Kendra Steiner Editions (Bill Shute)

September 24, 2016

FOSSILS, “Camelot Towers” (KSE #353)

Filed under: Uncategorized — kendrasteinereditions @ 3:04 pm


“CAMELOT  TOWERS” (KSE #353, cdr album)

13 tracks, approx. 41 minutes—-edition of 48 copies

a co-release with Middle James Co. (MJC #443)

on this album, Fossils were Daniel Farr and David Payne


For the first of SEVEN Fall-Winter 2016 albums, KSE is proud to present our longtime friends, the only band that matters (to us), Hamilton, Ontario’s FOSSILS, with a newly recorded (Spring 2016) collection of sound sculptures that investigate the duo’s painterly interest in space and texture. While the sound varies from track to track, many of the pieces are piano-based, with sparse but clotted bursts and squiggles that suggest a Twombly painting in sound, mixing with what sounds like a slack-stringed guitar, played to bring out the metal of the strings. There’s also electronics on some tracks, which adds a nice electric-charcoal shading to those pieces. The telepathic interplay between Farr and Payne is superb on this album—-those who liked our duo album of last Fall by Tom Crean and Mike Barrett will also like this, though it’s very different.

As I write this on a hot September South Texas afternoon with a shadowy overcast sky and thunder rumbling somewhere in a neighboring town, and the wind wants to pick up but it can’t overcome the sense of dread and stillness, and no one wants to get up and do something, knowing it will be rained out, this FOSSILS music is the perfect soundtrack. Our environment sounds like a backward-run tape!

If you are new to FOSSILS, these gentlemen (with various other co-conspirators over the years) have been an important force in the DIY free-improv/noise community for many many years. When KSE branched into music, we knew FOSSILS had to be on our label. Their whole “junk sculpture” aesthetic and lo-fi approach has always seemed to me the perfect extension of the punk aesthetic. Really, is there anything more punk than, say, the Nihilist Spasm Band or the L.A. Free Music Society? I think not….

I spend a lot of time listening to FOSSILS music, and it’s always a sonic head cleaner, with (as stated above) a painterly attention to texture and shading and space. It is pure, it is always fresh, and it is four-dimensional sound sculpture of the highest order.

FOSSILS…..CAMELOT TOWERS (KSE #353)….the first of seven new albums coming from KSE between now and the end of the year….

Payment is via paypal, using the e-mail address   django5722(at)yahoo(dot)com   . It might be helpful for you to also shoot me an e-mail telling me you’ve sent funds and what books you want…or if you prefer, tell me what books/cdr’s you want, and I’ll send you a paypal invoice.

Cost in the USA is $8 postpaid.

OUTSIDE THE USA , one album is $18.00 postpaid, first two albums are $20.00 postpaid, then $8 each postpaid after that—sorry, but it now costs almost $14 US to send one CDR overseas….you save A LOT by buying more than one—in fact, the price on an order of two or more HAS GONE DOWN!

1 album= $18, 2 albums= $20, 3 albums= $28, etc. Thanks for your understanding of this. The Post Office now charges $13.75 to mail ONE cdr without a jewel box to Europe or Asia!)

NOTE: The new FOSSILS album should be available in about 3-4 weeks from Cardinal Records in Canada. It would probably be a lot cheaper for Canadian customers to wait and order direct from Cardinal Records, where this would be a domestic purchase, not a foreign purchase as it is from the US….


KSE #336 (CDR), ALFRED 23 HARTH, “Kepler 452b Edition”

KSE #351 (CDR), MASSIMO MAGEE, “Music In 3 Spaces”

KSE #350 (CDR) ANTHONY GUERRA / BILL SHUTE, “Subtraction” KSE reissue of album originally released in 2011 on Black Petal Records, Australia 

KSE #335 (CDR album), REVEREND RAYMOND BRANCH, “Rainbow Gospel Hour…On The Air!”—a wonderful hour-long AM-radio broadcast, mastered from cassette, capturing the warmth and joy of Rev. Branch in both music (lots of it) and spoken message

KSE #334 (CDR album), BRIAN RURYK, “Actual Size…degress again” (sic)

KSE #333 (CDR album), ERNESTO DIAZ-INFANTE, “Tunnels” solo 12-string acoustic mantra guitar


KSE #328, LISA CAMERON & NATHAN BOWLES, “Liquid Sunshine” percussion duo

KSE #326, MORE EAZE (aka Marcus M. Rubio), “Abandoning Finitude”….cover art by Bob Bruno

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

KSE #320, MIKE BARRETT & TOM CREAN, “Casual Luddites”

KSE #318, ALFRED 23 HARTH & JOHN BELL, “Camellia”

KSE #310,  MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

KSE #293, MORE EAZE (Marcus M. Rubio), “Stylistic Deautomatization” (reissued)




September 23, 2016


Filed under: Uncategorized — kendrasteinereditions @ 2:02 am



published by Altus Press

$11.95 paperback (postpaid in US—-also available in hardcover)

stories originally published in 1940-1941


Altus Press, one of my favorite small presses dedicated to quality reprints of classic magazine fiction of the first half of the 20th century, has devoted an entire series (which is ongoing) to the works of prolific Canadian-American author H. BEDFORD-JONES. Bedford-Jones (1887-1949), who was the master of any number of fiction genres (and also worked in journalism and poetry), created fascinating plots that pulled the reader in, selected just enough details to suggest a setting without getting bogged down in description, used dialogue to develop character but did not (at least in the pieces I’ve read) write dialogue-heavy stories and novels, and kept things moving. No wonder that he was so popular in his day, and his name appeared often on the covers of the magazines in which he appeared (though, like many very prolific authors, he also used a number of pseudonyms). His published works supposedly amount to 25 million words!

This particular book should win over a number of readers to Bedford-Jones’ work. It consists of four 20-page stories originally published in WEIRD TALES in 1940 and 1941, featuring the character of James F. Bronson, a man who (I won’t give away how he does it—-you need to read it for yourself—-I’ll just say that it’s convincing, in the manner of outrageous scientific explanations found in pulp fiction stories) is able to fake death. Yes, he is able to produce in his body conditions that will fool most doctors into believing he is dead, and he uses this ability (with the assistance of a doctor sidekick, who appears on the scene at just the right time in each story, although he is in on everything from the beginning) to make money by making himself available to those who require a corpse. He will not doing anything illegal (so he says), but his fee IS large and he winds up helping people in need. It may be fraud and deception, but it’s well-meaning fraud and deception.

Bronson himself is the narrator of the stories, and his way of confiding in the reader creates a kind of bond with us. These stories are the perfect length for escapist reading at the end of a long work-day and their appeal is similar to an hour-long Charlie Chan or Boston Blackie B-movie. The supporting characters in each story are well-drawn and realistic (and in some cases, quite sympathetic), there’s no wasted scenes or filler, and even a busy person can read a story in one sitting. This is imaginative mystery (as in mysterious, not as in murder mystery) writing at its best.

If you enjoy mystery fiction and this concept sounds intriguing, then you should pick this up. It’s only $11.95 for the paperback, and it’s postpaid in the USA. You can order it here:

I’ve already read a few other volumes in Altus Press’ H. BEDFORD-JONES LIBRARY, and I look forward to further volumes. Who needs the internet when you can sit on your porch, enjoy the breeze, sip on an iced tea or a beer, and tag along with James F. Bronson, the Professional Corpse, as he fakes death for adventure and profit.

September 22, 2016


Filed under: Uncategorized — kendrasteinereditions @ 8:20 pm


published by New Texture (2016)

Edited by Robert Deis and Wyatt Doyle

available in both softcover (which I’m reviewing) and in a deluxe hardcover edition with 20 extra pages and higher-quality paper


There’s always something interesting, unexpected, and exciting happening at New Texture. Just when you think you’ve got them pegged, they’ll throw you a curve with a gospel album, or a children’s book, or the memoir of an urban teacher….but it all somehow fits together, filtered through the unique curatorial consciousness and the keen eye of Wyatt Doyle (he’s also a superb photographer, and we’ve used some of his works for KSE album and book covers).

BARBARIANS ON BIKES is an entry in NT’s Men’s Adventure Library, and co-editors Robert Deis and Wyatt Doyle have previously worked on collections of sensationalistic, exploitative fiction from the pages of “Men’s Magazines” of the 1950s through the 1970s. This time around, they focus on the art and the ballyhoo of extreme biker-oriented covers and stories from such trashy magazines. This is quite an interesting genre….it combines the pulpy, seamy side of cheap detective magazines with the racy color and adolescent fantasy world of the “adventure” pulps of earlier decades, mixed with the imagery and tone of the “roughie” exploitation films. It’s the perfect reading for some small-town guy working at a tire shop looking for an escape from the drudgery of dirty ten-hour work days and going home to a grungy furnished room he’d be embarrassed to bring a date home to….or the 18-year old stuck in the army overseas or in some isolated post in the rural US separated from family and friends and needing a cheap thrill that won’t require him to later get a shot of penicillin.

Deis and Doyle have assembled 100+ pages of sweaty, colorful, violent, sleazy images and  taglines from an underbelly of American publishing that does not get celebrated yet filled a void in many lives for decades. It’s wall-to-wall over-the-top Biker Sleaze from an era when people still read “fiction” (whether or not it was being passed off as first-person reportage or memoir).

I’m too young to have been much of a reader of this stuff during its heyday, but I did get to own a few as a child, which I kept somewhere in my closet. At the “Convenient Food Mart” down the street from me when I was 8-11 or so, I would buy comics with the covers ripped off from the store’s “private” backroom for a nickel, or even less. These were books that merchant sent back the covers on to get a credit from the publisher, and they were supposed to destroy them, but the temptation to make a few extra illicit bucks by selling  them to regulars who’d keep their mouths shut was too great (these small shop-owners work on a small profit margin)  As a kid who was a regular customer, a known quantity to the merchant, someone who bought comic books but had little money (I always paid in change), I was the perfect mark for the “hey kid, I’ve got some cheaper things in the back room here, want to take a look” sales pitch. The comics were in one pile or box (it’s too long ago to clearly remember), but maybe ten feet from there were the “adult” trashy mags like TRUE ADVENTURES or MAN’S CONQUEST or FOR MEN ONLY. I know I was too young to buy, or even look at these things, but a few times when I was left alone in the back room to forage through the comics, I did slip one of these in with my comics, and when the clerk tallied up my total, he saw them and never said a thing. Just charged me my sixty-two cents, or whatever. I later traded these ripped-cover men’s sleaze mags to someone for comics while in junior high school, but I do remember that they had a grungy, forbidden quality to them….and I was so young, the adult content meant little to me. I preferred the action to the sex at that age.

Looking through this collection at the covers that managed to capture so much action and so much promise, it’s amazing what your fifty cents would buy. Like a carny or an exploitation film, your money would take you into the world behind the curtain, and like those, the product often did not live up to the hype, but that did not matter. For a brief period, you’d gone over some imaginary line into a realm of danger.

Hardcore porn and explicit gore films pretty much killed this genre by the mid-70’s, and these mags used to glut the flea markets and seedy junk stores of the 1980’s. I probably skimmed past hundreds if not thousands of them looking for Charlton Comics or old issues of CREEM, but now, like so much that was once thought to be disposable, the mags are actively collected, people talk online about assembling complete runs of various mags, etc.

However, no need to dirty your hands or bid on Ebay…..the cream of the genre has been collected here in all its noisy and garish glory. With so many outrageous titles on every cover, you can create your own stories in your mind: PLEASURE CABIN GIRLS OF THE HIGH SEAS SIN ROUTES; RAMPAGING OUTLAW ANGELS AND THEIR LOVE-BLAST MAMAS; THE BIKE BRUTES; TEEN KICKS OF THE HELL-ON-WHEELS SEX SET; DEATH RUN THROUGH BLOW-UP ALLEY.

In an attractive, quality 8×11 format with eye-popping color and outrageous combinations of sleaze-and-violence terms mixed together in the story titles, this book definitely delivers a lot of bang for your buck. It certainly gets MY highest recommendation.

The publisher’s announcement for the book can be found here:

And after reading that write-up, you can go directly to Amazon and order a copy here:

It also makes a great gift. I may well buy a copy or two for the 1960s-1970s sleaze-loving friends in my life. Another winner from New Texture’s Men’s Adventure Series, and there are some more fine editions in the series coming in the next year….stay tuned!

September 18, 2016

new Bill Shute poetry chapbook: BRIDGE ON THE BAYOU (KSE #352)

Filed under: Uncategorized — kendrasteinereditions @ 6:21 am


new poetry chapbook from BILL SHUTE (#1 of 5 in the Arnaudville Poems series, composed in Louisiana in May 2016)

KSE #352 (poetry chapbook)

$6 postpaid in US / $7 postpaid elsewhere

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

please include a note with your order listing what item you are ordering and also your mailing address (which paypal often fails to provide me)….thanks!


“The spring was nothing new to him, nor its sounds, its perfumes, its colors; nor was its tender and caressing breath; but, for some unaccountable reason, these were reaching him today through unfamiliar channels.” –Kate Chopin, An Easter Day Conversation

After a lot of planning/organizing/note-taking (which I always do for each work—-one cannot get any useful construction done without a blueprint and without first laying a foundation) during spare minutes in the Spring of 2016, I hit the ground running when I finally got my almost-two-week “writing vacation” on Bayou Teche, on the south end of Arnaudville, Louisiana, in St. Martin Parish, in the second half of May 2016. Enjoying strong black tea each morning on a floating dock on the bayou, watching the sun come up, I worked hard  into the afternoon and then again in the late night…and managed to produce  FIVE six-page poems, of which BRIDGE ON THE BAYOU is the first. Each is a collage of images filtered through a different narrative persona, reflecting an invented but likely narrative set in that area, presented in the open-field style….core samples of the state of things and of consciousness circa 2016, postcards from the front, junk sculpture from the New Gilded Age. If you are new to my poetry (and greetings to those who saw my reading at TYCA-SW or who stumbled across DOWN AND OUT IN GULFPORT AND BILOXI on Amazon or elsewhere), my technical roots are in Paul Blackburn, Ted Berrigan, Larry Eigner, mid-to-late 60’s Robert Creeley, Diane Wakoski, and late-period W. C. Williams—-although I have taken that ball handed off to me by the poets of earlier generations and run with it in my own directions toward my own goals. My first book-length work, from 2005, was 12 GATES TO THE CITY: THE LABOURS OF HERCULES IN THE LONE STAR STATE (published by Word Mechanics), a twelve-part journey along the Interstate-10 corridor from Lake Charles to Las Cruces, though mostly here in Texas, which treated the source legend of the classical Hercules and his 12 labours the way I felt that Jean-Luc Godard had treated KING LEAR in his little-known adaptation from 1987, a work which was a huge inspiration. It’s been a long, strange trip for me since then, issuing over a hundred five-to-eight page poetry chapbooks, another book-length work (Point Loma Purple), and operating the music-and-poetry collective Kendra Steiner Editions, which has released over 350 albums and chapbooks and which has carved out a significant international presence in that time. Over the coming months, I’ll be rolling out the five volumes of the Louisiana poems in small, handmade KSE micro-editions (such as this one); eventually, they will be collected in one volume, as the Gulf Coast poems of summer 2015 have been collected in the DOWN AND OUT IN GULFPORT AND BILOXI volume. However, the home-made 5 1/2″ x 8″ KSE chapbooks are always the intended form for these works, presented in the manner in which I imagined them, with the original artwork, epigraphs, etc….so I would recommend grabbing the original versions while you can, as they will never again be available in this form after this 3-6 month window of publication.

The words, phrases, and stanzas float on the page; the insects, dirt, leaves, and broken twigs float downstream on Bayou Teche. If you are new to the world of post-Projective Verse poetry composition, I recommend reading the following essay, “Projective Verse: The Spiritual Legacy of the Beat Generation,” by Paul E. Nelson:

BRIDGE ON THE BAYOU….energized particles of language and consciousness with the taste of central Louisiana….six pages, six fields, six assemblages, six “portholes of consciousness”…..thick pine smoke in our eyes, already moist with tears….husky patriots armed with dogwhistle jargon meet behind the rose hedges….her brother had become inattentive at his job at the meat processing plant, consumed with his quest to find a cache of treasure buried in a brass bucket by retreating French pirates two centuries past….detached, but not indifferent….manifestations of Siva on the horizon….hard trials & great tribulations….

BRIDGE ON THE BAYOU….first of five volumes of the Arnaudville, Louisiana poems….edition of 51 copies….get your copy NOW…..$6 US / $7 elsewhere

also available, for the same price, released in the Summer,

LUIS 2016



KSE #364 (poetry chapbook)

BRIDGE is the first of KSE’s Fall-Winter 2016 releases…..we should be offering (fingers crossed) SEVEN new albums and the FIVE previously mentioned chapbooks with the Louisiana poems…..our first new album for the season will be CAMELOT TOWERS from FOSSILS, and then BLANK SPACE from the duo of TOM CREAN and MATT ROBIDOUX….the Fossils album should be out in a few weeks….stay tuned.

Got seven minutes to kill? Watch the video of my poem OUTFAKE, recorded in Pittsburgh in 2013 by Jim D. Deuchars:

As always, thank you all for your friendship and support over the years….


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