Kendra Steiner Editions (Bill Shute)

November 29, 2015

WEREWHEELS (Sir Plastic Crimewave & Dawn Aquarius), “Live, Raw and Psycho in Japan” (KSE #322)

Filed under: Uncategorized — kendrasteinereditions @ 3:27 pm


featuring Sir Plastic Crimewave and Dawn Aquarius

“LIVE, RAW AND PSYCHO IN JAPAN” (KSE #322, cdr album)

recorded during their mind-bending June 2015 tour of Japan

and featuring guest gtrist Kawabata Makoto (of Acid Mothers Temple) on one track

ALL RELEASES ARE $8 each postpaid in the USA and $12.00 each postpaid elsewhere.

Send funds via paypal to django5722(at)yahoo(dot)com

Please include a note with your paypal order listing what items you are ordering and your name/mailing address


Great to have one of the contemporary masters of psychedelia back at KSE for his THIRD album with us, and it’s a monster. The power-duo of SIR PLASTIC CRIMEWAVE and DAWN AQUARIUS will nail you to the wall with the molten higher-key psycho-delic lava flow on this live collection culled from the band’s triumphant tour of Japan earlier this year. And if that’s now enough, the duo is joined by Acid Mothers Temple guitarist Kawabata Makoto on one track, and truly, this album is worthy of AMT. In fact, I met Steven “Plastic Crimewave” Krakow in person for the first time at an Austin show where Plastic Crimewave Syndicate were opening for Ya Ho Wa 13 AND Acid Mothers Temple–small world, isn’t it? This is an album that’s loud even at low volume and it should satisfy anyone who demands the deepest and heaviest of higher-key psychedelia, without being in any way revivalist, unlike the laughable neo-psych bands one sees (and hopefully does not hear) playing “psych” festivals in Austin. Do I really need to say anymore? As they said about the movie PIECES, “It’s exactly what you think it is!” This won’t be around long, so grab your copy now….ordering info is above. And while you are at it, check out our other offerings (see below) for the best in experimental music and contemporary poetry….the poetry chapbooks are perfect reading while tripping on the sounds of WEREWHEELS….

Chicago-based Werewheels consists of two dark cosmic forces: Sir Plastic Crimewave (Secret History of Chicago Music, Plastic Crimewave Syndicate/Sound, Guitarkestra, Galactic Zoo Dossier magazine, etc) and Dawn Aquarius (Herbcraft, Cursillistas, Brainshadows, Acid Ankh comics, etc). The duo opens clogged mind passages using guitars, keys, treated voices, and machines, creating a unique transcendent wall of sci-fried sounds–inspired by gnarly biker and horror film soundtracks, bad trip krautrock, and psychedelic synthpunk. Werewheels has played dream gigs with legends like the god of hellfire, Arthur Brown, legendary 70s pagan-folkers Comus (at a concert in London), Suicide mainman Martin Rev, and Acid Mother’s Temple on an extensive tour in Japan. In the windy city they have played at the Museum of Contemporary Art and at the University of Chicago (playing before a screening of “The Warriors”!) Also locally, WW has opened for a diverse array of artists like seasoned weirdos Ono and Vyto B, plus other contemporary acts like Wrekmeister Harmonies, Malachai and Curtis Harding. After an appearance on the limited 2LP UK compilation “Death, Decay and Renewal” alongside luminaries like Edgar Broughton, Mark Fry, Nick Garrie, Cherrystones, Alexander Tucker, etc, Werewheels have recorded their own full-length LP due out soon on Sunstone Records (UK), featuring guest appearances from Jon Seagroatt of Comus/Red Square, and Acid Mother’s Temple’s Kawabata Makoto.

werewheels photo


full-sized CDR’s ($8.00 each, ppd. in US—outside US $12.00 )

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!


new releases for 2015:










NEW FOR WINTER 2015/2016, KSE #324, FOSSILS, “Modern Architecture”….cover art by Wyatt Doyle



NEW FOR WINTER 2015/2016, KSE #326, MORE EAZE (aka Marcus M. Rubio), “Abandoning Finitude”….cover art by Bob Bruno













NEW FOR FALL 2015: KSE #320, MIKE BARRETT & TOM CREAN, “Casual Luddites”



NEW FOR FALL 2015: KSE #318, ALFRED 23 HARTH & JOHN BELL, “Camellia”


massimo 2015

NEW FOR FALL 2015: KSE #316, MASSIMO MAGEE & DAVID W. STOCKARD, “Interrogatories”


belltone reissue




NEW FOR SUMMER 2015: KSE #308, JEN HILL, “The Shape Of It” (edition of 48 copies)



NEW FOR SUMMER 2015: KSE #310 (CDR) MORE EAZE (Marcus M. Rubio), “Accidental Prizes”



NEW FOR SUMMER 2015: KSE #305, RAMBUTAN, “Remember Me Now”
























NEW FOR SUMMER 2015: KSE #296 (CDR album) THE GARMENT DISTRICT (featuring Jennifer Baron), “Luminous Toxin”











NEW FOR 2015: KSE #298 (CDR album) GIFT FIG: ALFRED 23 HARTH and CARL STONE, “Stellenbosch,” live in South Africa, September 2014



($6 US ppd/$7 elsewhere ppd)

KSE #317 (poetry chapbook), BILL SHUTE, “Inventing One’s Own Land”


KSE #306 (poetry chapbook), BILL SHUTE, “Manipulating Ambiguity”


KSE #302 (poetry chapbook), BILL SHUTE, “Satori In Lake Charles”

satori in lake charles


payment via paypal to    django5722(at)yahoo(dot)com

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

Questions? Write to  django5722 (at) yahoo (dot) com   . Thanks for your support!

November 14, 2015

DANGEROUS MEN (dir. John S. Rad, completed 2005—-distributed by Drafthouse Films)

Filed under: Uncategorized — kendrasteinereditions @ 12:39 am
Tags: , ,


produced, directed, written, and music composed and performed by John S. Rad

worked on for 26 years, completed in 2005

re-released by Drafthouse Films


Originally DANGEROUS MEN played at four theaters in the Los Angeles area in 2005  and soon after became a midnight movie phenomenon. It’s now getting a national re-release via Drafthouse Films this weekend, and if you have an Alamo Drafthouse in your neighborhood, it’s probably playing. The late Iranian-American director/jack-of-all-trades John S. Rad created the film, and worked on it here and there for over 20 years. It’s essentially an attempt to make the kind of straight-to-video action film which would have come out from, say, Action International Pictures in the late 80’s or early 90’s, during the period when Rad began production on the film. I’m glad for Mr. Rad that DANGEROUS MEN is getting an audience now, even though he is not alive to see it. However, I’m not sure who the intended audience is for this re-release.

The critical quotes seen on the poster above and below simply are not accurate. Only some MST3K fan who has not really seen many straight-to-video z-grade action films would consider this “mind-boggling WTF-ery.” Yes, the film is technically slipshod in many ways, but clearly Rad had had some experience in film-making. Despite the cut-in dialogue and the laughable fights and the odd fetishistic emphases here and there, this is NOT really an “outsider” film like MANOS: THE HANDS OF FATE. Anyone who’s seen, as I have, dozens and dozens and dozens of the kind of z-grade action fodder reviewed at MONSTER HUNTER blog will wonder what is supposed to be WTF about this film. I’ve seen Ed Wood’s name mentioned, but if we want to mention Wood, this would be more akin to JAIL BAIT than to Plan Nine. The folks at the Drafthouse-Ritz in Austin show much more radical and incompetently-surreal films than this during their VIDEO VORTEX screenings, and compared to a film by a Nick Millard or even an Andy Milligan or a Doris Wishman or a Lou Campa or a Coleman Francis or a Godfrey Ho, this plays like a TV movie. Let’s not even mention something like BLACK DEVIL DOLL FROM HELL, which really IS mind-bending and a piece of WTF-ery.

If you are a serious fan of Z-grade VHS action films, you will enjoy this….I certainly did…and I’m glad it’s getting exposure. Maybe it can function as a kind of Trojan Horse of the multi-plexes if anyone bothers to see it. Maybe those who see it will start looking for films starring Ted Prior or Frank Stallone…or renting the straight-to-video things Steven Seagal has been making.

However, if you are expecting something gloriously radical or something which is truly a piece of “outsider” film in the way a Nick Millard or Andy Milligan film or MANOS or Dwain Esper’s MANIAC or NARCOTIC is, this is not that. Find a copy of BLONDE ON A BUM TRIP or RED ZONE CUBA  or RUNAWAY NIGHTMARE or borrow one of Ray Dennis Steckler’s porn assemblages instead. I enjoyed DANGEROUS MEN, but it does not live up to the hype.


November 6, 2015

Jerry Warren’s THE VIOLENT AND THE DAMNED (1954/1962)

Filed under: Uncategorized — kendrasteinereditions @ 8:13 pm


With the surfacing of Jerry Warren’s THE VIOLENT AND THE DAMNED on the Kit Parker/VCI DVD set THE JERRY WARREN COLLECTION Volume 3, the only remaining Warren film missing in action is BULLET FOR BILLY THE KID, so Warren fans have a lot to rejoice about. THE VIOLENT AND THE DAMNED should satisfy any Warren aficionado and has the additional virtue of following the usual formula for a Warren foreign acquisition but NOT being a horror film.

Readers of this blog should be familiar with Jerry Warren, but for any visitors or new blog readers, let me summarize. While Warren did make a number of original films, he is best known for odd hybrid films which he created from foreign (usually Mexican) source films, which he cut up and re-assembled along with cheaply shot footage of his own. He tended to eliminate the dialogue sequences (to avoid the problems of dubbing), or when he kept them, he had English narration OVER them by one of the characters who explained what was being said and/or the significance of the scene. Of course, the footage from the original had been re-contextualized so much and then inserted into an all-new “plot,” so that what is being described as happening in the original scene probably IS NOT what was happening. Having seen the Spanish-language originals of some of his films, I can attest to that.

I’m too young to have caught Warren’s 50’s/60’s output in theaters, but the films were staples in TV horror packages and on late-night UHF TV, so I saw them that way initially. I would think that after any TWO of Warren’s patchwork films, the average viewer would figure out his method of film-making. His American-shot scenes do not look at all like the original source film and he tends to use the same actors in film after film. Long before I read anything about how Warren made his films, I’d pretty much figured it out on my own.

THE VIOLENT AND THE DAMNED follows a similar formula to films such as CREATURE OF THE WALKING DEAD or ATTACK OF THE MAYAN MUMMY, but this time Warren did not use a foreign horror or sci-fi film as his source–instead, he used a violent jungle-set prison-break film, made in Brazil in 1954 called MAOS SANGRETAS, with location shooting done in Panama. This source film had the extra advantage of featuring an international star, Mexican actor ARTURO DE CORDOVA, who’d even starred in some American films in the 1940’s, giving Warren a “star” name to include on the poster (making the hiring of John Carradine un-necessary).

As with the 1930 roadshow American version of Abel Gance’s LA FIN DU MONDE (aka End of the World), where the plot and any depth of characterization were thrown out and all that was left was the spectacle, the special effects and the destruction, it’s clear (even without having seen the Brazilian original) that Warren edited out the backstories of the characters involved in the prison break and essentially kept the violence, the atmospheric scenes of abuse in the prison, the exciting escape sequences, and the scenes of the men wandering in the deserted savage areas and eventually falling apart. These scenes are truly exciting and vivid, even ripped from their original context. Warren was savvy enough to know that they’d play well in HIS film too.

So what he did then was to shoot some talky scenes with regulars Bruno VeSota and George Mitchell (and two others who’d been in other Warren films) DISCUSSING the problems at a prison in the Panama canal zone, making reference to actions depicted in the scenes preserved from the original film. There is a long Warren-shot sequence in the first section of the film and then a few others of varying lengths cut in here and there. Those familiar with Warren’s films will know the technique. They DO provide some kind of frame for the action scenes, which was clearly Warren’s intent, and on that level,  he achieved what he set out to.

Of course, what is lost is any sense of the original. Clearly, as star of the film, Arturo de Cordova would have been playing a character with some depth and some personal history, but all of that is cut out. However, I don’t think Jerry Warren lost any sleep over that. HE DID NOT CARE ABOUT PRESENTING THE ORIGINAL FILM. He was essentially purchasing stock footage; the only difference from that common practice was that the stock footage consisted of MORE of the completed feature than what he’d shot himself! The effect is not unlike a group of people talking about a subject and then randomly cutting in newsreel footage to exemplify and illustrate it.

It’s common nowadays for people to ridicule Warren, and if you are expecting a film on the level of THE WAGES OF FEAR, then you belong in another universe. This was an exploitation quickie….PRODUCT meant to fill a slot in the lowest rung of the marketplace. And people who were not around during the golden age of drive-ins really do not know what that market was like….and today’s Blu-Ray remastered reissues of “grindhouse” features do not give them any idea, really. This was a market with foreign melodramas with non-matching American-shot skin sequences spliced into them; a market with semi-coherent films such as Roger Corman’s patchwork film THE TERROR; a market with the films of Al Adamson, such as DRACULA vs FRANKENSTEIN and HELL’S BLOODY DEVILS, which are almost avant-garde films with their jarring mixture of footage from different years and different projects, shot in different circumstances; a market where awkwardly dubbed and cut foreign films were common and not a problem for most viewers. This was a market a distributor could tell a film-maker to shoot another ten minutes of footage to turn his werewolf film into a rat-and-werewolf film. Surreal continuity wrapped around chunks of violence or sex or horror was quite common. And the drive-in audience was used to this sort of thing….guys who brought a six-pack or a few joints and were probably loaded before the first film started….couples who were making out and would come up for air if a monster or a murder happened on-screen. The tolerance for oddness was quite high….and in the eyes of the teen male horror-loving market, a market that thrived on cheap thrills, how good it was was often measured by how outre it was (after all, Jerry Warren himself once said that you did not need to make it “good,” you just needed to make it “weird”). At least, that’s how MY friends and I perceived it back then. A relatively non-linear experience such as Russ Meyer’s CHERRY, HARRY, AND RAQUEL worked PERFECTLY if you were on your fourth beer.

I would imagine that if I were in, say, Goodland, Kansas or La Junta, Colorado, in 1963, just getting off a hard day’s work in the produce section at the grocery store….or a dirty and greasy week’s work at the transmission shop, sneaking a six-pack into the drive-in and wanting to wind down, THE VIOLENT AND THE DAMNED would have satisfied me. After all, it has exciting action, there are people TELLING ME what the plot is so I don’t have to worry about figuring it out, the location shooting is exotic and takes one out of his/her everyday life, the Brazilian music here and there has a delicious flavor and also is suitably exotic, it has a gritty feel, and it doesn’t go on too long. It’s also so much UNLIKE a studio-made “B” movie that it provides the kind of “outsider” thrill which indie drive-in and exploitation films have always banked on.

Interestingly, Warren himself DID make a original jungle-set film not long before he released this one, TERROR OF THE BLOODHUNTERS. And while that one featured a fine actor, Robert Clarke, in the lead and also offered interesting, semi-philosophical dialogue, I’d guess that most viewers of the day would have found THE VIOLENT AND THE DAMNED to be the more entertaining film of the two in terms of delivering action and excitement, and I’d guess Jerry Warren himself probably recognized that.

Love him or hate him, Jerry Warren had a method which worked for him. He usually brought it to horror and science fiction source material, but here he brought it to a prison-break action film. He also brought it to a western, but that film, A BULLET FOR BILLY THE KID (which played theatrically here in the US),  is presently lost. However, having seen the Mexican original he used for BULLET, I was able to speculate what Warren probably DID with it, what footage he’d have used, and what plot he might have grafted onto the Mexican footage. When BULLET  surfaces, as I’m sure it will, we’ll see how accurate my speculation was.

Those who enjoy Warren’s horror films such as CREATURE OF THE WALKING DEAD will enjoy this too…and will appreciate seeing the Warren “method” brought to another film genre. I still contend that Warren’s FACE OF THE SCREAMING WEREWOLF is an amazing creation. Had I seen that in 1964 at a rural drive-in as an impressionable teenager, it would have blown me away…and it might have made ME want to become an exploitation film-maker with a bricolage technique….or maybe a poet….

If any of the above seems interesting to you, be sure to score a copy of THE JERRY WARREN COLLECTION, VOLUME 3….ordering details can be found below….



.                                             The rare US release poster (sorry, no larger resolution scan available)                                                 for Jerry Warren’s THE VIOLENT AND THE DAMNED


The new third volume of Jerry Warren films, presented by Kit Parker FIlms and released by VCI ENTERTAINMENT, featuring THE VIOLENT AND THE DAMNED and another Warren presentation, TIME TO KILL, a Swedish crime film starring John Ireland

You can order it here, and it’s highly recommended!


Dutch release of the original source film


Brazilian release of the original source film

new poetry chapbook, BILL SHUTE, “Inventing One’s Own Land” (KSE #317)

Filed under: Uncategorized — kendrasteinereditions @ 4:18 pm

“Inventing One’s Own Land” (KSE #317, poetry chapbook)


composed in September-October 2015

edition of 43 copies


($6 US ppd   /   $7 elsewhere ppd)

payment via paypal to    django5722(at)yahoo(dot)com

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!


“A poet almost has to invent his own land  and then has to defend it.”     –Jack Spicer

Jack Spicer’s lectures (as with Olson’s “Projective Verse” essay) are of great value to this working poet because they toss off intriguing ideas and fruitful possibilities—-Spicer hands off the ball to us and we run with it, maneuvering our way down the field, around those trying to block us, and always trying to keep our balance enough to continue running toward the goal of the fresh and original poetic work. At that point, we can touch the ball to the ground in the end zone, and prepare for the next game-play/poetic work.

The above lines from Spicer helped to inspire this creation, INVENTING ONE’S OWN LAND…. Shadows from the roses….lost….to the genius of the fog….deciding whether or not to confide in the outlaw taxidermists….God’s trombones pawned after the latest flood…beneath the drones, Lot’s wife scavenges for discarded roofing tiles….Incorporate the unintended, embrace the accident.

When asked by a friend who read INVENTING ONE’S OWN LAND how it fits into the work I’ve done in the past year, I explained that, to use recent Dylan albums for comparison,  it was my TOGETHER THROUGH LIFE, not my TEMPEST. My TEMPEST would be the GULF COAST TRILOGY, written in May-June of this year, before/during/after my two weeks on the Alabama/Mississippi/Florida Gulf Coast, between Biloxi and Panama City. That will be coming out early next year, I hope, and we’re exploring some alternate forms of publication for those works: DOWN AND OUT IN GULFPORT AND BILOXI; THIRTY SECONDS OVER PENSACOLA; and PANAMA CITY BLUES. Stay tuned for more details on the Gulf Coast Trilogy. The form of INVENTING is halfway between that of the two Cassette Poems chapbooks and that of something like SATORI IN LAKE CHARLES.

I’ve moved on and am now working on some new entries in the old CREEL PONE SOUND STUDY series. We published ten chapbooks in that series between 2006-2008, and as writing directly inspired by experimental music is always a discipline that tends to wipe the sediment off my slate and to act as a “head cleaner” (as they used to say back in the age of VHS and cassette tapes), I’m finding the work on a new Creel-inspired piece to be stimulating and refreshing. I’ll hold off on discussing the revived series until I get the first one finished and edited…maybe by Christmas…

Until then, I have invented my own poetic territory, my own open-field construct, and I plan to both reside in it…and defend it.

Edition limited to 43 copies. Grab one now.

Other poetry chapbooks still available….all $6 in the US and $7 elsewhere, postpaid….

KSE #302 (poetry chapbook), BILL SHUTE, “Satori In Lake Charles”

KSE #297 (poetry chapbook), BILL SHUTE, “Lines and Fines,” Sound Library Series, Volume 77 

KSE #311 (poetry and photography chapbook), BILL SHUTE, “Liars in a Strange Rainy World: Cassette Poems One”

KSE #313 (poetry and photography chapbook), BILL SHUTE, “Flags No Longer at Half-Mast: Cassette Poems Two,”

Also, don’t hesitate to score a copy of the final installment of Pittsburgh poet Jim D. Deuchars Three Rivers trilogy, truly a major and gravity-defying work!

KSE #301 (poetry chapbook), JIM D. DEUCHARS, “Ohio Connecting Railroad Bridge”

As always, thank you for your support of KSE (both the music and poetry sides of this operation) and of all independent low-fi/DIY artists and arts organizations, proud to be part of the so-called “no-audience underground.”

And don’t miss the amazing MIKE BARRETT/TOM CREAN album, “Casual Luddites” (KSE #320). Just scan the blog below this entry for the write-up on that.

We have five more albums scheduled for release in late 2015….

KSE #322 (CDR), WEREWHEELS (Sir Plastic Crimewave and Dawn Aquarius),  “Live, Raw and Psycho in Japan” (our next release, in a week or two)

KSE #324 (CDR) FOSSILS, “Modern Architecture,” cover art by Wyatt Doyle,  late November 2015


KSE #326 (CDR) MORE EAZE, “Abandoning Finitude,” December 2015

KSE #327 (CDR) BELLTONE SUICIDE (Mike Barrett), “Wave Table Erotica”, December 2015 (and Wave Table Erotica will be our final release of 2015, in mid-late December….it will be the final release of the year because NOTHING could possibly follow it!)

We’ll be starting afresh in early 2016 with the ten-artist KSE 10th ANNIVERSARY compilation album…hope you’ll all still be along for the starry ride in 2016….



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