises await for the discerning music journalism consumer in a short few weeks, so keep checkin' in as we await the climactic finale of PtMiiC's existence.
