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Best of Doom Metal, Skullcrusher Dresden 2019

10 Nov

Ein Abend mit vier der angesagtesten Bands, die derzeit das Genre bespielen (und fast eine Samhain Celebration Teil IV).

Vorab, als gebürtige Dresdnerin, die die meiste Zeit ihres Leben hier verbracht hat, aber oft ausgeschwärmt ist, um all die tollen Bands da draußen mal live zu erleben, waren diese Heimkehr und das Line-up an diesem Abend ein echtes Highlight. Was die Veranstaltung für mich noch besonderer machte, war die Tatsache, mit WERIAN zum ersten Mal eine Band fotografieren zu können, die gleichzeitig auch meine Illustrationen auf der Bühne als Stage Art verwendet. Zudem muss ich für den Skullcrusher eine Lanze brechen: es wurde vorab bestens über die Veranstaltung und den Ablauf informiert, und es gab an der Abendkasse tatsächlich noch Karten. So kamen zwei gute Freunde auch noch problemlos rein. Und zu guter letzt konnte ich, im letzten Jahr auf der Samhain Celebration in Gotha geknüpfte, Freundschaften aufwärmen. Der Skullcrusher fuhr zwar kein derartiges künstlerisches Begleitprogramm auf (diesbezüglich sind ein Event, wie das in Gotha oder die Veranstaltungen der “Funkenflug Society” in Österreich, wohl tatsächlich unvergleichlich). Dafür lag der Fokus ganz und gar auf den Bands. Und die lieferten.

Werian 20:30 – 21:10 Uhr
Dekadent 21:30 – 22:20 Uhr
Dècembre Noir 22:40 – 23:40 Uhr
The Ruins Of Beverast 00:00 – 01:00 Uhr

WERIAN

Pünktlich und puristisch ging es los. In blaues und rotes Licht getaucht, präsentierten WERIAN, mit dem hypnotischen “March through Ruins” und dem treibenden “Blade of Heresy”, zwei Songs von ihrem aktuellen Album “Animist”, sowie das eingängige “Acid Rain” vom Vorgängeralbum “Lunar Cult Society” (beide erschienen bei Eisenwald). Den Doom Metal Fan wird es nicht wundern, denn bei WERIAN füllen drei Songs tatsächlich fast eine ganze Stunde. Über den Auftritt bin ich etwas im Zwiespalt. WERIAN sind verdammt gute Musiker und liefern fantastische und originelle Studioalben ab, wie auch in diversen Reviews der Fachpresse nachzulesen ist. Aber, sie spielen nur selten live. Nun kamen noch (o-Ton De Tonator) Krankheit und ausgefallene Proben hinzu. Mir wäre das aber alles gar nicht weiter aufgefallen, wenn nicht ein erwartungsvoller Fan meinen positiven Eindruck gedämpft hätte. Denn, mit Ausnahme einiger Passagen, haben mich WERIAN trotzdem mitgenommen, in ihre düstere Klangwelt aus Schamanismus und rhythmischer Geisterbeschwörung. Auch meiner Begleitung gefielen die Klänge und ein mehr als zur Hälfte gefüllter Saal schien das ähnlich zu sehen.

Letztlich war ich froh, WERIAN überhaupt wieder live zu sehen. Möge diese einzigartige Kombination aus schwarzer Kunst und harter Musik noch eine Weile fortbestehen. Zu ergründen gäbe es sicher noch einiges, sowohl hinsichtlich der bandeigenen Thematik als auch musikalisch.

DEKADENT

Mit einem Querschnitt durch DEKADENTs “The Nemean Ordeal”, “Veritas” sowie die Compilation “DEKADA – A Manifest Of Liberty” geht es weiter. Für mich ist dies eine Erstbegegung und ich bin positiv überrascht. Mit einer ambitionierten Mischung aus Heavy, Melodic, Black, Death und Avantgarde suchen sich DEKADENT aus allem ein bisschen vom Besten heraus. Solche Experimente können schnell schief gehen (zu melodisch, zu vertrackt oder in der Endkonsequenz zu belanglos), aber hier gefällt mir die live dargebotene Mischung durchaus. Es gibt es in jedem Song mitreißende Passagen. So gelingt es DEKADENT, eine kühle und doch lichte Atmosphäre zu erschaffen, welche z.B. Bilder eines nebeligen, langsam von Lichtstrahlen erhellten, post-apokalyptischen Morgens erweckt. Themen wie Tod und der (gesellschaftliche) Verfall werden, in den zusätzlich mit surrealen und prophetischen Visionen gespickten Songs, immer wieder aufgegriffen. Insgesamt ein solider Auftritt, jedoch fehlte mir im Großen und Ganzen noch irgendwie das i-Tüpfelchen.

Zeit für eine Pause an der frischen Novemberluft. Um und vor der Treppe zum Club tummeln sich inzwischen um die 200 Leute und genießen mit Bier und/oder einem Fischbrötchen vom Imbisstand draußen, die Zeit bis zum nächsten Act. Hier treffe ich auch die zwei sympathischen Besucher aus dem Erzgebirge wieder, die ich bei der letzten Samhain Celebration kennenlernen durfte. O-Ton Sören: “Wiebke, dass du noch mal einen solchen Bierbauch bekommen würdest!” Mit meinem SHAARIMOTH Longsleeve versuche ich eben jenes Bäuchlein warm zu halten, fühle mich allerdings ein bisschen underdressed, zwischen den ganzen mit Patches und Pins geschmückten Lederjacken und Kutten. Meine Ledri ist leider in Düsseldorf geblieben. An der Bar sorge ich zudem für Enttäuschung, als ich nur ein weiteres Wasser bestelle. Ich verweise auf meinen “Bierbauch” und tue so als wäre es Klarer, was wiederum für Heiterkeit sorgt. An dieser Stelle seien die extrem sozialen Getränkepreise des Skullcrushers lobend hervorgehoben! Es fehlt einem hier an nischt und gemütlisch isses och… aber zurück zur Musik.

DECEMBRE NOIR

Düster, schleppend und mit tiefen Growls präsentieren die fünf Mitglieder von DECEMBRE NOIR eine deftige aber auch eingängige Kombination aus Death und Doom Metal. Die Setlist entnehmt ihr bitte den Fotos. Als ich diese nun noch einmal durchhöre, stelle ich fest, dass zu den meisten live gespielten Titeln auch professionelle Musik-Videos existieren, die ich ästhetisch durchaus ansprechend aber thematisch als etwas klischeehaft empfinde. Live dargeboten, machen die Songs dagegen durchaus Druck. Der Saal ist inzwischen auch bis in die hinteren Reihen gefüllt und in den vorderen wird von “In This Greenhouse Of Loneliness And Clouds” bis “Barricades” mitgebangt. Ein insgesamt kompakter und souveräner Auftritt, an dem es wenig zu kritteln gibt. Allein, dass mich DEKADENT dann doch einen Hauch mehr fasziniert haben.

Inzwischen ist noch ein weiterer guter Freund zu mir gestoßen, sowie DeTonator von WERIAN und alsbald dreht sich das Thema nur noch um bereits vorhandene Kinderchen, sowie jene, die da noch kommen mögen. Selbst drinnen, an der Bar, spricht Mann nebenan von seinem “Kleinen”… Hatte ich anfangs noch Bedenken, dass dieser Abend doch ein bisschen zu ruppig, zu verraucht oder einfach zu sehr Metal für eine werdende Mama werden könnte, waren spätestens jetzt alle Zweifel beseitigt. Und weiter geht es, mit der musikalischen Früherziehung und dem definitiven Höhepunkt des Abends…

THE RUINS OF BEVERAST

Die Qualität einer Musik definiert sich nicht unbedingt über komplexe Arrangements oder die Anzahl der Petals der die Saiten bedienenden Musiker und Vokalisten. Manchmal tragen solche technischen Aspekte aber gewaltig dazu bei, wie z.B. bei THE RUINS OF BEVERAST. Nun ging ich in vielerlei Hinsicht unbedarft an diesen Auftritt heran. Weder war ich ausgemachter Fan der THE RUINS vorausgegangenen NAGELFAR, noch kann ich das Van Records Rooster rauf und runter zitieren. Aber, dank der Zusammenarbeit mit WERIAN, war es mir vergönnt, nun auch einmal vom musikalischen Ambrosia der RUINS kosten zu dürfen. (Sorry MOSAIC, der Pun kam mir gerade so ein.)

Genug des Vorgeplänkels. Es geht los. Ich muss mich ein wenig unhöflich vorzwängen, um eine halbwegs gute Position zum Fotografieren einnehmen zu können. Denn der Saal ist nun randvoll gefüllt (wenn auch nicht erdrückend) und vorn bin ich nicht die einzige mit der Absicht ein paar nette Konzertfotos zu machen. Ich versuche aber, mich zu bremsen. Blitzlicht ist eh tabu. Und es wird auch bei den RUINS genebelt was die Maschine hergibt. Ob der fortgeschrittenen Stunde ist meine Konzentrationsfähigkeit auch nicht mehr die beste. Also lasse ich mich jetzt auch einfach mal treiben…

Einige Passagen erinnern mich irgendwie an alte SAMAEL und andere morbide Engel (vermutlich bei “Kain’s Countenance Fell”), oder auch an die epischen Kompositionen PRIMORDIALS in ihren besten Zeiten. Desweiteren greifen THE RUINS das schamanische Thema wieder auf, mit welchem WERIAN den Abend eingeleitet haben. So schließt sich der Kreis an diesem Abend. THE RUINS erschaffen eine mehrere Ebenen umspannende Klanggestalt, die unglaublich finster, kalt und doch warm zugleich erscheint. Und zwar live wie auf Platte. Umso erstaunlicher, dass all dies aus der Feder eines einzelnen stammt und live von Session-Musikern dargeboten wird.

Ich möchte mich an dieser Stelle mit zu vielen Umschreibungen zurückhalten. Es ist mir nun aber verständlich, warum ein Teil des Publikums tatsächlich nur wegen des Headliners gekommen ist. Die hohen Erwartungen dürften erfüllt worden sein. Ich musste leider einen Titel vor Schluss los; neugierig wäre ich im Nachhinein allerdings, wie sie das schräge Cover von PINK FLOYD’s “Set the Controls for the Heart of the Sun” live umsetzen würden… 😉

Hier noch die vom Skullcrusher freundlicherweise weitergeleitete Setlist mit Links zum Anspielen:

Samhain, Halloween, Day of the Dead

1 Nov

“End of Summer”

Samhain means “end of summer”. The Gaelic festival marked the end of the harvest season and the beginning of winter. Today it is celebrated on the night between October 31st – November 1st. It is also associated with St. Martin’s day, November 11th. Some also connect it with the midpoint between the autumn equinox and the winter solstice (or the nearest full moon), when the ecliptic longitude of the Sun reaches 225 degrees.

Samain is also the name of the Celtic god of death, who from this point on ruled over the land, while the goddess of vegetation was forced to decent into darkness until the coming spring. Her parting is accompanied by the honk of the geese leaving for the South. Any herb harvested after this point would be considered harmful, save for the grey mugwort. During Samhain the doors to the spirit-/ underworld opened, and the spirits that would enter, were not always friendly. In some tales, spirits of darkness and chaos (such as the Irish Fomorians and the Crom Cruach) would be given human sacrifices.

Rural people’s survival depended on the harvest. The fear of loosing the harvest, fierce autumn storms, the long nights etc. was real. It was essential to secure the harvest and protect the home, barn and family. It was custom to cleanse and protect the home by burning herbs. Processions and rituals were performed to ward off revenants – or Wiedergänger – the returning spirits of the restless dead.

From the need to protect oneself may also have sprung the latter-day custom of placing candles in hollowed out objects. Turnips or pumpkins were turned into grimacing lanterns. Similar to the scarecrow, the lantern was to ward off ‘evil’ and at the same time its flame lit up the night. This “light in the dark” is embodied by amber, a shiny yellow  fossilized tree resin. Amber is called Bernstein in German, from Low German börnen, meaning “to burn”. The Greeks knew it as ḗlektron, from ēléktōr, meaning “shining sun”.

Samhain also marks the time when deciduous trees have shed most of their leaves. The leaves fall to the ground, decay and nurture the cycle of life. Burning their wood keeps men warm, their bark heals. Evergreen conifers deliver in addition aromatic resins with cleansing and healing properties.

“Day of the Dead”

The pagan festivities surrounding Samhain have been substituted by Christian feast days throughout a large part of the Western world. Folkloric customs continue to merge with modern consumerism. From the pagan Samhain to the Christian All Saints day, the modern world celebrates “Halloween” with plastic skulls, led pumpkins and dressing up as corpses. Everyone can be a zombie for one day or night. Halloween gives a good example for cultural appropriation gone wild. It is part of human nature, both to adopt other traditions as well as to defend one’s own culture and rituals.

One tradition that has been sinking into Western culture and heavily influences our aesthetics, is the Mexican Dia de los Muertos. As the festival in Mexico becomes bigger and is celebrated in impressive ways every year, so grows the fascination with it outside of Mexico, similar to how the cult of Santissima Muerte is growing in numbers both in and outside Mexico. The worship of death and the dead is prospering and it is nothing extraordinary.

All over the world people venerate their ancestors and saints, with altars at home, at their graves or in temples or chapels dedicated to them. Often there are special festivals dedicated to the veneration of the dead. In some countries these celebrations fall in the months of July and August, such as the Japanese Obon or the Argentinian feast for San la Muerte. In other countries they center around the days and nights spanning from All Hallow’s Eve (October 31st) to All Saints (November 1st) and All Souls Day (November 2nd).

In Germany it is custom to visit and adorn the graves of family members on the Totensonntag (the “Sunday of the Dead”). It falls on the last Sunday before the first Advent (usually at end of November) and, though of Protestant origin, is a protected holiday in all of Germany. The day is meant to be spent in silence and it is forbidden to dance or play loud music in public.

In Mexico the celebration starts on All Hallow’s Eve, when children make altars for the angelitos (the souls of dead children). November 1st is referred to as Día de los Inocentes (“Day of the Innocents”) or Día de los Angelitos (“Day of the Little Angels”), which is when the souls of dead children are honored. On November 2nd, the actual Dia de los Muertos, the graves of dead family members are visited. The graves are adorned with cempasuchil flowers, the flowers of the dead. Between the orange sea of flowers, candles are lit and Muertos (the bread of the dead) and sugar skulls are placed as offerings, along with favorite food, beverages, photos etc. The dead are greeted and welcomed back to the world of the living for one day and night. Dancing and intoxication are welcome and encouraged.

Finally within some antinomian and Gnostic traditions Lucifer or the “Bringer of Light” is worshiped and called upon during this night, e.g. by using the formula:

Lucifer, Ouyar, Chameron, Aliseon, Mandousin, Premy, Oriet, Naydrus, Esmony, Eparinesont, Estiot, Dumosson, Danochar, Casmiel, Hayras, Fabelleronthu, Sodirno, Peatham, come, Lucifer. Amen.

Pillars Perichoresis

19 Feb

Pillars Perichoresis, Anathema Publishing

Several of my artworks and one essay are featured in the now sold-out “Pillars – Perichoresis” anthology by Anathema Publishing, 2016. The book is a compilation of the first three “Pillars” journals and contains additional material that was not part of previous releases. I have contributed to all three journals and look forward to continue working with Anathema Publishing in the future.

Fingers

5 Apr

I woke up many times last night. The documentary I had watched about the Panama papers, followed me into sleep and seemed to occupy my mind for no good reason, other than that I felt betrayed and somehow sharing into the fears and worries of those people that risk their life and well-being for exposing the truth. So my sleep was already restless and my emotional state was not, what one would consider “sunny”. I got some rest after all, but the dream that woke me up again, was one of the strangest things I’ve ever experienced… I say experienced, because in dream it’s always real.

I am inside a foreign room. Beside me on the table, is standing one of those plastic bowls, inside of which I usually gather my herb harvest. I am holding a pair of scissors and one by one, I am chopping off fingers from a hand, and placing them inside the bowl. It occurs to be the most natural thing to do. The hand, it turns out, is my own. I have grown it, similar to how the comic character Deadpool is able to regenerate hands and other body parts. So, I am standing there, chopping off fingers from my own, self-grown hands, of which there are about half a dozen, and collecting the fingers inside the bowl. When I am out of hands, I continue cutting the fingers of my left hand – the one that’s still attached to my arm and body! I sense no pain, as I cut through the knuckle joints and observe myself doing this with a scientific sort of fascination. The fingers don’t bleed as I cut through them. Instead there is immediately skin overgrowing the cut off part. I wonder if or when the fingers will grow back on my hand. When I realize that this may take some time or not happen at all, I stop and begin to worry. What have I done? I look at my hand: of the index and ring finger are only stumps left. In this moment my mother enters the room. Ashamed I hide my hand from her. But at the table is still standing the bowl full of fingers. Some of them are dirty, as if they had just been digging in soil. Worried, that she may see the bowl any second, I wake up.

The first thing I do, is check my hands and fingers upon waking. They are still there. Then I remember, how I had been chopping off and through the hollow stalks of fennel plants, left from last year. I had been cutting them right at the joint, where once the leaves and sheath grew out of the stem. It was already getting dark and with the sun gone, the temperatures went down as well. But I was standing beside the compost, hypnotized, cutting one fennel stalk after another, until I was done with all. I placed the stem segments inside plastic bowls, just like the one in my dream, and then put them up for drying beside my bed. My plan is to fill the hollow stems with a special incense blend for inducing vision and second sight. Well, it looks like I just have been given but a taste of their potency.

Full Moon in Leo

24 Jan

Tonight I had a strange dream:

I found myself inside of an apartment, unknown to me, standing in the kitchen. The door towards the corridor was open, and at the other end I could see a room, which contained a large cage. Inside there was, for all I knew, a lion, and it was feeding time. Suddenly I thought that it was my job to feed it. But I did not find any provision for doing so and I began to worry that I needed to go inside… Then arose the next problem, because there was no food around. Simultaneously the lion was getting nervous inside and soon began manipulating the lock of the cage. Upon closer inspection the lock was just a simple bolt, which could easily be loosened, by shaking and hitting against the door and cage walls. Which was precisely what the lion was doing. I was certain, it was merely a matter of seconds until the door would break open and for the lion to jump out, hungry and angry, me being the first thing he’d see. Supper was ready and it was me… Suddenly I found myself outside, trying to explain the dangerous situation to my mom, who was however distracted and not listening. I began imagining the consequences if the lion escaped… and, for some reason, I was convinced the beast was extremely aggressive and bloodthirsty… I woke up before I could find out. The first thought upon awaking, I remembered it twas the full moon entering Leo…

*

Comment: It’s not the first time I dream of lions or big cats, and there is always a sensation of danger or fear involved, however, usually the fearful aspects dissolves throughout the dream, as I usually make friends with the creatures. This time I awoke,  before I could do so. Therefore I could get a glimpse of the potential and power that comes with this placement of the full moon in the fiery star sign of Leo. The quintessence of it being perhaps, to 1. best let the beast loose and roam freely, since it’s going to clear the way for itself anyhow, and 2. to get out of the way, and to do so sooner than later!

Winter Walk: Sacred Thorn Grove, January’s Mysteries and the Bloody Tears of the Cherry Tree Sisters

14 Jan

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Steady-paced I walk up the hill. The air is pleasantly cold. It clears the mind and disperses my headache. I am not freezing. The road I’m walking up is called Am Kirschberg, literally meaning “by the cherry mountain”. The field to the left is covered with a thin layer of snow. The dark frozen soil is sticking out of the white. Ploughing traces create zen like, eye-dazzling patterns. At the end of the long stretched field the view is clearing up towards town. Over the horizon line a narrow golden band illuminates the sky. Above me are grey clouds. I am planning on a short walk, but my legs carry me in a different direction…

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Atop a stone wall by the castle, I find the wormwood has not entirely fallen victim to the frost. Next to fading foliage, fresh silvery green leaves are sprouting forth. I gather a few of them, enough for a small winter herb bundle to hang up at home. When dried, it will empower necromantic incense blends. Looking across the river valley, remnants of snow are showing between leafless trees and dark rocks. The sky is an eyeful and I would enjoy the silence, if it wasn’t for cars flashing past on a mint-green autobahn bridge.

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The Thorn Grove in Winter

The way down is frozen over and I hold onto the rusty handrail in order to not slip and fall. People coming my way do not greet me and I do not greet them either. Halfway down the hill, I arrive at the thorn grove. The path up there leads through leafless hawthorn trees growing in all directions. A jay sitting in the branches looks at me but does not fly off. Cautiously I venture on. The ground is muddy and slippery. Most of the snow at this side of the hill has melted. By the rocks I find another wormwood plant and spot a bird’s nest near where the jay had been. I am looking around, breathing the fresh winter air, trying to focus my myopic eyes on the distance. I think of none. It is a good place for the soul.

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Above, the hawthorn thicket is overgrown by raspberry and wild rose. To the right there are young blackthorn shrubs. Their thorns are long and sharp. The young twigs are flexible and make the best thorn-crowns. Further uphill, there is another areal of high-grown hawthorn trees, partly covered in ivy. It’s bordering at a property and the allotment gardens are close. One is likely to meet passersby here. But a magician knows to use the gaps and at night the place is dead silent. Today, however, I am only a passerby myself.

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A Thin White Veil upon the Field

I’m on my way home, stopping now and then, intrigued by the formations of clouds and the golden light of the sun further afar. A skein of geese is on its way southwards. Passing by wild cherry trees lining the field, I search their stems for resin and at last find a group of three tall and slender trees, the base dripping with soft, blood-red gum. I memorize the spot and proceed, faster now. I have to watch my steps. The trail is akin to an ice rink.

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At the birch tree, I stop once more. From here the field looks softer…

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The birch is a pioneer, a tree of new beginnings and the first to come back after complete devastation. The birch profits from death and desolation, but it also paves the way for others to follow and thrive. Beith is for birch, the tree of January, the door opener.

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Remnants of snow on the barren field, remind of the birch’s torn bark. It starts raining and continues to do so. The next day the snow will be gone.

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The Blood-Red Resin Tears of the Cherry Tree Sisters

Returning to the cherry trees, the resin is moist from the rain water and easy to scrap off. I collect a jar full, which I later place on the heat. The resin dries and hardens quickly. In its soft state it is sticky and a yellow golden color. It smells remotely of ripe cherries and of caramel, when burnt. In German it is also known as Katzengold, literally “cat’s gold”, and used for sweetening cough tea. In my worship, I employ the dark red resin tears for Naamah and other female entities. In their harvest, take care to not take everything and leave some behind for the spirits, along with offerings for the guardians of the trees. Physical gifts are symbolical and in order, but they count none without respect and patience. The latter are the true sacrifice. The trees will remember your signature and recognize you next time you approach them.

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I am thankful. The thought had crossed my mind to scar the trees in order to gather their resin. But I have not done so. Therefor I am blessed.

Concerning the Wood Wide Webhttp://www.bbc.com/earth/story/20141111-plants-have-a-hidden-internet

Forward Look 2016: Changes, Ideas, New Projects

31 Dec

Keywords: road maps, systematic approaches, reduction, advancement

Looking back at 2015, an important step was the birth of Planta Magica/ Pflanzenkunst. This project shall receive more attention in 2016. As I continue updating and publishing articles about plants at the new site, I may also start offering downloadable e-books and printed booklets. This can happen in the form of a journal series, discussing in depth certain plants under different aspects. The texts would be accompanied by my photography and plant inspired art. As an example can serve my article about the Mandrake, which was published in Anathema’s Pillars Journal.

Teufelskunst - Pflanzenkunst copy

Pertaining to Teufelskunst, which is now heading into its 5th year since the site went online, there shall also occur some changes. As the work with the green is now receiving space within a new frame, Teufelskunst will focus more on products and creations tied to certain esoteric lines of practice, these being foremost the qliphoth. On top of my list for 2016 are two spiritual maps to be offered as prints, as well as the continuation of my qliphothic incense line. Expect incense for Adramelech/Sammael very soon.

Along with this the Teufelskunst website shall undergo a trimming and the Garden will move here. I will cut it down to three site sections: the first is to give an overview of available products and tools. A second site section, the Devil’s Trumpet, is dedicated to interviews with other artists and the exploration of different esoteric concepts. Secondhand Literature, the third site section, will continue, despite animosity from different directions. I feel it is now more important than ever to appreciate but also to grow a critical view at the esoteric book genre and recent book releases. Besides, lets face it: some want to part with their esoteric library, others want to get their hands on sold out titles. Herein lies potential for magical experience to be passed on along with the books and, being handed on, their prestige grows as well.

What more? At the end of 2015 I found myself in a loop of crafting and delivering. This wasn’t necessarily a bad thing. However, I did not find any time at all to work on drawings or possible collaborations, as my mail-order kept me busy 24/7. I also did not find time to work on larger commissions, such as statues. The road to take in 2016 will be to focus on fewer products, higher quality and commissions that challenge me on an artistic level. In 2015 part of my life time got sucked up in bureaucracy, e.g. pertaining to customs and import regulations. I learned some new lessons there, however I doubt whether these were conducive experiences. Some things I wouldn’t do a second time.

In 2016 I hence hope to get to projects talked about in 2015. One would include doing artwork for a band. The other is a photography collaboration with Mr. James Patrick of Death Sex Electronics.

But before all of this enrolls, I look forward to spending New Year’s in a small circle of friends, then a relaxed and creative first week of January, where I see myself preparing a new print edition.

Stay tuned for more and thanks for the great feedback on my work.

Lets rock 2016

Wiebke