martes, 3 de mayo de 2022

Sete Star Sept (Jap) & Rich Hoak (USA) - Electroencephalogram (2019) - REVIEW

Disclaimer: originally written for and published in IDGF IV issue. 
Spanish written below.

Sete Star Sept (Jap) & Rich Hoak (USA)

- Electroencephalogram (2019)

Colaboration tape / P2

"You are G, bro!” is a slang term you can hear on the street or in different Eazy-E tracks, because it means “gangsta”. At the same time, though, could it refer to a “gentleman”? It is a tough call to decide which one of the two expression fits what follows.

A total of twelve minutes that start  flat out and extra noisy, fitting in some Richard and Kae’s yells throughout. It’s when six minutes have gone by that they start relaxing a bit and Richard and his saxophone start playing more “normal” and chill stuff, closer to 40s and 50s jazz.

I can’t help but picture them playing in a futurist distopia, like Fallout New Vegas. Yes, I mean that videogame that takes place in Mojave’s desert, US, in 2281, in the aftermath of a nuclear holocaust. The thing is, they are playing at thus pub, which is a motel/inn at the same time; robots are patrolling the streets, you can even have sex with them, but you might lose your tongue because you have put it in a place you shouldn’t have; even in a party, a quick withdrawal is a victory sometimes. That’s when the “normal” sax part kicks in and, in places where the videogame tries to emulate the atmosphere of 50s America, you find a sweaty Frank Sinatra among the public, watching Kae yell, playing bass and screaming with an artificial leg to be able to stand up.

I love their atmosphere. They remind me of Peter Brötzmann’s abrasion or works like Pakistani Pomade. However, in spite of that influence, it really feels like the aforementioned bands had just discovered Japanese noise and had ended up solidifying their relationship by collaborating with SSS, getting closer to noisecore. Jazz, noise and free jazz influences are there, but the “closest” comparison to this one is Spastic Burn Victim’s Fuck your Eyes (2014), where Colin Webster plays sax as a guest. Regarding the differences between them both, this one is sometimes more savage, cacophonic and sharp - to which the production contributes immensely. The other one doesn’t fall behind, even more so seeing as C. Webster is a professional sax player and he is at an advantage.

 

“Recorded and Mixed at Grindlabs (Philadelphia, PA) on 04/09/18”  // Pic @p2loggia

However, this is not just about knowing how to play, but also about attitude. The uncleanliness of Richard’s drum playing is not an exception, and he transfers it to the sax; therefore, I can’t help but think (while smiling) that he might make the same faces playing like the ones you see in the Brutal Truth’s videoclip Sugar Daddy.

Despite their abrasive sound being the greatest virtue, it constitutes its major flaw as well. I dig free jazz a lot (even if I don’t know a lot about it because it is extremely dense) and I’m missing nuances, more notes, more changes, etc. It seems more like a jam session than anything - even though, I quite like it. I like that hybridisation with noisecore. The “biggest problem” lies in trying to listen to it constantly, because we are couth rats. Playing this album is one thing, but listening to it live, being able to tip them with some coins in their hat while they play in the streets of a tourist city (so that they could pay their fine for public scandal) or something of the sort  would be way better.

I would love to give production and sound some credit. It is quite loud and abrassive, it seems like a good move. Their stridency makes me think of the idea of them collaborating or a live streaming with Petr Válek, this Czech guy that makes really noisy videos with random houseware, instruments, machinery or anything he lays his hands on, not giving a fuck about anything or anyone. What if he collaborated with him or with Changoz! soon? :D I crave for more, and I would love to see him live, to be invited to their recording studio, or for someone to make a bootleg like the “deadheads”, or for someone to make hippy t-shirts with this work’s cover.

Finally, I love the artwork, done by The American Flag. No fucks given, 10 out of 10. I would love to mention the Italian label P2, the ones in charge of editing them, for they did a great job as propagandists: “We really don't know what to tell you but there's a big chance you're not going to be able to handle this. That's not a challenge, it's a fact.” They are not far wrong there, but as with Naked City, this might be some people’s introduction into disliking and following jazz paths. Give it a go, even if it just makes you being kicked out of home. //

https://shop.7s7.org/album/electroencephalogram  https://p2loggia.bigcartel.com/products 



Sete Star Sept (Jap) & Rich Hoak 

(USA) - Electroencephalogram (2019)

Colaboration tape / P2

"You are G, bro!” es una expresión slang que puedes escuchar en la calle o en diferentes temas de Eazy E, pues hace referencia a “gangsta”. Pero, al mismo tiempo, ¿podría hacer referencia a ser un “gentleman”? Es difícil escoger una de las dos expresiones para lo que sigue.

Doce minutos en total, que empiezan a todo trapo y súper ruidosos, intercalando berridos de Kae y Richard por el medio; pero, es en torno a los seis cuando se empiezan a relajar un poco y Richard y su saxofón empiezan a hacer cosas más “normales” y tranquilas, donde parece más cercano al jazz de los años 40s-50s.

No puedo evitar imaginármelos tocando en una distopía futurista, como el Fallout New Vegas. Sí, el videojuego ese ambientado en el desierto del Mojave, USA, en el 2281, tras un holocausto nuclear. El caso es que se encuentran tocando en un pub, que a su vez es motel/posada, y algunos robots patrullan las calles, o incluso puedes tener sexo con ellxs, pero pierdes la lengua por meterla donde no debes, ya que, incluso de fiesta, una retirada de tiempo es una victoria. Y ahí llega la parte “normal” del saxo – y como el videojuego toma aspectos de la América de los 1950s para ambientarse – te encuentras con Frank Sinatra sudando entre el público, viendo a Kae gritar, tocando el bajo, y berreando con una prótesis en su pierna derecha para mantenerse de pie.

Me mola su atmósfera. Inicialmente me recordaron a la abrasión de Peter Brötzmann o a trabajos como Pakistani Pomade. Sin embargo, pese a que la influencia pueda estar ahí, suenan como si las referidas bandas descubriesen el noise japonés y terminasen apuntalando su relación colaborando con SSS, acercándose más al noisecore. Las influencias del jazz, el noise y el free jazz están ahí, pero, quizás, lo “más cercano” con que puedo compararlo, es con el Fuck your Eyes (2014) de Spastic Burn Victim, donde Colin Webster toca el saxo como invitado. Sobre las diferencias entre ambos, esto es a ratos más salvaje, cacofónico y afilado, a lo cual también ayuda mucho la producción. El otro tampoco se queda atrás, sumado a que C. Webster es un saxofonista profesional y juega con ventaja.

 

 “Recorded and Mixed at Grindlabs (Philadelphia, PA) on 04/09/18” // Pic @p2loggia

Pero esto no se trata solo de saber tocar, sino también de actitud. La suciedad que tiene Richard tocando la batería no es una excepción, y la lleva también al saxo, por lo que no puedo evitar pensar – y sonreír – pensando en si pone las mismas caras que cuando toca, como se ve en el videoclip de Sugar Daddy de Brutal Truth.

No obstante, si lo abrasivo que suena es su mayor virtud, también es donde creo que recae su mayor defecto. Le pego bastante al free jazz – y aunque todavía no tenga ni puta idea al respecto porque es súper denso – aquí echo de menos matices, más notas, más cambios, etc. A decir verdad parece una improvisación, la cual está bastante bien, ¿eh? Me gusta esa hibridación con el noisecore. El problema es querer quemarlo a escuchas, quizás es aquí donde surge el “mayor problema” porque somos unas ratas exquisitas. Mola ponerse el trabajo, pero molaría mucho más tener la posibilidad de verlo en directo, o dejarles limosna en un sombrero de cualquier calle de una ciudad turística y que puedan pagar su multa por escándalo público, o algo semejante.

Mención a la producción y el sonido. Suena bastante alto y abrasivo, me parece un gran acierto. Es con la ya referida estridencia que me los imagino haciendo una colabo o un streaming con Petr Válek, el checo éste que hace vídeos súper ruidosos, que tan pronto te pilla cacharros, o instrumentos, o máquinas, o lo que encuentra por casa, sudando de todo y demás. ¿Una colabo en breves con él o con Changoz!? :D Me quedo con ganas de más y, si es posible verlo en directo, que me inviten al estudio de grabación, o que alguien haga un bootleg como los “deadheads”, o diseños de camisetas hippies con la portada de este trabajo.

Por otra parte, el artwork me encanta. Es melasuda total, 10 de 10. Mención especial al sello italiano P2 – quienes lo editan – por su labor como propagandistas: We really don't know what to tell you but there's a big chance you're not going to be able to handle this. That's not a challenge, it's a fact.” No se desencaminan demasiado, pero al igual que Naked City, quizás esto pueda ser la introducción de la gente hacia el disgusto y los caminos del jazz. Dadle un chance, aunque sea para que os echen de casa. // https://shop.7s7.org/album/electroencephalogram https://p2loggia.bigcartel.com/products







martes, 21 de septiembre de 2021

Go-Go Barricades. Some notes on the Japanese music scene from 1968 to 1977 (2017, 1st edition) - by Julio Cortés. English and Spanish book review

 

 

Go-Go Barricades. Some notes on the Japanese music scene from 1968 to 1977 (2017, 1st edition) - by Julio Cortés.
Publisher: Excursos 2&3 Dorm./ Spanish, 60 pages. 

  "The watchword of the movement was: ‘antiimperialism, antistalinism’. This is quite the statement, as it reveals an understanding/compression that started to make its way between the two supposedly rival systems of the ‘Cold War’. While the predominant tendency was that, within each bloc, the dissidents typically admired the opposite bloc, the radical youth realised that they had to oppose both at the same time…” - Footnote at the cover.

Stolen pic from @manualdecombate

The author achieves his goal of trying to shed some light about and focus on other different ways in which the political struggles and subversion “are expressed through many more channels than those they have boiled down to as political parties, institutions and ideologies” revolving around the Japanese music scene of those years. He chooses to present it in seven chapters, conjugating these ideas and painting some brushstrokes of this underground Japan, as well as its subsequent influence. 

The book starts with the post ‘68 situation, touching on the influence of situationism and Paris. The spearhead of the depth with which it develops an international context , backing it with ideas, theories, discourses, references and so on and so forth; he will assemble the rest of the contents in the same way. Fortunately, they aren’t merely isolated anecdotes, for the narration looks for the cohesion and continuity in the matter, and it embodies and achieves it.

One of the first chapters is centered on the 全学連 Zengakuren - All-Japan Federation of Student Self-Government Associations - and how their tactics like the dance of the serpent during the protests or how being protected with helmets, and doing changes on their charges, etc. inspire and influence a great part of the world. It is always interesting to see the explanation on the revolutionary breeding ground, how this second wave finally crystallized in the seventies and reached a climax or how this breaks with the statism and the undue protagonism of the bloc politics and great powers of the Cold War.

Another chapter uses as a reference the Western influence in Japan and vice versa. It is cool to see how they feed back, hybridise, their diverse influences, etc. It is the case of the 1966 Beatles’ tour, John Coltrane, Stockhousen, the 1962 Cage tour, etc. But this also goes the opposite direction, from Japan to the West. It is actually nice to see this subversive global breeding ground, how this would belong to a determined second wave that would finish rearing the end of the seventies, while the first one had started in 1917 and died in Spain in the 36. Has the third one taken place in 2019-2020?

Within this transgression, another chapter is dedicacted to Japanese rock bands: the Flower Travellin’ Band and the Les Rallizes Denudés, as well as their evolution and downfall? Due to some of the actions that had some of the members partake on the hijacking of a plane (...).

Before an epilogue that bids us farewell, there is one chapter on Japanese free jazz, a new world that is fucking new, where it is funny to see the connections between Keiji Haino with the people mentioned in the previous chapter, or getting to know Masayuki Takayanagi, or our latest favourite discovery: Kaoru Abe, someone Henry Rollins refers to as: “he sounds like Albert Ayler, but more desperate”.

In summary: it might have been too short, I was bummed that it finished so early (I craved for more), but it has the precise length not to drown in so much new information. At least, it can be the starting point by mentioning the albums and books that are included all along the book. There is plenty of material and work. I learnt a lot, to be honest. You read it quickly, it is rather fluid and you can read it while chilling even if you want to check out, look for and integrating a lot of the things it mentions. The register of this essay doesn’t forget about the incorrections, comfort and amenity that compares to the writing in a fanzine, so he allows himself to cut some slack. Fortunately, it is not an intellectual bore. We have to point out that one can get a little lost if you don’t know many free jazz, avant-garde artists, historical and political context references, but we’re here to learn. The same goes for the bibliography at the end.

Julio, the author, in stage with Manual de Combate (July 2019). Pic by @narizsangrante

 Finally, if we want to show no mercy, it is quite the irony how supposedly subversive factions and political parties have attacked and discredited it. I don’t know whom or what they remind me of (...). It is quite funny that I found, months later, that this book is written by the same Julio that plays sax in Manual de Combate and has written other books such as “La violencia, venga de donde venga” [Violence, no matter where it comes from] (2020). You can read it online at:  http://www.dosytresdorm.org/ // Julio’s blog: https://punkfreejazzdub.blogspot.com/ // Originally posted in I Don't Give a Fuck #4

 

Barricadas a Go-Go. Apuntes sobre la escena musical japonesa de 1968 a 1977 (2017, 1ª edición) – Julio Cortés.
Editorial: Excursos 2&3 Dorm. / Español, 60 páginas.

La consigna central del movimiento era: ‘antiimperialismo, antiestalinismo’. Lo cual no es poco: revela una compresión que recién el 68 empezó a abrirse paso con toda claridad: la equivalencia fundamental entre los supuestos dos sistemas rivales de la ‘Guerra Fría’. Mientras la tendencia dominante había sido que en cada uno de los bloques los disidentes tendieran a admirar al bloque contrario, la juventud radical se había dado cuenta de que había que oponerse a ambos al mismo tiempo…” - Nota a pie de portada.

Foto afanada de @manualdecombate

Girando en torno a la escena musical japonesa de los referidos años, y buscando dar a luz y centrarse en otras vías en que la lucha política y subversión “se expresan por muchos más canales que aquellos a los que los han reducido los partidos e instituciones políticas y sus ideologías”, el autor logra su cometido. Para ello, opta por siete capítulos, aunando estas ideas y cartografiando algunas pinceladas de este Japón subterráneo, así como su influjo posterior. 

El libro arranca con la situación post ‘68, tocando la influencia del situacionismo y de París. Punta de lanza para la profundidad con la que desarrolla un contexto internacional, sustentándose en ideas, teorías, discursos, referencias, y demás asuntos; vertebración que lo acompañará a lo largo de todos los contenidos. Afortunadamente, no son solo anécdotas aisladas, sino que el relato busca, encarna y logra la cohesión y continuidad en la materia. 

Uno de los primeros capítulos se centra en las 全学連 Zengakurenla Federación Japonesa de Asociaciones Estudiantiles – y cómo sus tácticas como el baile de la serpiente en las protestas o ir protegidos con cascos, hacer relevos en sus cargas, etc. inspiran e influencian a gran parte del mundo. Resulta interesante ver la explicación del caldo de cultivo revolucionario y cómo en los setenta termina de cristalizar y alcanzar su clímax esta segunda ola, o cómo esto rompe con el estatismo y protagonismo desmedido de la política de bloques y grandes potencias de la Guerra Fría. 

Otro de ellos toma como referencia las influencias occidentales en Japón y viceversa. Mola ver cómo se retroalimentan, cómo se hibridan, sus diversas influencias, etc. Es el caso de las giras en 1966 de Los Beatles, J. Coltrane, y Stockhausen, o la de Cage en 1962, etc. Pero también cómo esto tiende a influir en sentido contrario, de Japón a Occidente. Realmente es bonito ver este caldo de cultivo subversivo a nivel global, cómo esto correspondería a una determinada segunda ola, que terminaría a finales de los 70, arrancando la primera en 1917 y muriendo en España en 1936. ¿Ha sido la tercera en el 2019-2020?

Dentro de esta transgresión, otro de los capítulos está dedicado a las bandas de rock japonés: La Flower Travellin' Band y Les Rallizes Denudés y su evolución y ¿desgracia? Debido a algunas de las acciones que cruzaron integrantes con la participación en el secuestro de un avión (…).

Y antes de un epílogo a modo de despedida, culmina otro referido al free jazz japonés, un nuevo mundo nuevo de carallo, donde está cachondo ver las conexiones de gente como Keiji Haino con los mencionados en el capítulo anterior, o saber de gente como Masayuki Takayanagi, o el que de momento ha sido nuestro descubrimiento favorito: Kaoru Abe, a quien Henry Rollins define: “suena como Albert Ayler, pero más desesperado”.

Recapitulando: quizás sea un poco corto, me jodió que terminase tan pronto (quedé con ganas de más), pero tiene la duración justa y adecuada para no naufragar ante tanta nueva información. Por lo menos sirve como punto de partida por la mención de los discos o referencias bibliográficas que se incluyen a lo largo del mismo. Hay material y trabajo para rato. A decir verdad, aprendí bastante. Se lee rápido, y es bastante fluido y agradable de leer de chill, aunque quieras ir checando, buscando e integrando muchas de las cosas que menciona. El registro del ensayo no olvida las incorrecciones, comodidad y amenidad para escribir el equivalente a un fanzine, permitiéndose sus licencias correspondientes. Afortunadamente no es un tostón intelectual. Señalar que si se desconocen referencias del free jazz, artistas de vanguardia, contexto histórico y político, uno puede llegar a perderse un poco. Pero bueno, estamos aquí para aprender; lo mismo con la bibliografía hacia el final.

Julio, el autor, con Manual de Combate (Julio de 2019). Foto por @narizsangrante

Por último, puestos a hacer sangre, está cachondo el descrédito y ataques reaccionarios por parte de sectores y partidos políticos supuestamente subversivos. No sé a quiénes o a qué me recuerdan (…). O enterarme meses más tarde que está escrito por el mismo Julio que toca el saxo en Manual de Combate, o que tiene escrito otros libros como La violencia, venga de donde venga (2020).  Podéis leerlo online: http://www.dosytresdorm.org/ // Blog de Julio: https://punkfreejazzdub.blogspot.com/  // Originalmente publicado en I Don't Give a Fuck #4


jueves, 10 de junio de 2021

I Don't Give a Fuck issue #4 (Bookazine)

Did you ask for nudes??
 
I Don’t Give a Fuck IV (Bookazine)
A5, Blanco y negro, 96 páginas, 62 000 palabras.
¡Versiones disponibles en inglés y en español! 
(English version tbr in late summer!)

Zine teaser

Entrevistas y conversaciones en profundidad abarcando diferentes aspectos y contenidos sin filtro (drogas, suicidio, política, viajes, espacios, mentalidades, subversión, corrosión, humor, empoderamiento, inquietudes, actitud, sentimiento de comunidad y un largo etc.) con Changoz! (Paraguay), Damien de Coene (Charles Razeur, Dark Field Recordings, Manual de Combate (Chile), O Pazo dos Lobos (con el Colectivo Lumes do Norte; uno de los múltiples enlaces con la escena crust de Galicia), Viajes en trenes de carga: USA, México y Canadá (con Argéniz, de los mexicanos Máquina Muerta).

Reportaje especial sobre las revueltas de Chile de 2019, con la colaboración de Julio Cortés Morales (abogado especializado en derechos humanos), con los artículos: "La batalla de Santiago. Recuerdos del lunes 21 de octubre de 2019" y "Violencia sexual y mutilación masiva como política represiva". Reseñas de música, libros y fanzines. 

Imperecedero Discos (Chile) editará para la distribución en América Latina.

Distribución en España y en Europa a través de IDGF. 

                                            Pedidos? Mejor por email :)
                                    idontgiveafcknewsletter[at]gmail.com
                                                (y sí, es fck, not fuck) 

Tenemos los siguientes packs/bundles:
-IDGF #4 4EUR + gastos de envío (pesa menos de 250 gramos)
-IDGF #4 + 12" de los compañeros de Manual de Combate (a quienes coeditamos) > 15EUR + gastos de envío
-IDGF #4 + IDGF #2 y #3 + IDGF #1 > 7,50 EUR + gastos de envío
-IDGF #4 + IDGF #2 y #3 + IDGF #1 + 12" de Manual de Combate > 19EUR + gastos de envío.
 
¿Pedidos? Tenemos preferencia por los mails para organizarnos (adjuntar vuestros datos en el primer contacto), aunque también podéis largarnos inbox. Transpirad de pillarlos por bandcamp, que nos hacen perder billetes ¯\_(ツ)_/¯

*Todos los contenidos han sido realizados en exclusiva para este número, a excepción de la entrevista a Damien de Coene, originalmente publicada en la página web de Musique Machine, y los artículos de Julio cortés, publicados con anterioridad en diversos medios.

 

 


***************************************************************************************

I Don’t Give a Fuck 4 (Bookazine)

 A5, black and white, 96 pages, 62 000 words

Spanish and English versions! 

In depth interviews and conversations, dealing with different subjects and contents without filter (drugs, suicide, politics, travels, spaces, mentalities, subversion, corrosion, humor, empowerment, concerns, sense of community, attitude and so on and so forth) with Changoz! (Paraguay), Damien de Coene (Charles Razeur, Dark Field Recordings), Manual de Combate (Chile), O Pazo dos Lobos (with the Spanish Collective Lumes do Norte, one of the many links with the Galician crust scene); Cargo train journeys in USA, México & Canada (with Argéniz from the mexicans Máquina Muerta). 

Special report about Chilean revolts in 2019, with the collaboration of Julio Cortés Morales (lawyer specialized in human rights), with the articles: “The battle of Santiago. Memories from Monday 21st of October of 2019” & “Sexual violence and massive mutilation as repressive policy”. Music, books and zine reviews. 

Imperecedero Discos will print copies in Chile for the Latin American distribution.

                                      Orders? Better conact through mail :)

@idontgiveafuckzinelabel 

idontgiveafcknewsletter[at]gmail.com (and yes, it’s fck, not fuck) 

 *All the contents have been done in exclusive for this issue, excluding the interview with Damien de Coene, originally published in the Musique Machine webpage and the articles by Julio Cortés, previously published on the net and previously only available in Spanish.


lunes, 8 de marzo de 2021

IDGF 001

Manual de Combate (Chile) - Mapas Auténticos del Mundo Imaginario. Mapas Imaginarios del Mundo Real. ('Authentic Maps of the Imaginary World. Imaginary Maps of the Real World').


  “Into a dependency without dreams, we are continuing to lose our lives at work”, says one of their lines. Fear, silence or this hyperconnection that drives us further away and isolates us are just some of the scars of the contemporary world. It is easy to relate to Manual de Combate.
After five years as a band, – marked by little steps, touring – or the Chilean revolts, the rage of this album culminates in the thirteen minutes of Aparcoa, a jazz-inspired opera that advocates breaking with the frames of reference. In this fight against alienation – and oneself – the value of illusion is all-pervasive in this band, where post-hardcore, jazz, noise and hints of free jazz become one and the same. What is to be done in the face of this fire that reminds us that everything seems possible?

 

 

It will be pressed in black vinyl 12", limited to 300 copies. Cover artwork and inlay design by Caro Lagos. Lyrics and English translation will be included. We'll cover European distribution from Spain with 100 copies. Catalina Records from Urugay and Imperecedero Records from Chile, will cover Latin American distribution.

Preorders are now available from us. Drop us a mail to idontgiveafcknewsletter[at]gmail.com

https://idontgiveafuckzinelabel.bandcamp.com/album/mapas-aut-nticos-del-mundo-imaginario-mapas-imaginarios-del-mundo-real
 
 
 

viernes, 18 de octubre de 2019

I Don't Give a Fuck issues #2 and #3 are finally out!!!

The next issue is finally out! A5, 80 pages, English written.


-Interviews with: DooM (UK), Filth of Mankind (Pol), Hongo (Spa), 
Sete Star Sept (Jap), Ruido de Rabia (Spa), Martin Sorrondeguy 
(Los Crudos, Limp Wrist) and Hogre ("Subvertising").
-Articles: "The Day I Broke my Hymen Again" & "Anti-Now"
-Music, books and zine reviews.



LINKS:

-Bigcartel: https://idontgiveafuck.bigcartel.com (In case that it doesn't work mail us ;) ).
-Email: idontgiveafcknewsletter[at]gmail.com (and yes it’s fck, not fuck)
-Blogspot: http://idontgiveafcknewsletter.blogspot.com/


Teaser of the contents:












PRESS TEXT:

"Money may come back, time don't" states the introduction of the issue. After a first number of merely 16 pages at the end of 2017, two new issues come together in a single one. Taking the same political impetus and cultural radicalism the following chapter delivers in depth contents, questions and thoughtful ideas. Escaping from the norm and avoiding hateful things such as "do you like pineaple in the pizza?", stuff that nobody would like to find when paying and waiting for a zine to arrive home.

Done between late 2018 and 2019 the ideas and elements exposed were already thought since the 1st issue was published. As always, there are interesting things on the way and very enriching stuff to dig into, like can be seen in the article "The Day I Broke my Hymen Again" to put an example. A long process since the first scratches, the discards, the struggle until everything is ready to be printed. 
As for the contents, everything has been done by IDGF except the Wormrot review or the Ruido de Rabia interview, already published in Agente Provocador, but translated to English in its entirety. The same happened with Martin Sorrondeguy one previously posted in "Latin Bliss" zine but only available in Spanish. If someone has already done it, and probably better and different than what you are probably going to do it... Why not to share efforts and work together? It's useless to ask the same questions and ideas to people again and again.

It's been an interesting yet stressful - why are we going to lie? - journey. But why about two issues in one? IDGF originally started as a newsletter and had in mind to just include two or three interviews, an article, a few reviews and that's it. Seems that the poisonous sting of self-commitment caught us and felt that it wasn't enough for this assault. We tried to took care as well of its atmosphere, like if it was a good album. But it's not something to be judged by ourselves.

Regarding the future, there are already some ideas and possible paths to be taken. However, it's better to let the contents mature in a cellar than just making things as a kind of nonsense. It may take us a year or two, idk. It's not time to put deadlines. Quality over quantity, death to quick consumerism culture.

IDGF - October 2019.

viernes, 3 de agosto de 2018

Sete Star Sept + Brutal Blues EUROPEAN TOUR!!!


Hi there, how is it going?

We are happy to announce our contribution to this maniacs setting a show in
A CORUÑA, Galicia, at the Northwest of Spain!! :)


Here you have the event: https://www.facebook.com/events/917512681769756/



Germany, France, Switzerland, Portugal... don't forget to check the other cities where they are going to stop!! https://zkam.org/bb/





miércoles, 29 de noviembre de 2017

I Don't Give a Fuck newsletter #1

Hello internet,
after some delays, I Don't Give a Fuck newsletter #1 is finally out.

A-5, 16 pages, english written featuring interviews with Agathocles (BEL) and Máquina Muerta (MEX); Nato-sponsored terrorism: Operation Gladio article and music reviews.



Prices, shipping rates included (at least for the present year).

Spain: 1,60 EUR*
Europe (Greenland included): 2,75EUR*
Rest of the world 3,00EUR*
*Note that it's not registered, if not prices would be ridiculous
For ordering more than one issue, possible trade or wholesale, contact me before.






                   Beyond personal reasons, why this newsletter has born?

-Fight back that postmodernism which nullifies political positionings, that nihilism which says that everything is done or that fukuyanism which says that capitalist society has won and that we don't have any other choices of building something new and different.
-Same happens with that feeling of derrotism, it's ok to know about it, feel it and so on, but can't be a constant. Reaction to this are the way the interviews or contents of this zine are elaborated. Try to shake our minds and look further than our noses and restrictions.

IDGF is focused on punk, crust, grind, hc, powerviolence or even some noisy stuff if it has a political orientation on it or not at all if we really like it. We may include different things as an exception, but interviews will be generally focused on this kind of stuff. Regarding reviews, the name is a reaction too against borders between genres. Expect whatever inspire us...
What we aren't going to accept homophobic, sexist, racist-punching woman shit. Fuck that.


Orders and/or contact: idontgiveafcknewsletter@gmail.com (due to censorship it has to be fck, not fuck).

Promos and physical stuff releases are more than welcome. Feel free to contact us :)


P.S.: cooking #2 issue for being released in April 2018.


Sete Star Sept (Jap) & Rich Hoak (USA) - Electroencephalogram (2019) - REVIEW

Disclaimer: originally written for and published in IDGF IV issue.  Spanish written below. Sete Star Sept (Jap) & Rich Hoak (USA) - Ele...