Alfred 23 Harth’s long out-of-print first KSE album MICRO-SAXO-PHONE III is now available as a digital release on Bandcamp!

We’re honored to be releasing new works from ALFRED 23 HARTH, and in the last seven years we’ve put out TEN releases from Mr. Harth (eleven, if you count the KSE 10th Anniversary album, on which he appears). Those albums are not permanently in-print and tend to sell out in 8-10 months.

In answer to many requests to make the earlier, out-of-print KSE-A23H albums available once again, we’ve worked with Mr. Harth to start bringing them back in digital editions, supervised by the artist.

The first to be reissued digitally is the first of his KSE albums, the much-acclaimed 2010 release MICRO-SAXO-PHONE III!

LONG OUT-OF-PRINT, BUT NOW AVAILABLE AGAIN AS A DIGITAL ALBUM

ONLY $7 US at Bandcamp

ALFRED  23  HARTH

“micro-saxo-phone. edition III”

originally KSE #175

recorded at LaubhuetteStudio, Moonsum, South Korea, 2010

total running time: 74:11 (17 tracks)

You can purchase the album for only SEVEN DOLLARS here:

https://alfred23harthonkse.bandcamp.com/releases

Here are my original comments on the album, from the KSE website release announcement:

  In his new album MICRO-SAXO-PHONE. EDITION III, German free-music multi-stylist ALFRED 23 HARTH  has extended the vocabulary of the solo saxophone deep into the 21st century, creating a jagged, self-reflexive, multi-layered work that will stop listeners in their tracks.

   In jazz circles, the vocabulary of the solo saxophone is often traced back to Coleman Hawkins’ mid-40s recordings “Hawk’s Variations” and “Picasso.” In the late 60’s and early 70’s musicians as diverse as Anthony Braxton, Steve Lacy, Lee Konitz, and Sonny Rollins began re-investigating the possibilities 0f solo saxophone performance, opening the door for musicians ever since. Saxophonist ALFRED 23 HARTH is a man who has been on the cutting edge of the free-music world since his emergence onto the scene in the late 1960’s Germany, and his new album “micro-saxo-phone. edition III”  provides him a vehicle to use ALL aspects of his instrument, close-miking the keys and the reed, bowing the body, as well as using his virtuoso technique in passages that run the gamut from the lyricism of a Ben Webster to the highest chirps and the lowest rumbles, from clipped bursts to melting smears. In addition, he is multi-tracking new recordings, playing against older recordings of himself from the 70’s, weaving in strains of musique concrete and strands of spoken word into sound collages, and then using a Kaoss Pad to add further layers and to slice-and-dice the rest. “micro-saxo-phone.edition III”  is a truly unique work, one recorded especially for KSE by Mr. Harth just a few months ago. (2010 comments)

And here are Alfred Harth’s comments on the album, at the time of its 2010 release:

NOTES ON KSE #175   micro_saxo_phone, edtion III (MMX)

In early 2008 I again had started a kind of work-in-progress of solo recordings, called “micro_saxo_phone” which album title refers to the fact that I am using a sax of course + microphone (contact mics etc) of course for feeding devices as the Kaoss Pad or others + using the possiblities of my laptop. Together with this equipment I could give live performances which – for several reasons – did not happen often so far, though more probable within performances with others, as in the duo “Gift Fig” together with Carl Stone e.g.

“micro_saxo_phone, edition II”, CDR Laubhuette Production M10 from 2008 http://laubhuettestudio.blogspot.com/ gave an overview about what I was trying to state within the traditional course of my former solo recording on Side A of the LP “Plan Eden” from 1986/7 where I had begun to use electronic devices & effects in combination with solo tenorsax. On “msp,eII” I used baritonsax, tenorsax, alto, sopran, bassclarinet, breath & saliva noise multiphonics and even bowed the saxes’ bodies (con arco) during blowing and doing percussion with the instrument’s keys.

On “msp,eIII” I extended the language by means of using the sounds of the key springs which create a kind of meditative Asian feel and also by texts.
I searched for finding a way to voice words during blowing (e.g. at the beginnung of “doublespeak” and tracks 14,15), or underlined words (and other stuff) that I had recorded on cassette in 1972 (when I was 23) or by dubbing an interview with Japanese art photographer Nobuyoshi Araki which I had recorded in 1998 in a kind of double voicing. The same track also contains a sample of Korean gagok which is a kind of fake classical music – from some decades ago – made in Korea. “doublespeak” is the exception – as a composition – within the solos, as is “chukyo” using some of my eguitar recordings (as well as track 3). There are also some “classical” solos (without all effects or edits): track 9,
10 (underlined alto solo from 1972) and 13.

With that title “doublespeak” I also refer to George Orwell’s term “doublethink”, which means the ability to believe contradictory ideas simultaneously. And there are more doublespeak titles here, as “surplussed”, “twonky” (software designers’ jargon inspired by a 1953 sci-fi film starring Hans Conried and Gloria Blondell about a TV that is really an alien life form) etc. Other titles refer to themes and authors that I am also dealing with these days. “chukyo” is a dedication to Chukyo University in Nagoya, Japan, where I had been invited by the above mentioned Carl Stone to lecture and had met Fomal Haut, a great artist & pioneer of computer graphics.

Alfred 23 Harth, December MMX

---

Thanks to Mr. Harth for working with KSE all these years and these TEN releases.

If this digital release succeeds, then we’ll see about bringing back some of his other out-of-print KSE releases digitally. Please purchase this classic for your A23H library and help us get this digital release series in action!

THE LAST COLORING BOOK (New Texture) by Jimmy Angelina and Wyatt Doyle

THE LAST COLORING BOOK (New Texture Books)

by JIMMY ANGELINA and WYATT DOYLE

published in late 2016, 130 pages, paperback

available from  https://www.amazon.com/Last-Coloring-Book-Wyatt-Doyle/dp/1943444234

The idea factory that is NEW TEXTURE throws us yet another unexpected and fascinating and delicious curve with this new volume, THE LAST COLORING BOOK. On the surface, the book seems aimed at the segment of the adult coloring book audience who are cult film aficionados, and while it certainly will more than satisfy on that level, to me it’s a much more significant work.

As someone who treasures my old sets of “trading cards” such as Drew Friedman’s THE ED WOOD JR. PLAYERS and Robert Crumb’s HEROES OF COUNTRY MUSIC, I’m blown away by Jimmy Angelina’s artwork here–with a style that has echoes of woodcuts or etchings (I just saw an exhibition of Goya’s etchings dealing with war and insanity, in Austin last year, and it was stunning) but at the same time is hyper-real, the portraits seem to truly plumb the depths of feeling found in the performances of the 130+ actors presented. And unlike those smaller trading cards, these works are in full 8″ x 10″ format. It’s an amazing collection of performers, inspired by their most riveting roles (usually NOT their best known)…what can you say about a collection of portraits which includes TIMOTHY CAREY in MINNIE AND MOSKOWITZ, ROBERT BLAKE in ELECTRA GLIDE IN BLUE, WILLIAM SHATNER in IMPULSE, ROCK HUDSON in SECONDS, and even JAMES DARREN blowing the trumpet in Jess Franco’s VENUS IN FURS. There’s no list or guide to what actors and films are being depicted, but that only adds to the fun. That’s artist Jimmy Angelina’s part of the book.

The other part is the quoted dialogue from each film, chosen by Wyatt Doyle, found on each page with the portrait. With classic cult films such as SECONDS, MINNIE AND MOSKOWITZ, MARJOE, BAD LIEUTENANT, TOUCH OF EVIL, and PLAY IT AS IT LAYS represented, each well-chosen line of dialogue perfectly communicates existential truths, and it works EVEN IF YOU HAVE NOT SEEN THE MOVIE. Trust me, I have not figured out who all these people are yet let alone what all the films are, and the ones I don’t know work just well as those I do. However, when you DO know the film, you get new depths of meaning from the work.

THE LAST COLORING BOOK is a brilliant concept executed brilliantly. I can’t imagine the book ever getting old, and I’d guess it will also lead the reader back to films worth seeing over and over. The pairing of Angelina and Doyle is a match made in cult-film heaven.

If Warren Oates and Ernest Borgnine and Klaus Kinski are among your film favorites, you’ll treasure THE LAST COLORING BOOK, and I bet that if you leave it on your coffee table where guests can see it and thumb through it, half of them will wind up buying a copy.

Another satisfying and totally original offering from New Texture.

You can visit New Texture at   http://newtextureblog.blogspot.com   or on facebook

Jimmy Angelina’s art can be found at https://www.facebook.com/jimmyangelinadrawings/

THE LAST COLORING BOOK is also the perfect gift for the SERIOUS film fan in your life–the one who can rattle off John Cassavetes’ films IN ORDER. Get your copy NOW!

live racing returns to VALLEY RACE PARK (Harlingen, Texas)

Since live greyhound racing went on hiatus at Gulf Greyhound Park at the end of 2015, the dog racing fan had to go out of state to find live racing….or be satisfied with simulcasting. The nearest active dog tracks are in Mobile, Alabama, and West Memphis, Arkansas. Fortunately, live racing has been revived here in Texas in a modest way, with Valley Race Park in Harlingen offering 4 racing dates per week from late November 2016 through early February 2017. We had the pleasure of visiting Valley Race Park for two nights in early January 2017 and are happy to report that it’s a fine facility with a good-sized and enthusiastic crowd and eleven exciting races each night.

Valley is located at 2601 S. Ed Carey Dr, just off Highway 77. Admission is only $2 per person, and for an extra $2 you can get a reserved seat down front with a TV monitor. The venue is large, there are a few simulcasting rooms with lots of seating, the beer is inexpensive and the track food is above average. I was particularly impressed with the race calling by announcer Sonny Cuellar. A good announcer can activate a crowd, and that’s exactly what happens at Valley.

This race meet runs through early February. While we can’t make it down there again in the next few weeks, we’ll be watching for future windows of racing at Valley Race Park, a friendly and exciting greyhound racing track that’s worth a visit from dog racing fans in South Texas!

And if that’s not enough, when we arrived on Friday night for the first race, “A Little Bit Is Better Than Nada” by the Texas Tornados was blasting on the sound system! What a great welcome that was–perfect accompaniment to greyhound racing and an ice cold Shiner.

MIO FIGLIO NERONE (Italy-France 1956), starring Gloria Swanson

MIO FIGLIO NERONE (My Son, Nero)

France-Italy 1956

starring Gloria Swanson as Agrippina, Nero’s mother

Alberto Sordi as Nero

Brigitte Bardot as Poppea, Nero’s mistress (and later wife)

and Vittorio De Sica as the philosopher Seneca, Nero’s teacher and advisor

Directed by STENO; director of photography and of special effects, MARIO BAVA

I was fortunate to have grown up during a period when the great GLORIA SWANSON was still alive and well and part of the popular culture. She might appear out of the blue in a TV movie or in a feature film such as the outrageous AIRPORT 1975 or she’d turn up in a bold pantsuit to chat on the MERV GRIFFIN show—-always a striking and ebullient figure, still radiating the star quality that made her America’s most popular actress in the late teens and early twenties, some fifty (!!!) years earlier, talking about her travels and her business interests and her beauty-and-fitness regimen, along with reminiscences of her glory days in Hollywood.

In those pre-video/DVD/internet days, if you wanted to see something with Gloria Swanson in it, other than her comeback performance as Norma Desmond in 1950’s SUNSET BOULEVARD, you had to find a public television station that showed “classic” silent films and wait for a Swanson entry (there were film festivals devoted to silent film, but as a child of 10 or 12, I would not have been hip to those or able to attend them!). I’d seen one or two of her films that way, but I remember seeing a TV Guide listing as a child/adolescent for an Italian film from the 1950’s starring Swanson, given one-star in the movie rating, playing on my local UHF station at like 2:30 a.m. It was called NERO’S MISTRESS. For some reason, I was not able to see it at that time, and for decades the film had been in the back of my mind, and I kept watching for another opportunity to see it.

Recently, I acquired a grey market DVD-R of the original Italian film, in beautiful letterboxed form and with English subtitles. In a way, I’m glad that I never did see the English-language NERO’S MISTRESS way back when….it may well have soured me on the film. Evidently, Swanson did not do the voice for her character in the English-language dub, and the voice used has been described as girlish and ill-fitting. Next, the film was not even released in the US until 6 or 7 years after, to capitalize on the fame of Brigitte Bardot, and to highlight Ms. Bardot, some of Swanson’s scenes were cut down and/or totally edited out, to make the film’s focus on Bardot, who was clearly NOT the focus in the original (this technique was also done with films that Rudolph Valentino had made as a supporting actor before his major stardom, which were re-edited later to make him the featured player when he was not in the original films). Even the title was changed. The original title could be literally translated as MY SON, NERO. It’s the MOTHER’s story, from her perspective, from Swanson’s perspective. Now it becomes the story of the mistress, Poppea, played by Bardot. I would still like to see the butchered English-dubbed edit for comparison’s sake, but I’ve now seen the original, in Italian, and I’m here to tell you that it is a comic gem and an important piece of Gloria Swanson’s post-Sunset Boulevard career.

(poster for the edited US release, which minimizes Swanson’s role and builds up Bardot’s)

MIO FIGLIO NERONE (My Son, Nero), released in 1956, is a raucous comedy played very broadly, built around the ultimate over-bearing Mother from Hell. Anyone who has seen a number of Italian historical films (as I have) set during the Roman Empire can attest that one of the more entertaining elements in such films, even in a feature that is not so good overall, is the depiction of Nero. He’s often played as foppish, petulant, self-absorbed, childish, vindictive, and a glutton. As interpreted by the great Italian comic actor ALBERTO SORDI here, he’s many of those things, but most of all, devoted to his annoying lute playing and singing, which he tries to inflict on as many others as possible, but they always try to find ways to get out of hearing it. Although Sordi is more of a leading-man type than, say, Dom DeLuise, the performance would fit right into a Mel Brooks film and the overall tone is not unlike something by Brooks. However, instead of a Brooks film where we might see Cloris Leachman or Madeline Kahn in the role of an over-the-top, shrewish mother, here we get Gloria Swanson, pulling out all the stops in her performance. I’ve read that the film was shot MOS (without live sound), and thus all the actors are looped, but whoever did Swanson’s voice in Italian clearly was familiar with Swanson’s phrasing and mannerisms, and the voice is quite fitting for the character. If Ms. Swanson did speak Italian, this is the voice she would have had.

Throughout the film, Nero tries to have his mother killed in many ways—-a nest of vipers, a ceiling crashing down upon her, being clubbed to death, etc.—but she ALWAYS comes back, and then downgrades her son on what a failure he is in that he can’t even kill an old lady like her! They have loud arguments, she hits him and he holds his arms over his head like a baby would, they insult each other, etc. It’s classic lowbrow comedy (something Italians understand well!), and it’s Gloria Swanson unleashed!

Gloria Swanson always took chances with her career….choosing edgy projects like SADIE THOMPSON and QUEEN KELLY at the height of her fame….playing the role of Norma Desmond in Sunset Boulevard with the risk of being typecast as a Norma Desmond-type by a generation or two who did not know the real Swanson and thus did not know she was acting (assuming she was “playing herself,” which she certainly was not). Doing this film, with an over-the-top performance and lots of physical comedy and an unglamorous (to say the least!) part, was not what one would expect someone concerned about safe career moves to do, as she tried to build on the comeback started with SUNSET BOULEVARD. However, Swanson never bothered with safe moves, and she surely had a ball playing this role. You can see in her eyes how much she is enjoying LETTING GO completely, and how she enjoyed the comic chemistry with Alberto Sordi.

MIO FIGLIO NERONE is not for everyone. Although beautifully shot and with fascinating production design (and in sumptuous widescreen and color), it IS a lowbrow comedy, and the best way to point that out is to observe that director STENO later did a number of the Bud Spencer “Flatfoot” comedies, which I happen to love, but which many film snobs would turn up their nose to. I found the film very entertaining and a wonderful missing-piece in the career of Gloria Swanson. If the above description sounds interesting to you, be sure to check it out if you ever get the chance to see it….the original Italian version, that is.

 

new album from MORE EAZE, “wOrk” (KSE #355)

MORE EAZE (aka Marcus M. Rubio)

“wOrk”

KSE #355 (CDR album)

$8  USA  postpaid (see below for foreign postage rates)

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

please provide a note with your order listing the items you’ve ordered and your mailing address….thanks!

KSE is proud to offer our FOURTH release from MORE EAZE, the ongoing side project of Austin-based (though originally from here in San Antonio) composer and multi-instrumentalist MARCUS M. RUBIO. He has been working with KSE for a number of years on a number of varied projects, dating back to his college days at Trinity University. While Marcus has produced a staggering variety of works over the years, the MORE EAZE persona seems to be used for creations that re-contextualize bits and pieces of other works–it’s about re-cycling and building new structures from the ground-up with those re-cycled materials. The previous albums have worked in everything from Abner Jay-influenced banjo work to hip-hop inspired beats-and-samples sections to deconstructed songs. This new one will strike the average listener as a more purely electronic creation, but with an incredible attention to pointillist detail and with the strong poly-rhythms and driving momentum associated with the More Eaze albums. As usual, Marcus Rubio has provided us a set of composer’s comments on the album, and listening with that information in mind really opens up the work–however, a cold listen to this album with no idea what it was or who recorded it would also provide a fascinating experience. I can’t imagine anyone NOT being pulled into the world that “wOrk” creates–the sliced-and-diced violin work gives a textural richness to the pieces, and the piece featuring clarinet reminds us that this composer will always have one-foot in the contemporary chamber music world, a world he has been working to re-define with the MORE EAZE albums. Time will vanish as you listen to this album. And whether the listener’s background is in the visual arts, film-making, sculpture, sound-art, or in my case open-field poetry, the FORM of these pieces, the juxtapositions and the placement of the sound elements, is something that can be appreciated and analyzed over and over and over on multiple plays.

Very excited about this most recent MORE EAZE album….and also excited to announce that Marcus Rubio has created an all-new MORE EAZE track for our KSE 11th ANNIVERSARY compilation album, which will be out in late February. Until then, be sure to grab a copy of “wOrk”–and please note that KSE has kept the three previous MORE EAZE albums in print. Why not get all four, each of which is totally different but equally fascinating.

Marcus M. Rubio on “wOrk”: this album is made up of formal compositions and electronic improvisations that were later added to/edited into bizarre collage works. each piece here is united through a desire to explore various manifestations of hyper-reality through composition. “bagatelles I-IV” are part of a potentially ongoing series of works for violin and electronic playback that involve a process of converting extended technique performance to midi information that then triggers an array of selected sounds to serve as both an extension of and an accompaniment to the live/organic violin playing. “GQ DQ” places a clarinet soloist in a field of highly edited samples and electronics. The piece has a fixed backing track but also incorporates several moments of negative space while allowing the soloist to make several improvisational choices when approaching the material. “trio” is an older work that is inspired by a literal translation of philosopher Quentin Meillassoux’s discussion of object’s potential to behave erratically beyond our perception. The rest of the works were born out of improvisation on a single sound source that was either added to, processed, edited, or a combination of the three. ultimately, the collective works presented here seek to explode single sound sources through a variety of methods and techniques.

photo by Hanna Campbell

If you live in or are visiting Central Texas, be sure to visit Marcus Rubio’s Facebook page, under the name MARCUS MAURICE, where you can find out about his upcoming performances. You never know what he’ll be doing or with whom he’ll be doing it. Tonight, in fact, at the Volstead, he’s performing a solo guitar composition by Sarah Hennies, “Orienting Response”….

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!     Outside US: 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!)

And while you are getting a copy of MORE EAZE (or better yet, ALL FOUR More Eaze albums), why not also get some of our other KSE cdr albums of top-shelf experimental music in its purest form. You’ll never read about THIS kind of thing in THE WIRE (thank God!). If you are ordering some of the older items found below, please list an alternate or two as some are down to just a few copies left. Thanks!

OTHER CDR ALBUMS STILL AVAILABLE from KSE:

KSE #363 (CDR) ALFRED 23 HARTH’s BERLIN ENSEMBLES

KSE #357 (CDR), SMOKEY EMERY / VENISON WHIRLED, “turning into”

KSE #359 (CDR), TOM CREAN & MATT ROBIDOUX, “blank space”

KSE #353 (CDR), FOSSILS, “Camelot Towers”

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 #331, “KSE 10th ANNIVERSARY ALBUM” featuring newly recorded, exclusive tracks from members of the KSE family: ALFRED 23 HARTH,  SARAH HENNIES, RAMBUTAN, VANESSA ROSSETTO, ERNESTO DIAZ-INFANTE, DEREK ROGERS, BRENT FARISS, MATT KREFTING, GRAHAM LAMBKIN, and MASSIMO MAGEE

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)

new poetry for 2017: FIND A PLACE TO DIE (KSE #368)

FIND A PLACE TO DIE  by  BILL SHUTE

poetry chapbook, KSE #368

composed December 2016 in El Paso, Texas

$6 in the US postpaid / $7 elsewhere postpaid

send payment via paypal to django5722(at)yahoo(dot)com and include note with what items you are ordering along with your mailing address….many thanks!

“The large stomach can only chew success”–Robert Lowell

As each year passes, and we look back upon where we are, I’m usually led back to the famous passage from the beginning of Charles Dickens’ A Tale Of Two Cities:  It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way –  …and as we look back upon the complex year of 2016, a year (to echo FDR’s statement about December 7, 1941) that will live in infamy for a long time, I once again come to the passage from Dickens. After all, it was a great year for the arts; it was a great year for KSE and for my own writing; it was a great year for my marriage and family; it was a great year for my extended vacations to Louisiana and Oklahoma; it was a great year for micro-breweries and micro-distilleries; it was a great year for silent-film restoration and appreciation; it was a great year for Bob Dylan, both in concert (he’s at his best presently–don’t miss him) and through his Nobel Prize win. In every corner of every town, in every life, there were small pleasures and small victories to be found. I often celebrate those in my poetry.

However, we poets must document–and carve-up and create junk sculptures of–the world as it presently is, both for posterity and for our own sanity. Thus, it’s time to put on my Jeremiad clothing….to be another voice crying out about what’s been lost and what we’ve become, perhaps without our knowing it. FIND A PLACE TO DIE is a post-Projective Verse poetic action-painting done with brushes dipped in blood and bile and sweat.

We finally gave in and married the abusive boyfriend….too comfortable & too pre-occupied to stand up against him….insulated in this world of afternoons, casting our fate to the open-source algorithms, because everything is better with bacon. Waiting for the improbable to happen, and puzzled when it doesn’t.

Welcome to 2017. There is a lot to look forward to, and a lot for each of us to achieve. I’ll be doing my part as well as I can….

POETRY CHAPBOOKS AVAILABLE PRESENTLY FROM KSE, all in hand-made editions under 50 copies:

KSE #368 (poetry chapbook), BILL SHUTE, “Find A Place To Die”

KSE #367 (poetry chapbook), BILL SHUTE, “Left-Handed Cherubs”

KSE #354 (poetry chapbook), BILL SHUTE, “Revelation In Slow Motion”

KSE #364 (poetry chapbook), LUIS CUAUHTEMOC BERRIOZABAL, “Make The Light Mine”

KSE #352 (poetry chapbook), BILL SHUTE, “Bridge on the Bayou”

Stay tuned. We have a strong release schedule of experimental music and contemporary poetry coming in 2017. Actually, we still have a few of the late 2016 releases to get out first in early 2017. Then our KSE 11th Anniversary Compilation album should be out in mid-to-late February featuring VANESSA ROSSETTO, MATTHEW REVERT, LISA CAMERON, ERNESTO DIAZ-INFANTE, JEN HILL, STEVE FLATO, FOSSILS, MORE EAZE, MASSIMO MAGEE, JOHN BELL, and BRIAN RURYK with all-new material, recorded especially for this project. As we enter our 11th year of operation, thanks to you all for your support. Please talk up our label/press with those who would enjoy  what we do.