Bitchy HP Lovecraft, Surrealist Comic Strip, an Exploding Casino and METAL


HP Lovecraft’s reputation as an avid correspondent with fellow weird fiction writers is quite charming, but I find his fits of bitchiness quite captivating as well. Male bitchiness in general is a riot, if only because it tends to be categorized as “critique,” but WE know the truth of the matter, don’t we? (This doesn’t have to be a Royal We situation–someone out there is nodding). The thing Lovecraft’s emotional composition is that one always knows where one stands in his esteem, and if you happen to be TS Eliot, you measure up very poorly indeed. It turns out that Lovecraft got in quite a snit over the publication of The Waste Land and wrote his own response, titled “The Waste Paper.” It’s pretty funny, to be honest, and now you can read it along with its history at Dangerous Minds. Plus an appearance by the wonderful Alan Moore! (It deserves to be said that boiling down the work of Lovecraft and Eliot to “two racist reactionaries” feels rather… Of The Current Awful Cultural Moment to this reader, but full credit for unearthing a lovely one-sided literary slapfight).

Mark Trail – The Comics Curmudgeon

I know this is bananas, but classic comic strips still exist, and by golly they might be better than ever. Thanks to the tireless work of The Comics Curmudgeon (a daily source of joy I cannot recommend enough), I now know that the current Mark Trail storyline involves a horrible circus train crash that has left the animals and clowns wandering the countryside, terrifying children. This riveting tale has involved a monkey riding an ostrich, a clown known for his “loud screaming,” and now THE ABOVE STRIP. *chef kiss*

A Thousand Pounds of Dynamite – The Atavist

True crime is sizzlehot right now, but I’m just exhausted beyond belief by bad reportage, reductive TAKES, and all those dead people (bummer, right?). Well, this article from Adam Higginbotham on The Atavist is a terrific antidote to all that nonsense: a wild tale of excessive spending, scheming, masterful bomb-making, dumb chance, and egos gone wild that resulted in a giant explosion in a casino with no casualties. It’s like we all win! This is a great American story and I can’t stop thinking about it.

A Brief History of Metal Umlauts – Kerrang!

The German pronunciation mark pops up all over the dang place in metal, but why? Well, intrepid reporter Mike Rampton is on the case in this run-down of some of the umlaut’s most notable metallic appearances. This anecdote from Vince Neil particularly thrilled me: “When we finally went to Germany, the crowds were chanting, ‘Mutley Cruh! Mutley Cruh!’ We couldn’t figure out why the fuck they were doing that.”

Heavy Trip -Trailer (official) from Making Movies Oy on Vimeo.

Parodying heavy metal is a dicey proposition for any number of reasons, chief of which is the fact that the genre is de facto incredibly over-the-top. The comedy has to come from an insider’s understanding of the aesthetic, and most folks who sip from the metal comedy stream seem to stop well short of that and satisfy themselves with dumb stoner humor (disclaimer: dumb stoner humor can be fun, but it’s not of itself enough).  Heavy Trip looks like a pretty good-natured bit of fun. Catch it in the US at SXSW on March 10th (or avoid that pit of horrible marketing scummery and catch it on VOD at some point like a sensible person).

Fans of pipe organs and loud screaming rejoice, for there is a new Lychgate album coming out at the end of the month! Pre-order your copy on Season of Mist.

Around the Web: Roadburn, Black Metal Design Sorcery, and Tackling Extremism

I went to the Roadburn music festival in the Netherlands for the first time this April, and it was an absolutely stunning experience. Degtyarov wrote about his experiences at Black Ivory Tower, and I provided color commentary as well as some sketches. As someone who’s found music festivals to be a mixed bag in the past, I’m a convert to the Roadburn experience and will be making a return trip at some point in the future.

I’ve been a fan of extreme music aesthetic powerhouse Valnoir of the design studio Metastazis for some time now. I spoke to Valnoir for Heathen Harvest about his artistic inspirations, the use of unusual materials in art, and his time in North Korea with Laibach:

The artist edition of the book is limited to fifty copies and they are all signed with the palm of my whole hand. For this, you need more than a few drops of blood, so I went to see a nurse. She took a pint of my blood at her place. The device she was using was not set correctly and at one point it just blew up. The syringe popped out because she was forcing it too much and the blood started going all over the place. Her dog was there and it started jumping around and licking up the blood. She started pushing the dog away and at this point I almost fainted because it was too much information. So now I have this pint of blood and I didn’t use all of it, so I put it in the freezer just in case it can be useful.

Feral House specializes in publishing works by writers with brash voices who express big ideas. Howard Bloom is no exception to this rule, and his profoundly disturbing book During a stroll around Brooklyn’s Park Slope neighborhood, I spoke to BloomThe Muhammad Code takes an apocalyptic view of the impact of Islamic extremism. about the development of his philosophy and how it explains the violent potential of mass human behavior.

When I was twelve, I realized I was an atheist. I had a bar mitzvah coming up, and I knew that meant there were going to be presents, so to admit to myself I was an atheist at that time was very bad. I held out until I had finished with my thank you notes and then fully admitted I was an atheist. The High Holidays came around in September and when my parents dragged me to synagogue, I refused to go inside. There they were, trying to pull me by my ankles out of the car, and I had a realization. There were no gods up there and no gods down there, but where were the gods? They were right there in my parents who were busy pulling on my shoes and shredding my socks to get me into temple! I had read enough anthropology at that time to know this is true of people all over the world, that they have a link to the gods through the ancestors. I knew about science, too. Galileo’s trick was taking an existing piece of technology, the lens, and turning it in a new direction by looking up. Antonie van Leeuwenhoek turned that lens in an entirely different direction: down, to look at pond water and see the microorganisms living there. My job was to take the lens and turn it inwards to look at the gods inside of us.

Around the Web: Hanns Heinz Ewers and Neofolk Britney Spears

Steffan Eggeler – “Louis XV” from Hearts of Kings

I have nothing but good things to say about Ajna Bound, the esoteric publishing arm of media company Ajna Offensive. Issuing carefully selected titles in the realms of the occult, underground music, and alternative art, they create keepsake books that are like catnip to folks like me. Their recent publication of Hanns Heinz Ewers’ The Hearts of KingsI take a look at this new English translation over at Heathen Harvest, a short conte cruel by the German master of the weird, is another lovely addition to their catalog:

The work of German author Hanns Heinz Ewers depicts the grotesque, erotic, and philosophical in elegant language, often dosed with poisonous wit. Best known for his novel Alraune, the decadent and blackly humorous tale of an artificially birthed femme fatale, Ewers’s Romanticism would lead him to join the most deadly cult of German exceptionalism, the Nazi Party. This three-year-long affiliation would ultimately find the freethinking bisexual artist ousted from the group in 1934 with virtually all of his works banned, but this did not occur until after he had penned the propagandistic novel Riders in the German Night and had written a screenplay and biography of Nazi martyr Horst Wessel. As a result of these political beliefs, many scholars of the fantastique have been hesitant to champion Ewers’s horror writing. He is a complex figure; the same man who joined the Nazi Party also had a fascination with occult theory that led him to develop the concept of a “cultural nation” that transcended geographical boundaries by spiritually uniting creative thinkers. Recent years have seen a reassessment of Ewers’s writing in the English-speaking world. Through independent publishing services, translators have made the author’s short stories, novels, and essays available to adventurous readers. One of the most jewel-like of these new editions is Ajna Bound’s 2015 hardbound volume of Ewers’s 1922 short story The Hearts of Kings, published alongside the etchings by Stefan Eggeler that accompanied the text in its original printing.

Read the review.

A few months back, I reviewed Death in Rome’s Hitparade, a delightful collection of pop songs covered in neofolk style, for Black Ivory Tower. The mysterious gentlemen behind the band appreciated the article, and in an extraordinarily generous move, gave me the opportunity to select their next cover song. I chose “Toxic” by Britney Spears, imagining the potential for some sort of Baudelairian comment on excess, but Death in Rome went in a more nihilistic direction altogether. The resulting track is–dare I say it–a dark dancefloor banger. The YouTube video features my cover illustration of Britney serving champagne to nihilist philosopher Emil Cioran. Enjoy!

Around the Web: Mike Diana, French Pop, and Black Metal Podcasting


In 1994, artist Mike Diana was convicted of obscenity in Florida for his comics zine Boiled Angel. I remember following his story as a teenager and thinking how horrifying it was that someone could serve jail time for the so-called “crime” of making people uncomfortable with his art–art that was always intended for an underground audience. It was eye-opening to speak to Diana and to director Frank Henenlotter for Heathen Harvest about the upcoming documentary The Trial of Mike Diana that recounts the whole horrible story and tries to understand how something like this could happen. The Trial of Mike Diana is seeking funding via a Kickstarter Campaign that includes amazing incentives like original art, comics, and invitations special events. I’ll rarely use this word, but this is an important story that deserves to be told, so consider donating to this very worthy campaign.


At Black Ivory Tower, I wrote about the latest release from one of my favorite (and one of the sexiest) synthpop projects of all time, Dernière Volonté. Prie Pour Moi is a deliciously erotic collection of martial-tinged pop featuring traditional French rhythms and instrumentation. It’s truly something that should be experienced.


I was invited back on the Black Ivory Tower podcast to talk about music, upcoming festivals, and the perils of album art cliches. Did you know that there are over sixty examples of Caspar David Friedrich’s 1817 painting “Monastery Graveyard in the Snow” being used on metal album covers? Well, there are, so maybe reconsider using that one.

The Return of Black Ivory Tower


In February, I’d written about the unique and overwhelmingly (yet delightfully) esoteric black metal and folk zine Black Ivory Tower, which at that time had been shuttered. It pleases me to no end to let you all know that Black Ivory Tower is back in blog form with a brand-new podcast. I’ve joined the BIT team and will be writing about the music that moves me as well as various beautiful, old-fashioned things.

Transmissions from the Black Ivory Tower Episode 1: I join Degtyarov and we talk about controversial album art, the pain of visa issues for musicians, and 90s video games. Unlike my podcast, this show does not include a section where the co-host is tortured by reading a filthy section of a book aloud (sorry to disappoint you all).


Magic for the People: The Art of Ivan Bilibin: I’ve long admired the artwork of the sole Russian representative in the Golden Age of Illustration. In many ways, Bilibin opened a window for Western audiences to glimpse the folklore and aesthetics of his culture, so I took a moment to appreciate his contributions.


Strength Through Satire: The Neofolk Mischief of Death in Rome: The heart wants what it wants, and my heart desperately wants pop song covers in the style of Death in June, OK? There’s a lot more to the work of Death in Rome than just the initial chuckle at the concept, and I support this theory in the article above. Apparently I did a decent job, because the band offered me the opportunity to pick their next cover song on Twitter. I picked “Toxic” by Britney Spears and I cannot wait to hear this [thanks again to DiR for being so generous and lovely].

Around the Web: Historical Heroine, German Decadent Black Metal, and Unfortunate Bigfoot Comics

It’s been another eventful month in the Empire as I march towards the Fall season. I’m putting the finishing touches on a new, limited edition, handmade book to be released by my Heretical Sexts imprint titled Morbid Fantasies: A Reader’s Guide to the Gothic. Not only is it a great primer in the genre, but it also features beautiful illustrations by several incredible artists. I’m hoping to have that out in October so stay tuned for more info!

Cover art by Becky Munich
Cover art by Becky Munich

Speaking of artistic endeavors, I’ve got work in the upcoming Occult Activity Book Vol. 2, created by S. Elizabeth and Becky Munich. I was working with ideas of occult couples, so I have two coloring pages featuring esoteric love matches, plus a papercraft Gilles de Rais. Look for his partner Joan of Arc to be offered free on this blog once the book is released. The first edition sold out super-quickly, so don’t miss your opportunity to own volume two. Pre-order your copy here!


On Slutist, I did something a bit different in August and talked about Artemisia Gentileschi, the Baroque-era Italian painter who overcame personal trauma to become a respected artist in her own right. Read her story here.


Did you know that Rob Zombie co-wrote a Bigfoot comic that’s full of implied rape? I personally prefer ecologically conscious Bigfoot over weird rapist Bigfoot, but hey, to each their own. Read my thoughts on this crazy disaster-mess on Nine Circles.


Decadent German black metal band Imperium Dekadenz draws inspiration from Tinto Brass’ Caligula, among other sources. Their lush, melodramatic, melodic record is a shoo-in for my best of 2016 list. Read my thoughts on their latest, Dis Manibvs, on Nine Circles.


Another historically-grounded metal album that moved me recently was Wrekmeister Harmonies’ Light Falls. It’s an emotionally harrowing journey inspired by Primo Levi’s holocaust memoir If This Is A Man as well as by band-leader JR Robinson’s strained relationship with his son. Not an easy listen, but a deeply rewarding one. Read my thoughts here.

Around the Web: Chick Comics, American Mysticism, So Much Doom, and More

It’s been entirely too long since I updated here, but y’all will hopefully forgive me when you see everything I’m up to.


The big news (such as anything can be termed “big news” in my world of esoteric nonsense) is that I’m launching a podcast with my trusted Heretical Sexts lieutenant J. Guignol. It’s called Bad Books for Bad People, and it will feature the most outrageous, shocking, shamefully fun books that we’ve enjoyed. Expect a variety of titles from a variety of time periods. Our first book is BleakWarrior, and Jack describes it as “”if SoulCalibur were a porno directed by Jodorowsky.”

Elsewhere, I’ve done bunches of stuff…


I’m continuing my Great Moments in Historical Sluttery column with two amazing women:


Semiramis, the Assyrian empress who has alternately been known as a warrior heroine, a vengeful lover, and a mother goddess


Marchesa Luisa Casati, the celebrated Italian heiress who dedicated her life to her eccentricities, becoming a living work of art

Heathen Harvest

I reviewed Violence Girl, punk pioneer Alice Bag’s captivating and wonderfully honest memoir of her childhood and youth in L.A.’s burgeoning punk scene.

The reiussue of Master of Mysteries: New Revelations on the Life of Manly Palmer Hall is fantastic, as is the book’s author, Louis Sahagun.

Nine Circles

Album Review: Cardinals Folly – Holocaust of Ecstasy and Freedom (one for the trad doom crowd)

Black Church, a metal-inspired comic I’d talked about on here a while back. Still waiting on that volume two…!

My favorite albums from the first half of 2016 (it’s been a good year)


The dangers of rock music in Spellbound?, a Chick Publications comic informed by the work of the same dude who assisted with Dark Dungeons.

I got to chat with Anders Manga of Bloody Hammers, my former editor over at Occult Rock Magazine. The new Bloody Hammers is a delightful occult/doom/goth-flavored offering that should be listened to posthaste.

Weird fiction scholar S.T. Joshi reading Clark Ashton Smith on limited edition vinyl? Sure, I’ll take that.


I liked the Myrkur live album, Mausoleum, that just came out.

Around the Web: DIJ Fanfic, Boyd Rice Bio, Mae West, Celtic Frost Comics and More

Has it been almost two months since I posted an update? YIKES. Let me atone for that by letting you know everything I’ve been up to…


In what’s probably my greatest personal achievement to date, the Death In June/Boyd Rice fanfic authored by the mysterious J. Guignol and illustrated by me is being sold as officially endorsed DIJ merch at Soleilmoon. The beautiful hardbound copies got snapped up right quick, but softbound copies are still available. According to coverage on Dangerous Minds, it’s “frankly explicit” and I’ve also been told it’s “funny” and “surprisingly sad,” so go grab a copy and find out for yourself. Oh, and if you want me to do a fic about your band in erotic situations, please get in touch.


April’s Great Moment in Historical Sluttery is dedicated to Vali Myers, the 60s counterculture icon and artist who was so much more than a muse. Read about her here.


I enjoy puns, so for May I covered Mae West, who was one of the most excellent humans to walk the earth. The story about the trained parrots might be my favorite anecdote from this piece. Read about Mae West here.


Speaking of Slutist, I got a chance to chat with founder Kristen Korvette about the  second installment of the Legacy of the Witch Festival. She’s great, you’ll want to learn more about her in this interview for Heathen Harvest.


Mike Hunchback, man of indomitable charm & energy and co-editor of Pulp Macabre: the Art of Lee Brown Coye chatted with me about weird fiction, underground art, and the controversy surrounding H.P. Lovecraft. Read the article on Heathen Harvest.


I like Boyd Rice. I like Brian M. Clark’s biography of Boyd Rice, which I reviewed on Heathen Harvest.


I am already moooost of the way to liking anything with a title as clever as Entartete Kunts, a book on underground metal and punk art that I talked about for Heathen Harvest. That cover is really dope, isn’t it?


The Humans is a superb, over-the-top, psychedelic collision of great things featuring art by Tom Neely, one of my favorite comics artists working right now. The pitch is simple: Planet of the Apes meets vintage 70s biker film. I ranted quite a bit about how you need to read this comic over at Nine Circles.

Yes, you do want to know more about a comics tribute to Celtic Frost, because those are an insane series of words in combination with one another. Read my review of Morbid Tales! A Tribute to Celtic Frost on Nine Circles.

Esotericism and Metal in the Black Ivory Tower


I’m a voracious reader. In addition to the scores of blogs I follow in my personal and professional lives, I’m juggling four or five books at any given time. I’d estimate that over the course of a month, I read the writing of around a hundred authors. As a person who believes that language can be evocative as well as informative, I find myself sifting through articles, eager for an elegant turn of phrase or a taste of dry wit. There are go-to film writers who deliver confident, textured writing that entertains beyond the scope of its subject matter,* but I find myself looking for music writers with the same panache. The difficulty of writing about music is summed up in an old chestnut of dubious origin, but as I read more underground music criticism on a regular basis, I can’t help but pine for strong, personal voices. To my obsessive reader’s eye, a troubling majority of writers on the kinds of music I enjoy** (various forms of metal, neofolk, industrial, and so on) are concerned with the niceties of genre classification and the relative production values between records to the exclusion of honing their craft as authors. This kind of writing is undeniably helpful when it comes to making purchasing decisions, but it’s often a joyless thing to read–more on a par with Consumer Reports than anything one would pick up for pleasure. I believe that sophisticated language takes on additional importance when an author chooses to write about underground and extreme forms of music, since the reasonable assumption should be that the piece of writing in question will be most readers’ first exposure to the music being reviewed.

*If you don’t read House of Self-Indulgence (Yum-Yum), Mondo Heather (Heather Drain), and Acidemic (Erich Kuersten), you are missing out on truly unique perspectives from people who are masters of their craft.

**The #NotAllWriters rule applies, guys. I’m not being shady towards people I know.

One of the luxuries afforded to independent publishers who don’t make their livings from their writing is the fact that they can develop aggressively non-commercial voices and perspectives. I’m keenly aware that my blogging and zine pursuits don’t have to line up with popular opinions or trends, and it’s creatively freeing for me. I find myself struck with delight in those all too rare moments when I find a kindred spirit in some far-flung corner of the world, madly writing away about some arcane topic and feeding his or her soul in the process.


Through the vagaries of fate,*** I recently came across writing so absolutely unique within the metal world that I was fascinated at first read. Black Ivory Tower, published in blog and zine form, is dedicated to the most obscure forms of metal and underground music imaginable. To put this in perspective: perhaps the most well-known band reviewed in BIT is Peste Noire, the French “National Satanist Black Metal” outfit.**** One will not find a gentle guide through the wilderness of these recordings in BIT. Instead, the reader is overwhelmed by a wall of elaborately structured, deeply intellectual, and frequently caustic prose. This is writing that meets the arcane and aggressive music it discusses head-on, without apologies.

***OK, actually Twitter.

****Note to my regular readers: as an added encouragement to seek out Peste Noire’s music, be aware that band leader Famine describes their output as “fantastique, grotesque, archaeofuturist black metal,” which makes me a little swoony even just typing those words.

The person with this startlingly refreshing voice is Degtyarov, a writer who embodies the unrepentantly esoteric nature of the true underground. While his writing on the topic of National Socialist Black Metal (NSBM) bands like Russia’s Moloth has rubbed some the wrong way, there’s more than mere provocation to his work. The current resurgence of political correctness has made it all too easy for even the most amateur authors to hammer on hot buttons, but Degtyarov’s best work captures the bleak outlook of the frustrated Romantic.

Cover final small

Glimpses of his skill as a writer and editor***** are available in the blog, but Black Ivory Tower is best experienced in print form. I find reading print media to be far more relaxing and immersive than reading online: distractions are fewer, the physical experience is more comfortable, and it’s an altogether more natural way to absorb the written word. The traditionalist views and extreme erudition of BIT are inherently better suited to the printed page than to the virtual one, and as an editor, Degtyarov takes full advantage of the magazine medium to create a deliberate flow from article to article. Physically, the zine feels substantial–thoughtfully illustrated and printed in full color, it’s clearly a labor of love for its creator. There’s a sophistication and density to the second volume of BIT that’s unlike any metal zine I’ve ever read. Contributors to BIT 2, aptly subtitled “Time of Heroes,” take an intense, scholarly look at topics including Current 93 and Christianity, the Alpine mythology of Sturmpercht, and Colombian folk music. Articles in the zine are united by themes of cultural heritage and a yearning for a heroic past that perhaps never existed. This is a canny choice by Degtyarov in his role as editor, as it allows him to contextualize his own writing on the ultra-esoteric world of Siberian folk and metal music. In the hands of a lesser writer, this material would be no more than a novelty–trivia about a Western, urban form of music adapted by people from an “exotic” land. What Degtyarov does here is more than merely define the world of Siberian metal–he brings it and its creators to life for his readers. Take, for example, these passages from Taigafolk (available to read in full on the BIT blog):

The clouds press heavily on the trees, cloaking them in a sultry fog that permeates even the loneliest thickets of the immense boreal forest. The spruces that safeguard nature’s last remaining secrets reach into cold, unwelcoming soil, yet it is the only home that they have ever known, and ever will know. Set in motion only by an occasional breeze, these green giants stand side by side as the pillars of an immovable forest wall, unscathed by man. Their only fate is eternity; they shall remain loyal to the earth that nurtured them, until the end of time.

In art, and music in particular, one can already witness the casting off of falseness and Babylonian platitudes. Though commonly seen as a force of desecration, the black metal genre is ugly only in form, as its hideousness merely serves to hold up a mirror to the nauseating excesses of the era against which it revolts. Folk music, too, spearheads its own insurrection by attempting to purify itself of the grotesque musical mutations that together constitute the soundtrack of the 21st century.

Flutes, bells and additional guitars allow the melody come to fruition. They dance in harmony, paving the way for the drums and electric strings, which finally push the composition into a black metal orbit. These instruments, too, remain loyal to the leitmotif, with the solemn humming in the background persisting until the very end. Together, they establish the scene of Mother Earth, who can only stand idly by as a great evil pierces through her crust.

The structure of this article is such that, by the time Degtyarov gets around to describing the music, the reader is so completely captivated by atmosphere that they ache to know what the recording sounds like. His style of writing goes beyond music criticism for the sake of information and becomes an extraordinarily pleasurable and–yes–poetic reading experience. In the author’s deft hands, an LP produced in a small city on the Asian continent takes on a jewel-like significance: rare, beautiful, and representing so much more than its modest scale would suggest.

*****It should be noted that though the focus here is on BIT’s creator, the site and zine features multiple contributors


There are those who will dub the approach to music writing in BIT elitist, and that’s not an incorrect observation. I’d argue that a populist approach to esoteric art is by its nature inappropriate–if you’re turned off by the concept of high-minded writing about high-minded ideas, this isn’t a publication for you. The most unique artists in any medium know that they alienate vast portions of the world by honing the characteristics that define them. An egalitarian approach to reviewing music by a band that only releases thirty physical copies of their album would be beyond dissonant–it would be laughable.

I’ll confess that I read Degtyarov’s writing with a sense of envy on a number of levels. He’s an absolutely fearless writer, confronting topics I struggle to discuss in polite New York City 2016 society, but beyond that, he’s not a native English speaker. Hailing from the Netherlands, his writing process in the early days of BIT was to write an entire review in Dutch and translate it into English only after it was complete. One can witness the evolution of his writing over the four short years that BIT has been published; the work in volume 2 of the print zine is demonstrably more powerful than the angrier, more venomous content of volume 1. There’s an advancement to a higher plane of thought happening here that’s fascinating to witness.


It seems only fitting that this story ends with a bittersweet yearning for what could have been. The unfortunate truth is that Black Ivory Tower is not, at the time of this writing, an active publication. Degtyarov contributes to Nine Circles (my metal blog of choice and now home to my writing) and is the co-host of Heathen Harvest’s excellent podcast, A Forest Passage (HH is another site I’m privileged to write for). In my heart of hearts, though, I hope Degtyarov makes a triumphant return to the fortress of dark ideals he built with the Black Ivory Tower.

Elsewhere: Horizontal Collaboration, More Jean Rollin, Miro Snejdr, More Artwork…

It’s true, friends–gone are the days when I’m blogging about every single thing I’ve watched. Your devastation resonates directly into my black, patent-leather heart, but don’t despair. My graphomania is now dispersed across the web on various *other* platforms.

Living Dead Girl by Sarah Horrocks
Living Dead Girl by Sarah Horrocks

The second part of my look into the work of Jean Rollin and his connection to the world of visual art and comics can be read over at Dirge: Pulp Surrealism, Collage, and the Influence of Jean Rollin


December’s Great Moment in Historical Sluttery discussed Isadora Duncan, the Mother of Modern Dance, whose life was dramatic on every conceivable level, privately and publicly. Isadora Duncan: The Ritual of Dance and Freedom

Photo credit: Kate Lamb
Photo credit: Kate Lamb

At Heathen Harvest, I had an opportunity to chat with musician and composer Miro Snejdr, probably best known for his work with Death in June. Miro is one of the most organically gifted individuals I’ve spoken with, and the sort of person who thinks that it’s “boring” to be able to sit at a piano and create music as if touched by the hand of a higher power. The Magic Hand of Chance: An Interview with Miro Snejdr


Also at Heathen Harvest, I reviewed Horizontal Collaboration, the latest book by my favorite historian, the amazing Mel Gordon. His book on Weimar Berlin, Voluptuous Panic, has had a tremendous impact on my life, and Horizontal Collaboration is a worthy successor. Horizontal Collaboration: The Erotic World of Paris, 1920-1946

I also contributed my top three albums of the year to Heathen Harvest’s Best of 2015 list. It’s not terribly surprising if you’ve been reading this site for any period of time. Heathen Harvest’s Best of 2015/Best of the Quinquennium


In the midst of all this other running-about, I have a new print available for purchase. You can buy a copy of my Death and the Maiden shown above in the Heretical Sexts shop.

Should you be interested in working with me, I’ve also got a brand-new portfolio site you can visit to learn more about my work style and availability: