Red Door Magazine #30 - The TAKEOVER

RED DOOR 30
RETRO
THE TAKEOVER ISSUE
SPRING 2022
REDDOORMAGAZINE.COM
01

RED
RE
IN THE EYES OF THE BEHOLDER
MARTIN ANDERSEN ILLUSTRATES NUMEN
by ROBERT DETMAN
30
3030
20
ED
26
02
39
RED DOOR MAGAZINE IS TURNING 13!
GET YOUR LIMITED EDITION ANNIVERSARY SHIRT!
Chloe Lum & Yannick Desranleau
The Parameters of Decay
DO

30
D
3030
34
FEATURED ARTIST of issue #30
NIKTALOPE
30
OR
3030
7-19
TAKEOVER interviews with
PSYCHIC ILLS, EXCEPTER, INDIAN JEWELRY
AND MORE!
32-33
INTONAL EXPERIMENTAL MUSIC FETIVAL
COVERAGE AND REPORT (Photo of art exhibition
piece by Kris Pannecoucke)
03

On this issue, the responsible parties are:
TABLE OF CONTENTS:
RED DOOR MAGAZINE ISSUE #30
FEATURED ARTIST:
Niktalope .........................................................pg. 34
ELIZABETH TORRES
Editor In-Chief
IN THE EYES OF THE BEHOLDER ......... pg.20
Illustrations by Martin Andersen
of poem “Numen” by Robert Detman
INTONAL: A feast for your ears............... pg. 32
POETRY BY:
.Alison Jennings ........................................... pg.22
Douglas Colston........................................... pg.23
.Marco Patitucci ............................................ pg.24
HARRISON OWEN
Takeover co-editor
TAKEOVER FEATURES OF.:
- Excepter .......................................................... pg. 8
-Psychic Ills .................................................... pg. 16
-Indian Jewelry / Studded Left.................pg.10
-Chloe Lum & Yannick Desranleau
The Parameters of Decay ......................... pg. 26
-Martin Thulin .................................................. pg. 6
RED TRANSMISSIONS PODCAST:
Suspending Disbelief with Marc Von
Henning ........................................................... pg.30
PABLO SABORIO
Poetry Editor
Listen to Red Transmissions Podcast for
all these full episodes on most podcast
providers or directly at
www.redtransmissions.libsyn.com
Collage art along the magazine
by Studded Left
978-87-94003-09-4
Red Press, Copenhagen, 2022
www.reddoormagazine.com
All rights reserved by the respective authors.
MARTIN ANDERSEN
Illustrator of Eyes of the Beholder
series
04

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(Summer 2022)
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05

EDITORIAL
EDITORIAL
I support the endeavor to live in the present. During
the past two years, however, one can be excused if
some time was spent thinking about the way things
used to be. A little nostalgia can be a helpful coping
mechanism. The summer of 2021 marked my 20
year anniversary of moving to my chosen home of
New York City, and I’ve certainly been doing my
fair share of reminiscing. The tragic news that Tres
Warren, singer and guitarist for the band Psychic
Ills, had passed away in March 2020 initiated an
intensive journey back down memory lane. The
Psychic Ills were one of my favorite local bands in
the 2000s and I was thrilled when Tres asked me
to help make some videos for them back then. In
the days following his passing, the first days of the
shut down, I re-watched those videos, listened to
the records, and commiserated with others on the
phone and online. Soon I was visiting the beach
in Queens where we shot footage for one song,
now to escape the endless howl of sirens outside
my window. I found security by the sea walking
slowly on cold grey days, socially distant from the
occasional other and possible pathogens, with my
sleeping six-month old son strapped to my chest.
That favorite of spots, especially in the off-season
and empty, will now forever stir up unprecedented
feelings of fear, loss, and uncertainty about the
future.
Things really kicked off at a show in December 2005
at a gig at the Cake Shop on the Lower East Side.
The bands Excepter, Indian Jewelry, and Psychic
Ills were all on the bill, and I’d go on to befriend and
work with all three of them. I traveled to Montreal
with Excepter, Mexico with Indian Jewelry, and
up and down the west coast with both of them,
shooting videos on the beaches of California.
I’m grateful to Elizabeth and Red Door for allowing
me to essentially take over for an issue so that I can
share with her readership some of these great artists.
It’s been a pleasure to reconnect with them and talk
about their work, from the 2000s to the present,
as well as their plans for the future. I’m hoping a
new audience digs into this rich discography and
keeps an eye and ear open for their voices moving
forward.
Harrison Owen
co-editor of this issue of Red Door
In loving memory of Tres Warren, Clare Amory and
Rodney Rodriguez.
When I couldn’t get to the beach, stuck at home,
I proceeded to look back at other work I’d done,
remembering the vibrant artistic communities that
were documented. Around 2004 I began making
DVD video ‘zines featuring live music I’d shot and
art I liked. Each issue focused on a different city,
with artists I had met and corresponded with online
through social media, similar to the world threading
spirit of this magazine. Over six discs, I managed to
cover a good bit of North America, from New York to
Los Angeles, Montreal in Canada, and Mexico City.
06

TAKEOVER
MARTIN THULIN
@martinthulinofficial
Martin Thulin is a producer, composer
and founding member of Exploded View,
releasing solo music under his own name.
He co-wrote and produced Anika’s latest
album change. He speaks from his home
in Mexico to Red Transmissions about the
mishaps, purpose and magic of the world
of music. A pattern you might notice in
this and other interviews, is that each artist
speaks of failure as a fundamental part of
artistic development.
The episode opens with the song “Open
Road” by
Harrison Owen, speaking from New York,
introuces Martin as a Swede who has lived
in Mexico for 2 decades, as a musician
and producer, founder of the bands Los
Fancy Free, and Evil Hippie, and more
recently releasing solo albums and playing
with Anika and the band Exploded View.
Martin Thulin, speaking from Mexico, shares
that he got involved with music as a child,
finding connections of random stuff to play
and go through around the house, playing
records and listening to whatever came
up. From the very beginning Marin leaned
towards psychedelic music specifically.
At a young age Martin moved to Mexico,
so we discuss the mystic connections and
narratives of the different surreal spaces of
that culture influence his work, as well as
the rest of South America as part of a trip to
an art school that actually never happened
due to the economical shift in the country.
“To be able to focus on my art without
needing to work was essential, so I would
go back to Sweden to work for a while
and then live in Mexico city, it was a very
bohemian environment, all centered around
art, around this gallery called La Panaderia.
You had to go somewhere physically to
find out what was going on. I was studying
philosophy at UNAM, but I think most of my
friends later came from that scene of music
and underground shows. I remeber seeing
the audience and knowing these were the
ones to become my friends. ”.
On speaking of failure, Martin shares that he
once worked over 3 months to go straight
into a tour with Exploded View doing all
the paperwork and preparation, and that it
was so exhausting it destroyed his personal
economy, after a whole year of dedicating
himself to the second album of the band...
but at the same time, working on stuff with
commercials and other jobs to bring in
money. He recalls putting all the stuff in the
studio after returning from tour, locking the
door and never opening the door again.
However, the hard work and years of
dedication have paid off, with Martin
continuing to succeed internationally,
composing music, collaborating with other
artists and protecting his creative freedom
at all costs. “As I dont any money with my
art, I decided that everything I do has to be
, if that means I don’t have any fans, SO BE
IT. As a band you spend 95% of your time
not making music, but talking to people and
emailing and stuff... Why should I do that
without having fun? If I am paying for my art,
at least it’s up to me to decide.”
When speaking on his creative process, he
shares: “I have my keyboard, my bedroom, I
prefer to work here rather than my studio. I
play the piano and I go into my head and get
lost. I can improvise, all these ideas flowing,
and that is the most amazing thing that can
happen. When you have this creative flow,
beautiful things can happen. When you
compose, when you create something, you
are tripping. You are somewhere else. It’s
a different state of mind. That’s the luxury
of becoming irrelevant. Sometimes the
lines are blurred. I can really have a good
time, explore, and not put my art on the
production line. It’s so easy to get lost, on
finding a label, promoting... stop it. It takes
away all the fun.
Martin Thulin’s work as a producer is not
only productive but very succesful and
something he really enjoys. He produces
music for commercials, films, international
films, and other projects, which provides
stability and an opportunity to get to know
his collaborators at a different deepth.
---Listen to the full episode at Red Transmissions Podcasrt.
07

TAKEOVER
08
Seeing a band of the caliber of Excepter is an
experience you don’t easily forget. A musical
group from Brooklyn which started back in
the early 2000s, Excepter is known for their
improvisational approach, a combination of
pop and psychedelic, abstract music, a good
trip that pays close attention to instruments
and melodies. In talking retrospectively for
this issue of Red Door, Harrison Owen and
I interviewed John fell Ryan and his wife /
bandmate / collaborator Lala Harrison Ryan,
who spoke to us from their home in Chicago.
Starting with the development of the music
style and the band, John shares that the idea
started in the late 90s, bringing in influences
and styles that weren’t allowed in the band he
was in at the time. “Late summer of 2002 was
when the band started playing shows. We had
a DJ night and we just plugged our instruments
right into the DJ mixer and took it from there”.
“When I started bringing other people into the
band, it just seemed to be the easiest way to
just jam on equipment as opposed to trying
to recreate songs, I just wasn’t into practicing
but improvisation, which was a great band to
be fluid, and after a year and a half of this we
just played every month for years, without
practicing” John explains, talking about their
improvisation.
When asked about the text aspect of the
Excepter songs, John shares “Vocals were
going to be the focus, and there are lyrics
for recorded material, but I had a tough time
remembering things on stage, so I would only
sing what I remembered and then improvise
the rest.”
For Lala’s first Excepter show, she shares
that “Caitlin taught Clare pilates, they had a
direct vibe and lineage, which I think is super
important (and controversial, John adds), a
hoodie, tights, heels, so Brooklyn, and that’s
the female vibe that I like to give in Excepter.
I jumped on stage in Montreal, I don’t know if
the band knew I would, but I was just like - I’m
in love, and I’m joining this band. We didn’t
practice much at atll, we just did it”.
Back in those days, the competition was
friendly and exciting. Releasing records with
the guys from Animal Collective, for example,
and being part of an exciting scene, filled their
minds and spirits with a sense of community
and with inspiration, and definitely proved to
be fruitful for all the bands involved in these
exchanges.
“It was great to be there, and even though it’s
not coming back, it’s still an inspiration to keep
creativity going” John adds. “As far as that
time to now, we’re parents now. We’ve focused
and honed our energy, to make room for
experimentation, being hyper-focused, having
a very specific vision” Lala shares. “We started
when Youtube wasn’t even invented! People
are like, oh, algorithm has changed, instagram
is dead, and now you’re like, shit! what are we
going to do?” John adds that the main value
of DIY and community building is the richness
of these connections that build along the way.
When asked about the creative process and
how it has shifted, Lala shares:
“We’ve been trying to find our studio sound,
I’ve been asking myself what are my influences,
I’ve decided that I really love the early LA
60s sound, Love and The Seeds, one of the
first bands to have black and white men in it
together, which was crazy revolutionary, and I
find it so inspiring. I play organ and keyboard, I
used to play east-coast and west-coast drone,
we feel more in control now. We collaborated
with our old bandmate Jon in New York, we did
a stream and it was so good!. We’re working
on our sound a lot, and that feels great. We’ve
taken the energy to focus on writing, making
music, recording sound and making demos,
hopefully a European tour coming soon”.
Everything is becoming more 3D. Our place
used to be like a storage spot in New York,
with little space for creativity. Your mind is full,
your house is full, and in Chicago there’s room,
things are different, slower, spacier, allowing
room for interdisciplinary creations such as
large installations and more performative work.

EXCEPTER
I ask about upcoming collaborations, and
John and Lala look at each other, think for a
while, pause and then say... no.
“We’ve been really in inner focus. If we reached
out we could probably start a few projects
soon, although there is some top-secret stuff
happening. We’re really working on the next
Excepter album, and really in this hybernating
vibe right now... I think in 6 months or so from
now, we’ll need to come out.
John adds: yes, relationships and faces wil lbe
nice again.
Jumping back to the Summer of Love, back in
2008, Harrison recalls that Lala was pregnant
and they were promoting their first album,
with Harrison filming their show with Indian
Jewelry in LA and then filming and recording
Black Beach. “One of my favorite memories of
you” Lala says to Harrison.
The concept for Black Beach was I wanted
to perform dressed in black on a nude beach
and play no music” says John. “Yeah” Harrison
answers “Check, check, check”.
John adds: “I recently went back to the actual
Black’s Beach in San Diego and recorded
myself playing no music, but fully nude this
time”.. Well, some music was added to the Black
Beach track, which was later made like a techno
track. Harrison says that there was definitely a
vibe of the Thunderbolt Pagoda, Dub, Drone,
the NY 60s underground film scene, all being
very influential. “Thank god that you filmed
this, thank god you documented this... also
because Clare is in it, Clare is there... and Clare
was so beautiful. All the beautifuls she can be,
Clare was beautiful”.
Lala is referring to their late bandmate Clare
Amory, whom they lost to cancer in 2011, and
whose partner, Nathan Corbin, also a member
of the band, decided he no longer could be part
of the band after the tragic loss. This resulted in
Excepter temporarilly being separated by grief
and disarray, a healing which later resulted
in their album Familiar, which defined their
distinct sound and shapeshifting abilities.
Lala’s instruments and chants in perfect
conversation with John’s electronic noise,
moans and enchanted music.
This was followed by a European Tour, with
Lala and John acting as both a family, a
band and a unit, which sometimes involves
collaborators but is mainly focused on them
two. “Post Familiar “ John adds, “is anything
from then to now.”
“The 21st century is a connected time. I mean,
so they say. It’s all interconnected” says John.
There was something about the concept of
permanence that I want you to talk to me
about, I ask, referring to the idea of the nonessential
artist, and our own mortalities, grief,
and uncertainty.
“As an artist, especially in the past few
years, I realized that it’s not just your
duty but your nature to be creative... and
that’s it. You’re just creating.” Says John.
“We’re weirdos and we never cared about
making money or getting fame. All John has
to do is lick his little finger and, because of
the nature of his brain, people immediately
ask, what are you doing? They’re attracted to
his work. I started playing music because it
was the only thing I could do to get through
life, wherever that gets me, whether it gives
recognition or not, it’s what I do. People never
realized until covid that people give their lives
to learn a craft to make life for everyone else a
bit more beautiful. I hope people, the heartless
money people, have found a bit more kindness
in their hearts to recognize the little artists, the
people making music in their bedrooms, and
making our day” - Concludes Lala with a smile.
Follow EXCEPTER at:
www.excepter.bandcamp.com/
http://www.excepter.net/
Interview by Harrison Owen and Elizabeth
Torres for Red Transmissions Podcast #58
www.redtransmissions.libsyn.com
09

TAKEOVER
H - Tex! I keep coming back and mentioning
the show at the Cake Shop on the Lower East
Side, December 2005. IJ was on a great bill
that included Excepter and the Ills. I was there
specifically to see and video Excepter for the first
time, but fortunately stuck around and saw you
play, too. It was one of those rare and wonderful
occasions where you see a band live without ever
hearing them before, or knowing anything about
them ahead of time, and are completely blown
away. I just remember thinking, ok, this band is
from L.A., let’s see what’s up. You must have been
playing material that came out about a year later
on the album Invasive Exotics, which was on nonstop
rotation when I got my hands on it.
Questions! Who was in the band at that time? And
how long had you been based in Los Angeles at
that point?
Hi, Harrison! I remember that particular show at
Cake Shop fondly. That night had a lot of mystique.
We went on to play a lot of shows with those bands.
We’d been in LA about a year by late 2005. Houston
is a place so hardhearted and perverse that it is
grayed out on google maps. It was killing us.
Fall 2005, when you first saw us, was our doubledrummer
tour, a really special time. We were touring
Invasive Exotics. In addition to Erika and I, Jimi Hey
had joined Rodney Rodriguez on percussion. It was
difficult, since we weren’t making much money, but
fun. At that time we were interested in experience
and performance over songs and music. We’d done
away with most of the music in our music, focusing
on the thing-ness of it. People. Lights. Speakers.
Rhythms. Sounds. Noise. Words. Spells. Presence.
Erika and I hustled indefatigably for the band. One
of the problems was that the way we were doing
things was anti-commercial.
While we were living on the floor in Rodney’s
kitchen, broke, scrounging for burrito money, we
turned down commercial offers from Toyota and
Levi’s.
Most music people think the world of Jimi, and so
do we. He’s got talent, great taste in both music and
comedy, and a dark sincerity. But I don’t want to
miss a chance to remember Rodney too.
Rodney’s funeral should have been in LA. He was
a Houston guy, grew up going to the Axiom and
skating Ez-7, but the life he made for himself, his
preferred life, was in LA. He was a beautiful person,
made for music, not made for this world.
His death devastated us and many other people.
We didn’t see it coming.
Rodney had a lot of mystery about him and a great
sense of humor. It didn’t faze him when we moved
across the country and into his kitchen with all our
gear, our dog Reblito, and a giant tortoise named
Sisyphus whom we were transporting crosscountry
for our friends Mad Dog and Sae Jae.
Rodney was an incredible, inventive drummer and
musician with a dry wit. On that 2005 tour Jimi had
gone nuts for strange percussion details, micing
up pots and pans and empty water-cooler bottles.
I don’t know if he had ever had so much freedom in
a band before. The hitch was that we were mostly
playing clubs with underpowered sound systems.
So the effect was visual, but largely inaudible. One
night I overheard a snippet of one of Rodney’s
phone conversations, “And Jimi bought a whistle
that only Jimi can hear…”
On the west coast of that 2005 tour, our friend
Abi Cohen, now a psychiatrist, also hopped in the
van with us. She was intuitive, used to play things
like home-made dream machines or flashlighted
blankets. Now and again, she’d slap the shit out of
some dullards who were asking for it. I don’t think
she was with us that night in New York, which is
ironic, since she’s from Forest Hills, just like the
Ramones. Abi drove like Toonces the Cat from SNL,
but she was a great influence on us on tour.
H - What are you working on now?
We’ve had a full-length STUDDED album that’s in
a constant state of near-readiness, but god only
knows when it’ll see the light of day.
Mostly we persist, like Beckett said: “Ever tried. Ever
failed. No matter. Try again. Fail again. Fail better.”
H - When and where did things begin?
IJ was a Houston band, but Houston spat us out.
Eventually, only other cities wanted to claim us.
Here we are now, back in Houston, and now no one
wants to claim us. But Paradise wants us. Paradise
is waiting. Look around, this world could use a little
touching up. We are the Paradise is Coming For You
band.
Rodney loved metal, glam rock, kraut rock, and
disco. He had great taste and a very private nature.
He seldom spoke of himself.
010

INDIAN STUDDED JEWELRY LEFT
By Harrison Owen and Elizabeth Torres.
H - And when and why did things settle down, as
it were? What was going on out in L.A.?
Houston was killing us. Almost no one there had
any interest in what we were doing. I had just quit
working for the art maven Jim Harithas. It was my
dream job, but he had taught me that artists are
meant to go for it, even if they fail.
After returning back from three months of insane
touring, I spent one glum summer living with my
mom in a trailer in Deer Park, Texas, a block away
from the charred remains of Gilley’s, smelling the
benzene, thinking dark thoughts, and watching
migratory birds free themselves of the local
oppression. That’s when Rodney saved us.
Not that much was happening in LA when we got
there. Don Bolles had a great weekly party called
Screwball on Tuesdays in West Hollywood. But
LA was in a period of contraction and change. We
played a lot of Monday night noise shows at the Il
Corral.
Even before things got good for us there we
loved it in LA. I had a grueling job in the shipping
department of an online leather warehouse, and I
worked a lot of catering gigs. At one catering gig,
the seat of my pants split while I was waiting tables
for the cast of The Daily Show during a televised
Emmys gala.
I walked across central LA several times. Away from
its entertainment lots and shopping strips, LA is
like a Jodorowsky movie, full of frog conquistadors
and time bandits and total desperation as well as
botanicas that will sell you unguents and chicken
feet to lift the curse.
Also, I have to say, Don Bolles and Michael Belfer
(R.I.P.) kept us going when no one else was into
what we were doing. Don Bolles went around
saying nice things behind our backs until other
promoters started to copy his lead. Michael Belfer
used to sneak us into music recording studios after
hours. Nancy Sinatra would be recording by day
with Morrissey, and at night we’d go in the side
door and record for free.
H - When I finally hung out with you guys out there
it was the spring of 2008. It was you, Erika, and
Brandon, and I accompanied you up the coast to
San Francisco on the start of a tour for the album
Free Gold! I remember you telling me at that point,
and I have quoted/misquoted you on multiple
occasions, that L.A. is like a really warm, pleasant
dream, and people come out, and they just never
wake up, but you were definitely no longer asleep
and dreaming, if you ever were, and basically, you
were ready to move on. Sound familiar? Did you
head back to Houston after that tour?
Thinking that we were getting too soft, we left LA
for a very short, cold stint in Chicago, where we
lived with our best boy for life, Brandon Davis, just
across the street from the wonderful Bobby Conn.
But when it got cold we got the message and drove
back to Houston in a van with half a transmission.
H - How’d that line-up/album come together?
Richard Durham, lately of Twisted Wires, had been
a hero of ours since he was a teenage heartthrob
in an incredible Britpop-styled glam band called
the Entertainment System. We invited he and
Mary to play some shows with us in a succession
of small Texas towns and poorly conceived local
music festivals, like the one in Houston’s Hard
Rock Cafe where rednecks were hurling salt and
pepper shakers at us on stage. When Richard and
Mary showed a relish for that kind of abuse and
absurdity, we brought them into the band for real.
Mary brought incredible power to her drumming.
This forced us to build a bigger soundsystem.
By this point we had toured the US too many times
to count. We had played nearly every city in total
darkness, pumping our drum machine beyond the
red-line. Things had gone from brilliant to stupid,
so we relished a change. Playing with Richard and
Mary made it more fun to return to music, to songs,
to funk and to dancing, and other things we’d set
aside.
And then, not too long after that, you guys became
parents! and made the bold move to Brooklyn!!! I
babysat while you went out to play shows! Only
now do I fully appreciate that situation. Being in a
band, living in an communal artist collective in an
old firehouse in Long Island City, Queens. It was
like now or never, no?
011

Brian Gibson of Lightning Bolt referred to our
move to New York as a “mistake that everyone
has to make at some point.” He was right, but
as you said, it was now or never. Erika and I
both loved New York. We had both meant to
move there many years earlier, but Houston
had caught us with a strange perfume which,
like a corpse flower, it only emits once every
ten years.
But Houston can be stingy. Once it gives you a
pittance, that’s it. You’re done. While Erika was
pregnant, I spent the last grant money I got
to write a book of poetry on our midwife and
a used car. After that money was gone, it was
time to go. New York promises the world. It was
a great place for a kid. Our daughter was eight
months and Erika took her all over the city.
Unfortunately, it wasn’t great for me on a
personal level. I”m a bit of a hothouse flower, as
it turns out, and not as tough as I’d supposed.
Years before any of this, we’d considered
changing the band name. But you make
compromises in a minute, when there’s this
activity or that on the line. And we got trapped
in these activities since we had a band with
our friends and a family and we’d all thrown
in everything so there was no freedom to
walk away from anything. I’m proud of the
albums we made, and I’m proud of our live
performances. At different times, no one could
get close to what we were doing, try as they
might. And as you know, the family size tours
across the US and Europe were something for
the books.
Once we switched our name to Studded Left
most of our bookings dried up. Before this
we’d be invited to play festivals and release
records for different people. Since the change,
we open a lot of Tuesday nights in Houston.
Studded Left is a return to our original form.
It’s empty, open, doomed, infinite. No one is
interested. No one is listening, and we are free
to do what we want to do when we want to
do it. People like what they know and no one
knows us. It’s just how it was when we started,
except now we’re a few months older than we
were 20 years ago.
E - Tex, talk to me about creative process, ritual,
of purpose, as a multimedia artist and as a team:
I’ve been in a dark place lately, so I may
have to glide over some of my feelings right
here. There’s not point in candy-coating the
world, but I despise artists who dwell on their
struggles too much. My own creative process
is a byproduct of growing up in a large family.
I never had much space or time to myself.
This has made me prone to collaborations
and distrustful of long methodologies. It has
also helped me to learn to work piecemeal,
anywhere, at any time.
I was forcefed rituals from an early age. I’ve fled
as far from the world of religion and mysticism
as I can. But there are relics of that world in
things that I do. I have a great love for books
and works of art that require patience, as well
as spaces, including temporal spaces, that
force a person to answer to their own demons.I
grew up in a world of gallows humor, pastiche,
persuasion, and unreliable narrators. Most
of my siblings and I have false memories of
visiting the Grand Canyon, born of repeated
viewings of a Brady Bunch special.
So when I work, much of the energy comes from
love. The rest comes from the observation that
nothing works and you have to operate as best
you can nonetheless. Erika grew up differently
and works differently than I. In my opinion,
her way of doing things shows the depth of
her optimism and personal discipline. I think
she gets this from growing up in a musical
family that was both much more private— and
more stable— than my own. She approaches
everything in a confident, purposeful way. For
example, she’s a yoga vet, but she doesn’t go
around putting yoga in people’s faces the way
some posers do. She could though. If Erika was
in charge of a yoga gang the world would be
much more fit.
As a band, we’ve tried to balance our different
ways of thinking and acting. Working with
Erika has helped me to respect other people’s
private spaces and to plan for the possibility
that things might turn out well at some point.
Working with me has probably helped Erika
to become more understanding when dealing
with donkeys.
012

013

014

E - Share with us your thoughts on the
subject of artistic sustainability:
Regarding the sustainability of an artistic life,
my outlook is pretty grim. We live and work in
the USA, where money talks and bullshit also
talks. And say what you like about Europe’s
institutions, but they only seem to import the
most middle of the road stuff themselves.
Neither of us were born rich. Being born rich is
a necessity if you want to be an artist in the US
for a long period of time. Otherwise, you’ve got
to go to work as we have. And going to work is
different than working on the work.
For years I’ve been going to a place where
I work. It is a unique experience, but one
that leaves me psychically and physically
exhausted. At the end of each day there is less
of me. Less to put into music and writing.
Erika works all the time too. And her job is
similarly extractive. Working all the time steals
your energy.
E - Poetry in your career. How it represents
itself in visual art, videos, music, etc, and
how you feel poetry influences your work:
The wolves are at my heels, I can only do things
that make sense to me. Poetry has always
made sense to me, but not always as poetry a
person would recognize as such. I’m partial to
poetry as defined by Robert Graves. The voice
from beyond. The whispers of the belle dame
sans merci. And I’m partial to the poetry in
jokes. Dumb jokes. The economy of a stand-up
comedian.
Art often speaks to me, but I might be projecting.
I like the funny parts. Especially when they also
touch on the harrowing of everyday life. The
reversal of perspective. The inverted pyramid
and the fall it implies.
Music has always made sense to me in any
way it comes.
I’m writing a novel. It’s not about music. With it
I’m trying to go beyond my love of language.
So, my thoughts on art are that artists should
strive to be born wealthy. Not doing that was
one of our most critical mistakes.
Every minute you’re in the public eye you
should be spitting and scratching at the eyelids
of the mongers of power. That, or meditating.
Take your pick.
If you can’t be born rich, you have to go
against everything. And when you go against
everything, everything goes against you.
So you’ve got to be stubborn. And you can
never tire because the world won’t forgive you
a moment’s rest. And if you want it to work out
at all you’ve got to get a crew and you’ve got to
train them, so that they can hit hard at the right
moment.
So essentially, if you want to be an artist in the
world still living in the spell of capitalism, and
you can’t be born wealthy, you’ve got to get
up two hours earlier than everybody else to do
your push ups and you’ve got to stay up thirty
minutes later than you’d like to rub your hands
together and cook up evil schemes.
Special thanks to Tex Kerschen (and Erika
Thrasher) for this interview, the art included
in these pages, their music, their poetry, their
light, their friendship.
015

TAKEOVER
H - Back in the beginning, around 2003,
where and how did the band get together?
How would you describe the initial Ills sound
that is heard on the early EPs and the first
album, Dins? Who were some influences?
Tres and I met in college at The University of
Texas and briefly lived in Los Angeles after
graduating. Tres moved to NY after a year
or so where he met Tom Gluibizzi.. Tres and
Tom started playing together around 2002
and recorded Ills’ first 7” Killers/Vice. I moved
to NYC shortly after in early 2003 and joined
Psychic Ills on bass. We played our first couple
of shows that fall as a 3-piece and toward the
end of ‘03 Brian Tamborello joined on drums.
The Red Crayola, Dj Screw, The Dream
Syndicate, Suicide, Gang of Four is just some
of the music I recall listening to around that
time.
The band covered a lot of territory, sonically,
over the years, which speaks to a wide interest
in music and culture. Aside from the Ills, you
played in other bands and you are a dancer,
performing with Skint and other dance
groups. And Tres had a great interest in film.
How did these interests work their way into
the development and evolution of the band’s
sound?
Tres and I played and wrote together for
so long and always considered Ills our
main work, however simultaneously we
were also pursuing separate interests and
collaborating with other artists as well. On
Mirror Eye, Ill’s second LP release, I do feel a
lot of our outside interests did make their way
into our live performances. There was a lot of
space for improvisation at that time so for me
movement was a natural element to include
in our live shows. We often had visuals
accompanying the set back then and that
along with the direction of where the music
was going always came from Tres. I believe
his passion for film and other art mediums
always influenced his writing.
016
H - I met you in 2008, making a video for the
second album, Mirror Eye, which one might
characterize as the second phase of the
band’s sound, incorporating more Eastern
influences and moving further into drone.
What precipitated this development?
That’s right and you did our live visuals often
as well. A lot of our peers/friends (Excepter, No
Neck Blues band…) who were making music
in NYC at that time were coming from a more
experimental leaning, mostly improvising
live, there was a lot unpredictability in how
performances were unfolding, it was an
exciting time! I think that scene did influence
Psychic Ills’ direction then. And, Tres’ guitar
playing definitely reflects some Eastern
influence as well, he often used this electric
guitar that had a sitar bridge. We were
interested in exploring different ways to play
our instruments, including various percussion
instruments and leaving a lot of space in the
sets to just see what happens.
Tres continued with this direction with his
other incredible band, Messages and then
also Compound Eye with Drew McDowall
from Coil, but for the third album you guys
moved to the Sacred Bones label and further
sonic adventures, releasing Hazed Dream
(2011), still a very psychedelic album, but
with a western tinge and more traditional rock
song writing. It seemed like a very organic,
natural destination for the band.
H - What was the process like during that
period?
We had kind of moved into the mode of just
wanting to write ‘songs’ you know verse,
chorus ect. By this time Tom had left the band
and Brian had moved to California. Tres and
I demoed Hazed Dream with a drum machine
in his basement studio apartment in the East
Village, that we called “the bunker.” This was
the first album that we worked on just the two
of us in the initial songwriting process. When
we were ready to to take the songs to the
studio, Brian came in town and we banged
out Hazed Dream in two days. We had so
meticulously recorded those demos and
wanted the album to sound just like them,

PSYCHIC ILLS
except with live drums. I remember Tres
even attempting to use his little Roland cube
practice amp in the session so that he could
replicate the guitar sound in the studio.
H - You did two more albums with Sacred
Bones, building on that sound, adding
new band members and touring the world
- Europe, China, South America. Can you
share a good story or two from those days?
By the time we signed to Sacred Bones, the
band was basically Tres and I with a rotating
door of band members for years. We were
lucky to have gotten to play with a lot of great
musicians but it wasn’t until we started touring
Inner Journey Out, Ills last full length a double
LP, that we found the live band that stuck.
All of the guys (Jon Catfish DeLorme, Adam
Amram and Brent Cordero) are incredible
musicians, the vibes were right, and it just
worked. Tres and I were grateful to finally
have that stability and camaraderie with the
band again. It’s a shame that we never got the
chance to record a full album with that group.
There are so many stories and touring Europe
was always great but two tours that really
stick out for me are Santiago, Chile (Nov 2016)
and a west coast tour that we did in August
2017. We felt a close kinship with a lot of
the people we met down in Santiago, which
led to smoking a tequila worm. On the west
coast tour; playing the Ghetty accompanied
by the fabulous Hummingbirds on backing
vocals, Pappy and Harriet’s in Joshua Tree on
mushrooms watching Minnesota Fats videos
post show, and experiencing totality at the
Atlas Obscura Total Eclipse festival in Durkee,
Oregon with Sun Ra Arkestra are some of the
best memories that I will remember forever.
- This year you put out one more Psychic
Ills album, Songs for Tres. Please tell us
about writing the song “I’ll Walk With You.”
It is beautiful. How did the record come
together?
Thank you Harrison, that means a lot. ‘Songs
for Tres’ is not a Psychic Ills album. Ills just
can’t exist without Tres. ‘Songs for Tres’ is
a tribute album that myself and the band
members made for Tres. During the summer
of 2020, in lockdown after having lost my best
friend and my mom 5 weeks after, I needed to
do something to help me grieve.
. I was isolated on a remote ranch in Texas
with my husband and 6 month old child at
the time. ‘I’ll Walk With You’ is a song that I
wrote the day Tres died and when I got the
news of him passing, I realized it was a song
for him. I reached out to Jon, Adam and Brent
and asked them if they would be interested
in making an album with me to honor Tres. I
wrote 3 of the songs on the record and asked
the guys if they would each contribute a song.
We also covered four songs that have a unique
connection with some of our memories of
Tres. Ivan Diaz Mathe (my husband and Ills
former sound engineer) produced the album
with me and suggested that I reach out to
Hope Sandoval (whom had sung a duet with
Tres on IJO) to sing with me on ‘I’ll Walk With
You’. Obviously having her on the album
would be the greatest honor and I figured I
had nothing to lose in asking, so I reached out
to her. Hope’s contribution is perfect and it
was so generous of her to lend her beautiful
voice for the song. All of the artists proceeds
for the ‘Songs for Tres’ are being donated to
RAICES, a charity who aids children who have
been displaced at the Texas/Mexico Border.
017

018

E - And I have a few more questions, here,
focusing more on the present / future:
You’ve toured nationally and internationally
for years. Do you have advice for musicians/
artists on the road?
Jumping jacks and push ups when you stop
for gas and daily journal entries.
If there is one thing you could take with you
from all these years involved in music and
performing, what lesson would it be, that you’d
like to pass on to others?
If you catch momentum, keep it going. The
best wave is the one that you are riding.
E - And last but not least: Are you working
on any music / dance / performing projects?
Where can we follow up on your upcoming
endeavors?
Yes, I released an experimental album with
Ivan on Sacred Bones in spring 2021, pka
Luca Yupanqui. We have a remix album of
that record coming out some time this year.
I’m really excited about the artists that we
collaborated with on this one! I have another
band called Tierra del Fuego that has mostly
been inactive since the onset of pandemic due
to the circumstances. We were playing out a
lot in 2019 and had just finished our first album
in spring of 2020. I think we will eventually put
that record out, maybe later this year. And, a
couple months ago I started recording a solo
project.
019

020

021

POETRY
Unpacking the Tryst
as a site for a tryst skeletal foundations
an abandoned dream home in the woods
trees for privacy
it worked for her
nearby path into town
a college student
home for summer in ’67
he was no one special
friend
blond and brooding
and hungry for sex
a friend of a
like James Dean
Gatsby-like detach-
with a callous
ment
she felt determination
somewhat
off-balance
no handholding
or eye contact
too soon
bored
decades later
the act ended much
he looked embarrassed
and she felt likewise
she wondered
and not a car back-
was his mel-
was the place
a bleak longing
why at that place
seat
or borrowed bedroom
ancholy
soul seeking an echo
a turn-on of playing house
for domesticity
philosophy
or just the tear-it-down
of those cathartic times
Alison Jennings is a Seattle-based poet who taught in public schools
before returning to poetry. She has had 65 poems published internationally
in numerous journals, including Burningword, Cathexis Northwest Press,
Meat for Tea, Mslexia, Poetic Sun, Sonic Boom, and The Raw Art Review.
022

The Moon illuminates, the West is a direction
and people are satisfied with the concoction
‘comfort, consolation and peace’
Trimming or pruning
relief or happiness
plants
physical, psychological and moral conditions and
characteristics
of disobedience, discrimination and differentiation
…
the wind blowing from the West
reveals and discloses
understanding, knowledge and sensibility.
What is clear and manifest
is brilliant and shines –
the western paradise of Amitabha Buddha
is now, a method, reason
and an aspect
of everyone.
Safety and security
provides relief, happiness, comfort and consolation
…
and is fundamental
to agreements involving trade.
Any lovely or agreeable phenomenon:
an ancient inhabitant
of wise existence.
A night
of killing, slaughter, torment or torture
is a type of sycophancy
fittingly associated
with the Roman Catholic rite
known as Placebo
(the vespers sung for the dead).
The more westerly Moon
is setting.
Being on the upper side of 50, much of Douglas Colston’s biographical material can be assumed
(various careers, relationships and university qualifications). He is seeking to enroll in a PhD. To
date, a number of his works have been published online (at ‘New World Writing’) and in a number
of print anthologies (including ‘Erotica of eternity’ [2022], ‘Let’s begin again’ [2022], ‘Garden of
poets’ [2022] and ‘My Glorious Quill’ [2022]), in addition to gaining praise such as “... eliciting a
strange sense of awe ... [t]his is ground breaking and gorgeous ... writing and deserves to be read
widely” (The Editors, POETiCA REViEW).
023

POETRY
A Length of Equal Ends
We drift as plates at Thingvellir—
two jagged pieces once seamless now
cracking at harshest melody.
We refused to fade easy—
the heart of us trapped in an old scar.
With chin on forehead and burgundy knit,
you pushed the beat from my chest and
fractured the ice we tested.
Seeds sown in disconnection—
steel-cut confidence matched by tender touch,
gloved hands at thumb and middle finger as
near-honest worship rose to notes of confusion.
A two-tailed coin, we spun and turned our backs.
From such great depth,
we measured a length of equal ends
with the grace we had left.
Tectonic plates say goodbye two-and-a-half-centimeters
at a time.
I wanted to ask if you knew how slow that might
feel
if we failed to consider the size of the pieces.
Instead, I said you looked storm-born
because I’m desperate to be tragic.
We fell in and out in a rift.
I wanted it to reconcile—
like the space made something beautiful.
Marco Patitucci is a singer/songwriter, poet, and novelist living in
Northern California. His folk-rock album Lambs to Lions was released in
2014. His poetry has appeared in Streetlight Magazine and the Passionate
Penholders and Sunkissed Anthologies. His debut chapbook, Cracks in
the Devil’s Urn, was published by Finishing Line Press in January 2020.
You can find him on Twitter and Instagram @heytucci.
024

025

TAKEOVER
CHLOE LUM &
YANNICK DESRANLEAU
Multidisciplinary visual artists based in
Montreal, Canada. Their work focuses
on theatricality and the choreographic;
in their performance work but also in
their interest in staging tableaus and
working with ephemeral materials
that can be said to perform through
re-deployment and decay. The duo’s
recent works investigate the agency
of objects, the material condition
of the body, and the transformative
potential that bodies and objects
exert upon each other. Their works
have been exhibited internationally,
and are included in the collection of
the Victoria and Albert Museum, the
Montreal Museum of Fine Art, and
the Musée d’art contemporain de
Montréal.
The Parameters of Decay
by Madam Neverstop.
026

Seripop
Fantomas / The Locust / Trevor Dunn’s Trio Convulsant
2005
Concert poster
Silkscreen on paper
64 x 46 cm
027

Seripop
Little Claw / Eat Skull / Triceratreetops
2008
Concert poster
Silkscreen on paper
81 x 50 cm
028

On episode 59 of the Red Transmissions Podcast,
opening with the song Spit tastes like metal from
their band AIDS Wolf, Harrison Owen and I interview
multimedia artists working across performance,
sound, text, installation and visual art, Chloe Lum
and Yannick Desranleau.
Currently, they’re working on a photo series, along
other projects, and just finished the production
of a musical, something they consider their most
difficult work until now, “The Garden of a Former
House Turned Museum”, which honors the work
of Clarice Lispector, for which they consulted her
work archives in Brazil.
Having worked together for over 22 years, their
practice has combined through their collaborative
relationship so that the learning process and
product feels like a mutual, constant conversation.
“The important transition happened when we were
doing screenprinting, seeing our posters up on the
walls of the scene, Montreal was allowing that to
happen due to vacant buildings and lots so there
was a strong night life, they became the inspiration
towards this culture because we saw them peeling
off, due to collectors or being weathered down,
and this appealed to our sensitivity” says Yannick.
“Seeing the decay in the streets and playing with
these parameters became the way to see material
as a living entity that has its own willfulness and
drawing parallels to our lives is what attracted us”,
adds Chloe.
Chloe and Yannick openly speak of the economy of
means, the recycling of ideas and products to make
their practice more sustainable, the transformation
and experience from their DIY origins making prints
and posters for bands, playing as AIDS Wolf and
participating at fairs, to returning to school and
now pursuing PhDs, receiving fellowships for arts
and research, integrating visual and performing
arts and the conversation of invisible illnesses
and and mental health. Chloe also focuses on
the subjects of chronic illness from first hand
experience: “The contingency of objects, bodies,
and the contingency of health, and thinking about
these relationships was important. It took many
years to be diagnosed, where I gradually became
completely disabled, and these ideas of inanimate
and contingency developed as I grappled with
losing a lot of my ability to do things. The creative
process opened a lot of positbilities for narrative,
and not just have the objects as performers but
also scripted recitations, live performers, and that
brings us to where we are now”. Listen to the entire
interview at
www.redtransmissions.libsyn.com
The Garden of a Former House Turned Museum, 2021
View of the installation, from the exhibition Crushed Butterflies Can Dream Too,
part of Momenta Biennale, curated by Stefanie Hessler.
Paper mâché, Forton, styrofoam, acrylic paint, powder coated steel, urethane
rubber, fabric, rugs, Acapulco chairs, artificial plants, mixed media.
What Do Stones Smell Like In The Forest? , 2018
Double channel digital video, sound, 18 min. 20 sec; installation.
Performers: Karen Fennell, Mary St-Amand Williamson, Maxine Segalowitz,
Marie-Annick Béliveau
Photo by Guy L’Heureux
The Garden of a Former House Turned Museum2021 - Production still
HD video, colour, sound, 27 minutes 34 second
Performers: Ruby Kato Attwood, Elizabeth Lima, Sarah Albu, Talia Fuchs
www.lum-desranleau.com
029

PODCAST
“Theater theaters everything in. So our job is to shove
something down its throat every now and again that it
cannot swallow.” – Brecht.
A masterclass with poet, playwright, director and
performer
Marc Von Henning
On episode 68 of Red Transmissions
podcast I got to interview Theater Director,
performer and writer Marc Von Henning,
whom I met when he spent a few days in
Århus with the Writing specialization of Den
Danske Scenekustskole that I am a part of,
giving a masterclass on the importance of
form, language, and reality in theater. He
explained that there are 4 fundamental
elements of theater:
-The visible / visual: content
-The audible: sound, music, (and yes,
dialogue)
-The language / intellect: associative
narrative, storytelling
-Audience: Interpreters of feeling. The
processors of the three other elements, who
in their minds complete their story.
030
Marc went on to speak on the textualizing
of forms, which can be done in many ways,
some of which are:
-Double monologue.
-Dialogue
-Reenactment (which Mark especially
recommended because he explained, this
makes an audience feel like they’re being
taken seriously. They can either get lost
in the story, or return to the room and be
marveled at the actors performance, the
setting, etc… They’re “in” on the plot.
-Translation:
Marc explains that bilingual texts provide
2 sides to every story, and that one should
look at languages as an aesthetic idea,
from surtitle to live interpretation. He
recommends looking at language from
an insular perspective, which allows for
understanding of tradition and environment.
“We are often made of more than one thing.
We’re often trying to reduce it, so as to
understand.” he poetically explains. Then
he continues: “Like playing an instrument,
writing is also about the notes you do not
play.”
Systems have a price, a value.
Steering towards: rationality, function,
associations, repetitions, composition,
compilation.

MARC VON HENNING
MARC VON HENNING
The poems that stay close, are the ones you
don’t understand.
Afterwards we learn of his past work,
including that of Primitive Science, and how
his main interest has been to focus on telling
stories or highlighting stories all around us,
or more importantly, to make his audiences
aware that we all have stories, that we are
often in search of making sense of them, and
this is how we also make sense of where we
are going, our connections, and do plenty
of stargazing along the way (looking at the
past, making predictions of the future).
Question: How to engage an audience by
giving the audience problems?
The idea of discomfort to help articulate an
idea, lead to meaning… the what, not the
how, is the beginning.
Question: How to relate to an audience?
How to treat them? what to make them
feel? how to involve them / affect them /
touch them?
A construct: build a connection – provoke a
response.
Marc highlighted that there is no need
of knowing what one needs to say, but of
knowing there is something to be said.
Putting direct opinions across misses out on
good material for stage.
The wonder of obsession and alternate
mind can open bigger connotations.
Stories are like tasks. They’re modules.
Models for other stories.
ENTANGLEMENTS: secrets we keep from
ourselves.
Hidden agendas.
THE BEGINNING: Work from inside out.
From a concept. a phrase. A part of a
story. Fashion everything around a moment
that needs to happen. An image where
the image originates. The claim of being
someone else.
When writing a play, build a tight set of rules
that cannot be broken, but are open in that
one can be free within them.
-Find this form and fill it with content.
-Authenticity can come, f.x, from a talk w an
actor to learn what moves them, and writing
based on these needs, a role that connects
with these emotions.
APPROACH: Writing for a person or
character specifically, moulding the story to
them.
CONTEXT: Juxtaposition. Personality traits.
Duality. When we fall in love, we learn to see
ourselves in the eyes of others.
IMITATION: Until you know your own voice,
take something we all know and give it a
different context. The pep-talk, the magic
act, etc.
Take the audience on a journey and let
them choose their involvement. Remove
some of the ground so the audience gets to
be invested in the investigation of the truth
behind the story.
SEPARATION OF BODY AND VOICE:
Influenced by Bunraku Japanese puppet
theater, is a method Marc is very passionate
about. In this type of theater, the stage is
divided in four parts.
CONTENT: Veer away from causes, opinion,
things that point out the obvious. Tolerances
and contradictions can be questioned
without patronising an audience.
OBJECTIVE: To break the usual standards
and build one’s own new structures. Recipes
for new thought.
LISTS: the use of lists to make connections
from irrational or uncommon territories to
thread them together.
LETTERS: There are different types of letters,
Marc explains, the epic (episodic) where
audience learns something, or aristotelean,
where the character learns something.
LECTURE: The format of a lecture for a
performance is interesting because, just
like in a TED talk, the audience is already
convinced or in favor of the subject being
discussed, and rather than needing to be
persuaded just wants to be pushed deeper
in.
The realness of storytelling brings truth to
any story, Marc concludes.
-Elizabeth Torres, 2022.
031

INTONAL - Highlights
A sanctuary for experimental minds and bodies in motion.
www.intonalfestival.com
A recent surprise for kickstarting life after
restrictions and the dormancy of lockdown
was the festival in Malmo, Sweden called
INTONAL, which focuses on experimental
music and collective forms of expression that
are, according to the organizers, absolutely
essential to human existence.
Seen above is a photo of the impressive and
multitalented Myriam Bleau, who creates
interdisciplinary performances inspired, for
example, by the likes of Donna Haraway,
Manuel DeLanda and the notion of ecological
mysticism, virtual and physical assemblages
of abstract forms, technological artifacts
and inorganic textures, creating immersive
audiovisual sound performances that capture
the audience and truly make an impact.
Over 70 acts including bands, DJs, solo
performers and multimedia shows filled the
various stages, rooms and spaces of this issue
of INTONAL; Some are established artists in
their fields – like Grouper or DJ Bone, and
others are emerging talent, like Kinshasa
based Fulu Miziki or Manchester’s Space
Afrika.
The program also introduced several world
premieres commissioned by the festival, in
many cases by artists working with Intonal
residencies, like Hiro Kone and Vincent Bahar,
among others.
One of the must-sees of the festival is the
newly formed band GORDAN, whose three
piece is formed by Serbian singer Svetlana
Spajic, Andi Stecher and Guido Möbius.
Svetlana’s conjuring voice tones and dramatic
recitations combined with chanting and stage
presence are a display of her experience as an
internationally recognized artist, but Andi’s
expressive drumming and Guido’s electronic
sound juxtapositions make of each song a
unique experience worth enjoying fully.
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A definite highlight was the
band Waq Waq Kingdom. It was
impossible not to join the crowd and
dance intensely to their colorful,
trippy performance and energetic
songs. Waq Waq Kingdom are a
Japanese tribal bass duo, consisting
of Kiki Hitomi and Shigeru Ishihara,
both originally from Japan, lived
in the U.K. for over a decade and
who are now based in Leipzig and
Berlin. “Glitchy Jungle” was done in
collaboration with VJ artist Kalma.

Mutant Radio is physically based in
Tbilisi, but also streams from other
parts of Georgia and internationally.
They feature DJs, live shows,
performances and interviews,
all with a focus on music and
connection. During the festival they
had a program live from Whose
Museum, which included a line-up
of excellent DJs and live streams.
Jenny Graff is part of the Red Door
family, a dear friend and eager
supporter of our projects, so it was
a delight to get to enjoy her latest
performance, created with a series of
porcelain speakers whose vibrations
resonated through the room.
A musician and sound researchier,
Jenny Graff activates peripheral
places and states through sound
composition, improvisation and
participatory works.
Jenny started her experiments
on speakers by creating a series
of them with copper, to expose
the closed system of interactions,
flows, transductions that take place
within a conventional speaker
object. “Later I incorporated
porcelain substrates, which is a
sort of contradiction, as porcelain’s
is rigidity does not give in to the
push and pull of electro-magnetic
forces. As a result, movement of
the copper itself was given a voice.
The copper could sing, click, buzz,
flop, whip against the rigidity of
porcelain. For me, such an inquiry
is ultimately about how we relate
with nature and how much we are
willing to live in collaboration with
our environments”
Although the wonderful acts were
many, some that definitely made an
impression were Elena Colombi, Big
Brave, Holy Tongue, Space Afrika
(definitely) and Ninasupsa.
Last but not least, DJ Jana Rush,
who wrapped up the Saturday’s
performance list with soothing bass
sounds,, hypnotic melodies and
poetic tracks that brought back
evocative images from their native
Chicago and other big cities, the
reflection, the melancholy, the need
to fall into the rabbit hole once
again.
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ART FEATURE
Cristina Arancibia Brecht, AKA Niktalope is
a visual Artist from Santiago de Chile.
She studied design at the University of
Chile and finished her studies of fine arts
at ARCIS University.
She has participated in several
international solo and group exhibitions
since 2002.
Her work takes drawing as the foundation,
from there she creates animations,
sculptures, paintings and collages.
Independently, She edits the Niktalope
fanzine and was part of Kraneo ediciones
from 2005 to 2015.
She works on the making of puppets and
various sculptures of recycled materias
whit her son, of which one exhibition has
been made in the past.
in 2015 she created and designed the
puppets and stage for the “Fantasma
Cosquillosa” play written by Alejandro
Jodorowsky.
In 2017 she had her first international solo
show in Barcelona, Spain.
In 2018 she published her first tales book,
Luces Negras.
Now based in Brooklyn, New York, she
continues to grow as an artist, as well
as to co-create along with her husband
the Creative studio Fantasmal, where
they design and perform artistic plays
ranging from puppetry, theater, music and
audiovisual experiences.
Learn more at:
Niktalope.com
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The Red Door
Network:
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Red Door Magazine is a quarterly
Arts & Culture publication meant
to document the work of creators
everywhere, as well as facilitate new
conversations on important matters
for our communities in a local and
international way, through the linking of
themes, collaborations, interviews and
hybrid events that can expand the reach
of independent voices and remarkable
projects. Red Door counts with the help
of correspondents in Australia, Mexico,
the US and Denmark.
Red Door also counts with:
-A podcast called the Red
Transmissions, where creatives,
activists and cultural organizers share
their process, projects and initiatives.
-A Poetic Phonotheque, which
serves as an online collection of poetry
in many languages in the voice of its
authors, created to break the barriers
of distance and facilitate free access to
poetry in households around the world.
-An independent print project called
Red Press, which focuses on the
publication of poetry (and illustration) in
translation. Bilingual books, handmade,
limited edition books.
-A new Nordic network of publishers,
translators and performers called Red
Thread, which aims to document
and promote multilingual literature and
performing arts.
-An online independent radio station
with a focus on literature, sound art,
community and performance called
Tremella Radio .EU
-The Red Door Gallery is located
in the cultural hub of Copenhagen
on Møllegade, Nørrebro, where talks,
workshops, exhibitions, performances
and other events are often on the
calendar, as well as limited edition
books and prints, original art,
miniature books and other art related
products, often with a focus on poetry.
See them also on the online shop:
www.reddoormagazine.
com/shop
THE PARTNERS:
Litteraturcentrum KVU:
Litteraturcentrum KVU is an international
literary initiative we often promote as
a league of publishers in Scandinavia.
Red Door is published through this
collaboration.
Kultivera operates international cultural
programs that are physical, social and
creative; that stimulates and inspires both
the artists and the local community. It is
the organization in charge of the Tranås
Fringe Festival and their curriculum of
activities can be seen on the issues of
the Red Door Magazine.
Write4Word: Is a West Wales community
organization with a focus on language
arts. Its director, Dominic Williams, is a
frequent correspondent of Red Door.
La Libélula Vaga: is a spanish literary
magazine published in Sweden
documenting the work of poets all
over the planet, as well as encouraging
translations, talks and other
collaborations.
Keith FM: is a Berlin-based community
radio. Red Transmissions Podcast airs
on the 1st Thursday of each month at
15, the 3rd Sunday of each month at 12,
and the last Thursday of each month at
3am (for the early birds or those in other
timezones).
Trafika Europe Research: seeks to help
renew the role of literature in nudging
along the European conversation
in culture, This is done through a
bookshop, a journal, and a radio, where
Red Transmissions Podcast is also on
rotation, as well as a selection of its poets
/ musicians.

This year, RED DOOR Magazine is turning 13
years old, and a celebration will take place in
the fall, along with the release of this limited
edition Lucky 13 t-shirt design to celebrate the
anniversary, which will only be made available
to Patreon supporters of Red Door.
Joining Patreon provides the support to
continue Red Door initiatives, such as the
podcast, which has already celebrated over 70
interviews, or the phonotheque, which counts
with the voices of over 400 poets around the
world... all of this, including the digital version
of the magazine, are free to ensure access to
information wherever you are in the planet.
However, these projects are indeed time
consuming and not free, especially since it is
necessary to pay to remove the ads so that you
are not distracted and can have a fully immersive
artistic experience when enjoying this
magazine and the RED DOOR website. There’s
costs for hosting and printing and domains
and publishing... and for now, ONE certain
way to show your support directly: PATREON.
WIth a membership starting at 3 EU a month,
yo too can ensure these projects keep existing.
What’s more, now Patreon allows for one
yearly payment, if you’re not into monthly fees.
Join today and receive your collectible shirt.
www.patreon.com/madamneverstop
Eternal gratitude to the current patrons of
this magazine: Michael F. Goldman, Valeria
Schapira, Andreas Frostholm, Valentina
Upegui, Juan Pablo Salas, Ulla Hansen, Tamar
Tkabladze, Sergio Guzman, Jaider Torres,
Mikkel Vinther, Malene Boech Thorborg,
Melissa Albers, Melanie Perry, Juana M.
Ramos, Dominique Storm, Devin Fairchild,
David Miller, Crox Pow, Doktor Hansen, Aleisa
Ribalta Guzman, Alan Pallais and you, who are
reading this.
Love and poetry always,
Madam Neverstop
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RED DOOR MAGAZINE
THE TAKEOVER ISSUE
SPRING 2022
WWW.REDDOORMAGAZINE.COM
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