Witness of the Century: JAYSIN THE SIN GOD

Satan’s New Sect: Jaysin The Sin God AKA-43

“I’m getting closer to a fully developed sound I can claim as my own signature sound. Being forced to record myself and learn about mixing has made my vision a lot more clear.” –Jaysin

From Rap Game 2 Rap Business

16 September- 11 October 2026

İstanbul – New Jersey

Jaysin, first of all, thank you very much for the interview. It is an gratifying for us to feature a talented Mc like you in our magazine. Even though we sometimes find social media a bit pretentious, I suppose “old-school bangers” find each other everywhere, somehow; what do you think?

Its a fact dude, real recognize real. Meta is really good at burying the real and boosting the fake with their “algorithim”. So it’s a real good feeling when you finally come across something you can actually resonate with. In this feed of phony garbage cess pool content that these apps drown us with on a daily basis, it’s definitely a breath of fresh air talking to you lately. Thanks for reaching out, man. I’m happy to be doing this interview and speaking my mind.

Kenzie Cakez XX Jaysin The Sin God, Jersey Nights X26

March 11th & 12th 2026 Jaysin The Sin God rocking 2 stops on the east coast leg of HARDCORE HORRORCORE TOUR with LSP & Danny Diablo. The Bunker Long Island City. Dingbatz Clifton NJ.

2 MANY BLUNTS, 2 MANY CLOTHING !!

From what I gather from your recent posts, it seems you’re currently on a summer vacation with your girlfriend; would you like to briefly share where you’re traveling and what you’re doing?

It’s not a vacation actually. We decided to buy an RV and just travel the USA full time pretty much. We make OnlyFans/Porn content, check her out at Kenziecakez.com. The music keeps my ass going to different states to perform. So we don’t really need to be local to any one area. I guess I’ll make my way to Canada and Mexico too eventually, maybe. Right now we are in California, we drove all the way here from Massachusetts. Right down the middle of the USA, straight up drove from coast to coast. Wanted to get to Cali before it gets cold on the east coast again. Just stopped in Denver over the weekend and rocked out on GORE FEST 20. It was super sick, big shout out to SCUM and LSP for inviting me to rock the stage! I’m also a licensed retailer for 2 MANY BLUNTS CLOTHING now so I’m looking for good West Coast events to vend at this spring and winter.

Jaysin The Sin God remixes 19 songs from current Billboard Top 40 in 2025

“I’m a master at turning curses into blessings, I got that real magic. I can take the freakiest most fucked up nightmares and manifest them into my most desirable dreams.” –The Sin God

You mentioned a falling-out with the Dj you collaborated with on the long-running PROCESS series; how has this situation affected your workflow and the new album which you stated you would be producing yourself (Positively or negatively)? Is the album currently on hold?

Well, you know we are utilizing every single code in the 43 over here man. So at the end of the day it’s up to me how I let things affect me. I am no stranger to cutting people off and moving forward, anyone who listens to my music understands that is a huge part of who I am and what I represent. I’m a master at turning curses into blessings dude, I got that real magic. I can take the freakiest most fucked up nightmares and manifest them into my most desirable dreams until I’m living the reality I’m happy with. In 2025 me and Deadboy Grim did a super sick run. He sent me mad beats. I recorded and mixed TP6 on my own in my apartment, like 5 singles and 3 EPs. Plus I made a couple music videos and can honestly say those releases are what I’m most proud of. That got me 100+ new monthly listeners on Spotify. That’s not a “career changing difference” you know but it’s the most notable progress that can be tracked in my data and that’s exciting to see for me. I’ve also crossed paths with some really good guys to work with in New Jersey. I’m working on a collab album with Don Campan from Waking The Cadaver right now and we are recording it with Don Cheegro over at All The Smoke Studios in Jersey City. The first single is ready and dropping at the end of this month. Its called SNUFFED IRL.

Don Campan from Waking The Cadaver totally ripping a trap song in half with Jaysin The Sin God in the studio! Deadboy Grim on the beat Don Cheegro running the session at All The Smoke Studios.

“NYC is a melting pot like they say, also the birth place of Hip Hop and Metal THRIVES in that city. So it only makes sense that all the dope underground culture got smashed together over these last 2 decades.” –Jaysin the Sin God

I assume you’ll be moving forward with Deadboy Grim from now on?

Yeah man I really like how Deadboy works. He’s super easy to communicate with, very clear and upfront about what he wants to do. He adapts to the artist he is working with it seems like. He can make the sound I love. I’m down to work with any person who can produce a sound that fits into my world as long as they can be transparent when they are dealing with me. Deadboy has been really good at both of those things since we started working, so im continuing to work with him as we approach another brand new year.

When we look at the current hip-hop scene or at least the NYHC scene you’re part of, along with Force 5 Recs. and its circle, it appeals to a wide range of tastes, spanning everything from hardcore punk to rap music. Was it always this way, or has the language of the streets changed over time, especially with the influence of fusion genres like rapcore emerging after the 2000s?

Everything in life grows and evolves just like a plant does. Music and art will continue changing just like everything else is. Some music genres die off. Hip Hop is the recreation of everything so it can never die. Metal is too god damn tuff to die. Rap and Metal will remain forever. The fact more and more Rappers are collabing with Metal bands is going to strengthen the power they both have and make them thrive even longer. NYC is a melting pot like they say, also the birth place of Hip Hop and Metal THRIVES in that city. So it only makes sense that all the dope underground culture got smashed together over these last 2 decades. I grew up in a small rural town where nothing dope exists. Free thinking and creativity is oppressed and punished. I’m truly honored to have been around all the dope shit happening in NYC and NJ the last 2 years. Shout out to Danny Diablo & Gutterchrist for accepting me into their world. I deeply appreciate the experience I am gaining and the connections I’m making thanks to the love they show me.

Jaysin the Sin God ‘GOREFEST 20’ Photo sessions w/ Sagan Ummo, Kenzie Cakez, Danny Diablo, Insane Poetry & SCUM

Wes Nihil and Jaysin The Sin God’s “Tear Ya Block Up” music video is OUT NOW exclusively on YouTube

Jaysin the Sin God ‘GOREFEST 20’ Photo sessions w/ T-Jaks of Our Inner Circle & Bloody Ruckes // 2026

Music and art ain’t about rules and restrictions; it’s about coming together and making new shit happen. –Jaysin the Sin God

I suppose the conservative, exclusionary fan type of the 80s and 90s gradually gave way to a more urban but subculture-oriented hipster music audience, or perhaps I’m mistaken?

Yeah man the way I see it humanity is just evolving. Love and Hate are very powerful. They can both make you feel good or fulfilled. When we love something we think it’s the best thing ever and everyone should agree. When we hate something, we get pissed and want everyone to follow. I think we are realizing now that love is just better man. It’s better to compliment someone than to complain about them. Maybe when a culture emerges, an idea starts to thrive, the first people involved want to keep it pure, ya know? They love what they created so much they fear anything changing it or wrecking it. So out of fear, their negative emotions fester and dark thoughts start to influence behavior. They start making up all these rules that don’t need to be there. Music and art ain’t about rules and restrictions; it’s about coming together and making new shit happen. Express what you feel or think in a creative way. That’s it. It’s all the same shit at the end of the day so the only logical thing for an artist to do is collaborate and appreciate the differences. That’s happening a lot these days and I’m proud to be alive in this era.

Or did offshoots sprout while the canonical, traditional path continued along its own historical trajectory? As an MC who came up at the very source of this scene, how do you assess the difference between the 90s and the 2000s, both in terms of the musicians and the listeners?

Rap in the 90s was alot more poetic, even the gangster shit in my opinion. The early 2000s rap became more about partying, trapping, and playing the part of a rapper. Looking “cool” like a superstar or whatever. Seems like the fans of the 90s rap are more well rounded haha! People appreciated deep thinkers like Pac and understood the themes you heard on like, a Geto Boys record was just for entertainment like horror movies are. They realized rappers like Big L and Biggie were painting pictures from their personal experiences for others to get an inside look. Now a days, new fans listen to some shit like NBA Youngboy and literally think they are in the same fucking gang as this goober. It’s hilarious. Alot has changed for sure. I was born in 93. In my pre teens I listened to mad 90s shit. Had mad old CDs. 2pac, Geto Boys, Bone Thugs, Big L, Nas. There was no Spotify and shit yet. In my early teens my friends were all into trap music but I wasn’t yet. Thought I was a “Hip Hop Elitist” hahaha! I liked Vinnie Paz, ICP, Eminem and 50 Cent. Those were the only current artists I liked at the time. Turned 16, started driving, threw some subwoofers in my car and got all into Gucci Mane, Jeezy, Boosie, all that shit. But yeah i think the 90s seems more pure and fun when the new generation of rap is more depressing and material minded than ever.

Purchase the KINGDOM EP, from JaySin and Nobe Inf Gang Here: Dir. @INFGANG

“I can only hope to appeal to whoever finds my music, picks it up and decides it is special to them.” –Jaysin the Sin God

For instance, a more metallic style of hip-hop like that of ZillaKami and SosMula began to emerge; what is your take on these movements? Over time, a new rhythm and vocal style known as “Trap” appeared, and groups like $uicideboy$ and Ghostemane caused quite a sensation among the youth. There is also the British genre known as Grime, and nowadays, the Horrorcore is very widespread. Considering this entire evolutionary process, what kind of audience do you appeal to or aspire to reach specifically as JAYSIN THE SIN GOD?

Well hold on a minute, Trap Music did NOT appear because of groups like suicide fucking boys hahaha NO WAY! Trap music was made popular by artists with REAL street affiliations like Gucci Mane and Jeezy. Young Scooter (RIP) and all those guys are the real life trappers. I never got into Suicide Boys. I actually dissed them on my old release “Knocked All The Way Off”. Those guys ABSOLUTELY ripped off the ENTIRE sound pioneered by Memphis rappers like Lord Inf and even the Memphis artist before him. Nothing is original about those guys and their group name is generic as hell. Its cringey as fuck to me. Commercial corporate rap in a “street culture” packaging. They fucking suck. I heard they are trying to push Christianity on their fans now. Their entire history makes me LOL. I can only hope to appeal to whoever finds my music, picks it up and decides it is special to them. I notice that metal heads like my stuff, I never expected that but they do so now im listening to alot of Metal. Even mixing rap with the metal by collabing wit guys like Don Campan from Waking The Cadaver. Alot of my listeners are working class people, alot of Juggalos of course gotta mention the Juggalos haha! They love my shit, WHOOP WHOOP!

JAYSIN X DON CAMPAN & SNUFFED IRL !!

“ll never use AI to write a lyric or generate a beat. That just sounds disgusting to me.” –Jaysin the Sin God

The topic of artificial intelligence and music is very much in the spotlight these days, it’s a subject of active debate. As someone who brings a fresh perspective straight from the streets, is there anything you’d like to say about this? Do you incorporate AI into your work, or do you stick to “old-school” digital methods?

Man I used Grok to generate a picture I used to make cover art with in Photoshop and they CRUCIFIED me on IG for it hahaha! I’m driving cross country right now, I am editing vlog footage almost everyday, rehearsing daily for GORE FEST and networking on the phone a lot. I got the mix back from Cheegro for SNUFF’D IRL. I wanted to upload to the distributor immediately so it would drop the day of GORE FEST. I didn’t want to spend a week taking raw photos, then editing or waiting on another designer to make the cover for me. So I used AI to generate the pic i wanted to edit. So my opinion on AI in music is this; The inevitable integration of AI in the music industry has already happened. All your favorite artists are in the studio using plugins that utilize AI. Adobe, Pro Tools, Logic Pro, all the software that is used inside EVERY SINGLE STUDIO is now utilizing AI as a tool. These haters don’t even notice that whether they like it or not AI is already in everything they support. Hell dude, IG is using an AI algorithm to show these crybabies my shit so they can comment on it lol Are they gonna stop using instagram because it heavily supports and utilizes AI? Fuck no. The people crying are the sheep consuming too much fear propaganda. This is the same shit as people who hated on the internet. Or streaming. Now they all use it. Look man, these fucking supervillan billionaires are gonna run the world, and we are gonna just live in it whether we like it or not dude. All i can do as a peasant living under the powerful elite is use what I have so I can do what the fuck I gotta do. If someone is generating full on AI SONGS and claiming they produced the music and wrote the lyrics thats fucking weird and i think its super whack. But THE TECHNOLOGY ERA is the era we live in, so this world is gonna keep on Tech-ing bro. I’ll never use AI to write a lyric or generate a beat. That just sounds disgusting to me.

100% Uncensored Democracy: K!LL TV

“If you’re too fucking lazy to make instagram content, what makes you think you’d have what it takes to compete in the 90s? GET REAL!” –Sin God

We are living through strange times for the music industry and the world of culture and art. On one hand, access to music has become incredibly easy thanks to digital platforms; on the other, some musicians complain that due to their presence on social media they are perceived merely as digital content creators, and that their hard work and artistry are being exploited to serve platforms like Instagram, or Spotify which are backed by capital from AI-driven arms manufacturers. Where do you position yourself in these debates? Is there anything, positive or negative, that you would like to express as a rapper?

Most of these people are lazy and want to complain about putting work in. I guess they all think they are brilliant writers like Ozzy Osbourne who should be catered to on a big fancy tour so they can strictly focus on their genius writing? Get fucking real. Just because you want to be a writer or performer dont mean you dont have other responsibilities as an artist seeking a career. ESPECIALLY if you are independent. 2Pac humped blow up dolls on stage for DIGITAL UNDERGROUND before he was a rapper. He made his connections that way. These crybabies would never go that far to chase their bitch ass dreams.Yea we all have to create content on these apps these days. We can be strategic and gain a following for free. That’s huge. It’s a blessing. What was the option before this? Stand on the street corner in a major city and hope a big time record exec sees ya? NEWS FLASH. If youre too fucking lazy to make instagram content, what makes you think youd have what it takes to compete in the 90s? GET REAL! Make the content so people know you exist or just keep making music nobody will ever hear. Those are the 2 options for independent creators with little to no budget.

Kill TV Launches Uncensored Storefront…

-Jaysin the Sin God is producing original uncensored music videos exclusively for Kill TV.-

Now, with the rise of digital media and YouTube, it feels as though everything from every cultural level is crammed onto the same screen; are we left to discover for ourselves the best, most reliable sources to follow?

Absolutely. Well kinda. I’ll tell you about a place you can find stuff you won’t see anywhere else in a second. But yes. Oversaturation is real. There’s a lot of noise on these major apps that we all use, you’re not gonna hop on YouTube and just see the dopest shit ever on some well known channel like No Jumper. Ya gotta keep your ear to the streets. Its aint gotta be about these popular apps like Meta and YouTube all the time. The owner of that new site KILLTV.ME literally wrote me an email and reached out personally. Invited me on his website last year. Now it’s my favorite site to upload on. If he didn’t put the work in on some independent guerilla shit I would never know about KTV. But I’m glad he did man. On this site, I can do whatever I want. I got Kenzie Cakez spreading holes butt naked in the TOP FLOOR VIEWS music video. I can’t do that on youtube. You gotta pay me to see this on KTV. It’s easy to monetize myself as an artist here without jumping through all kinda hoops like they make you do on these huge apps we use. It’s hard to make money on youtube and IG as an artist that raps the way I do. So I appreciate guys like KTV. This guy aint no corporate fucker with endless money ya know, hes literally spending his personal money and time to do something that will help the artist nobody else cares about helping. Guy could have took a permanent vacation to fucking Thailand with the money he put into this shit probably. So YES we are left to ourselves to discover the REAL shit. But we aint gotta depend on these corporate app “algorithims” to show us what we like. When you have true intentions and know what you’re about you usually end up finding what you are looking for. Keep your eyes open and your ear to the streets.

Jaysin The Sin God CHANGE Produced by Deadboy Grim (2025)

REAL UNDERGROUND RAP FOR REAL MFS!

» SINGODTV

SUBSCRIBE NOW!

CHANGE OR DIE !!

» gutterchristproductions.bigcartel.com

» Kenziecakez.com +18

to be continued…

Robert David Elwood’s Not Family Friendly CartoOns

Robert David Elwood ‘Untitled’ drawing (2016)

“I think as art goes it’s just a series of lines on paper, if you are not physically harming anyone, offended people can either learn to laugh at them selves, or continue to complain, and that’s fine. I don’t wish to take anything away from the artist who wishes to draw the clean family friendly cartoons.” –R.D.E

Drawing the Grindcore

Robert David Elwood

January 2016

How long have you been in the world of comics?

I’ve been making art since 2007 but in 2013 a friend of mine published this independent comic called Pure İnsanity that I and a few other artist contributed too, that was the first publication that showed my work although I guess I’m still relatively new still.

You produce bizarre animations, too and the amateur spirit surrounding your works has rapidly started to gain a powerful style recently. Considering the works you’ve created this far, where within your field of art do you position yourself?

I guess I’d be more of a animator who does art on the side. I personally would not have thought my drawings would get as big as they did, you see originally animation was and still is something that I wanted to do for a living. I had a fascination with cartoons ever since I was little but it was animated films from Bill Plympton, Bruce Bickford and Ralph Bakshi and many other animators that made me realize the great things that animation can do and it really motivated me to make the crazy cartoons I’ve done.

You enjoy pushing the limits of sarcasm, irony and absurdity to create bizarre worlds; considering the comics market, isn’t the obscenity of the works you create risky in terms of bringing the works to a more professional level?

No, I don’t believe so, I think as art goes it’s just a series of lines on paper, if you are not physically harming anyone, offended people can either learn to laugh at them selves, or continue to complain, and that’s fine. I don’t wish to take anything away from the artist who wishes to draw the clean family friendly cartoons.

What’s going on in the world of American Underground Comics recently; can you inform us a little bit? What about the artists you follow the most as well as your favorites? Taking into account also the developments in Europe, which echol do you find your style closer to?

I think that would be a better question for a current person who makes underground comix, from what I’ve seen it boils down to selling yourself and getting your art out there by going to conventions and networking. My favorite artists, where do I start, I really like the early 70’s Zap artist like R. Crumb, S. Clay Wilson, and Spain Rodriguez, and Rory Hayes. outside that there is Mike Diana, Johnny Ryan (who’s art I guess I find my work closer to) and Manga artist from Japan like Junji Ito, Suehiro Maruo, and Hideshi Hino.

“Acid Shark” by Acid Shark (music video) sfw version

Robert David Elwood ‘Untitled’ drawing (2016)

How do you like music ? What do you enjoy listening to?

I listen to mostly Sludge Metal, Black Metal, Death Metal, Grindcore, and Hardcore Punk.

What do you think about GG Allin? He’s one of the craziest guys ever taking place in the rock’n’roll stage that recorded great albums in the 80s but then (I though) flipped because of all the drugs he used. What do you think makes GG so legendary?

I’m a fan, you know I think what made GG Allin legendary was not so much his music but his life style, when we see the crazy things he did on stage I think there is a primal part of us that want’s to do the same, but wouldn’t out of fear of going to prison.

How do you like Antiseen?

There great, they got some awesome songs, and the played with GG Allin which must have been crazy!

Are there any projects you’re working on right now? Like a book you’re planning to publish or something for the S&T Studios that will take place in the future?

I’m trying to finish another cartoon, a little book featuring my art would be ideal in the future, although I don’t have any plans for that now.

Dont forget to visit S&T Studios for latest updates!!

Robert David Elwood ‘GG.Allin’ drawing (2016)

Robert David Elwood

Ocak 2016

Robert, Minneapolis’den genç bir çizer, aynı zamanda bir çizgi filmci. Ona, yaptığı tuhaf işler hakkında bazı sorular sorduk.

Robert merhaba, ne zamandan beri çizgi roman dünyasındasın?

2007’den beri sanatla uğraşıyorum. 2013 yılında birkaç farklı sanatçıyla birlikte bağımsız bir çizgiroman dergisi olan “Pure Insanity” için birşeyler çizdim; böylece çalışmalarımı yayınlama şansını yakaladım. Sanatımı sergilediğim ilk yayın bu oldu, bunun dışında yeni olduğumu söyleyebilirim..

Aynı zamanda çizgi filmler de üretiyorsun ve çalışmalarındaki amatör ruh, son zamanlarda gittikçe güçlü bir stil kazanmaya başladı.

Sanırım, ben bir sanatçıdan daha çok animatörüm. Çizimlerimin bu düzeyde ilgi göreceğini hiç düşünmemiştim açıkçası. Hayatımı animasyonla kazanmak istiyordum ve halen de bunda kararlıyım. Çocukluğumdan beri çizgi filmler beni büyülemiştir, aynı zamanda Bill Plympton, Bruce Bickford, Ralph Bakshi ve daha pek çok animatörün filmleri beni çizgi filmlerin muhteşem şeyler yapabileceğine ikna etti ve ben de çılgın animasyonlar yapma motivasyonu uyandırdı.

Hassas bir çizgiyle sarkazm, ironi ve absürdlüğü son raddesine kadar ileri götürerek tuhaf dünyalar kuruyorsun. Çizgiroman piyasasını göz önüne alırsak yaptığın işin müstehcenliğinin riskli olduğunu düşünüyor musun?

Açıkçası pek böyle düşünmüyorum. Yaptıklarımız sadece sayfanın üzerindeki çizimlerden ibaret ve fiziksel olarak kimseye zarar vermiyorsanız rahatsız olan insanlar, ya kendilerine gülmeyi öğrenecekler ya da şikayet etmeye devam edecekler ki bu benim için sorun değil. İyi aile çizgi filmleri yapmak isteyenler istediğini yapabilirler.

Amerikan Yeraltı Çizgiroman dünyasında son zamanlarda neler oluyor, bizleri biraz bilgilendirebilir misin?

Sanırım bu yeraltı çizgiromancıları için daha uygun bir soru olurdu. Kaldı ki, gördüğüm kadarıyla olay tamamen işini ortaya koyup kendini pazarlamaktan ve toplantılara katılıp bağlantılar kurmaktan geçiyor. En sevdiğim sanatçılar, nereden başlasam, 70’lerin Zap Comix sanatçılarını gerçekten severim : R. Crumb,S. Clay Wilson, Spain Rodriguez ve Rory Hayes gibi, bunlara Mike Diana ve sanatını kendime yakın bulduğum Johnny Ryan’ı ve Japon manga sanatçıları Junji Ito, Suehiro Mauro ve Hideshi Hino da ekleyebilirim.

Müzikle aran nasıl? Neler dinlersin?

Çoğunlukla sludge metal, black metal, grindcore ve hardcore punk dinliyorum.

GG Allin hakkında ne düşünüyorsun, GG’yi bu derece efsane kılan sence nedir?

Hayranı olduğumu biliyorsun. Bence onu efsane yapan müziğinden çok yaşam tarzıydı ve sahnede yaptığı manyak şeyleri gördüğümüzde, ilkel bir yanımız bunlara eşlik etmek istiyor ama kodesi boylama korkusuyla maalesef çekiniyoruz.

Antiseen’i nasıl buluyorsun?

Harika! Muhteşem şarkıları var ve GG Allin ile çaldılar ki bu gerçekten çılgınca!

Şu an üzerinde çalıştığın bir proje var mı?

Şu an üzerinde çalıştığım bir çizgi filmim var; bunun dışında yakın gelecekte işlerimi bir araya getiren ufak bir kitap da hiç fena olmaz.

S&T Studios » Robert David Elwood

25 Years Of Punk Ethics: A Fat Wreck Punk-U-Mentary (2016)

The Fat Wreck Chords Story

Fat Wreck Chords… The influential music label proud to say they’ve spent the past 25 years “raining punk rock.” A Fat Wreck tells the story of founders Fat Mike (of the legendary punk band NOFX) and his ex-wife Erin Kelly-Burkett, spanning the birth, growth, struggles, and survival of the Fat Wreck Chords label. Half inspirational story of chosen family and community, half debauchery and occasionally involuntary drug use…A Fat Wreck blazes exciting nerd ground in the cinematic genre of puppet-driven punk rock music documen- tary filmmaking. If you only see one film featuring a dominatrix spanking a puppet in your lifetime… Make it A Fat Wreck!

A Fat Wreck: The Punk-u-Mentary [Open-Ended] Films

25 Years Of Punk Ethics, Chosen Family, And Surviving The Music Business

Film Review: A Fat Wreck – The Punk-u-Mentary

newnoisemagazine.com

Fat Wreck Chords knows punk rock. After helping Brett Gurewitz at Epitaph Records for a week, label owner “Fat” Mike Burkett borrowed $20K from his Dad in 1990. Inspired by the seeming ease of the process, he began Fat to become a leader in the punk scene’s second wave, and continues invigorating each ongoing era. It’s not easy to run a record label, especially as the industry landscape has morphed in the past 15 years. With the accessibility of great tunes flooding the internet, the public sees music as commodity rather than creativity. So effectively, there isn’t a giant pile of gold when bands sign to Fat, but that doesn’t stop punk officials (badge and card-carrying) from crying heresy or sell-out when they join the label. The Fat crew seems undeterred and just don’t give a shit about naysayers, though. As you watch A Fat Wreck, it is clear that the label exists as a clubhouse of friends and family creating music out of passion.

The style of this documentary makes that crystal clear. Charting the history of core bands around since its inception, the doc is rich with segue elements. As you’re learning about a trajectory album-by-album timeline, signature tracks snap in for each, wrapping up in an 8-bit Nintendo animation of each band. Adding to the visuals, Jennie Cotterill of Bad Cop / Bad Cop created foam puppets for the label heroes. These characters act out scenes not caught on tape as dubbed over audio narrates. It’s like watching Sesame Street, if Sesame Street included a bit more partying and sunken eyelids.

With drug use and heavy drinking as par for many bands, you wonder how the label manages to function. Mike signs most bands, records with them, and parties with them. The day-to-day operations become clear with a peak into their San Francisco office—It’s Erin Burkett making sure that all of the details fall into place. Mike’s figurehead image as a narcotic-cornucopia eschews him from these responsibilities, and this gets him in trouble with fellow labels. Mike Park of Asian Man Records and Fat Mike both speak out about their roles and responsibilities as creators and curators.

Park says it’s irresponsible to promote heavy substance use, rather that there should focus on intelligence in punk rock. Fat Mike simply retorts that Park is crazy for believing in Noah’s Ark. This segment is followed by a story of Sam King from Get Dead dosing Fat Mike’s drink. A misplaced hallucinogenic animation sequence follows. It’s a funny visual, but seems clunky with the flow of the film narrative. This type of pacing is the hindrance of the doc as a whole. Music and imagery are edited together with quick, rough transitions—like an early draft for a music video. All of the ideas splatter into one another like a loose mood board. I suppose this fits the rhythm of the music, but visually it’s a bit too up and down.

Learning band history from a reliable source (not Wikipedia … El Hefé did NOT go to Berklee School of Music) is the most gratifying. As producer and sound engineer Ryan Greene talks about the recording process, his sporadic tricks for creating a sound are revealed. He is the master of the “Fat Sound” we’ve all admired for decades. These insider notes are like the percentages and facts that baseball fans crave. If you’re passionate about punk, this documentary fills in your scorecard. Odd tales of how to make it on the label are here, and we see Fat Mike pee from a rooftop. What else could you ask for from a documentary covering Fat Wreck Chords?

This feature length documentary film follows the early history of Fat Wreck Chords, from its founding by Fat Mike and his then wife Erin Burkett, through its cultural zenith in the late 1990’s.

afatwreck.com

Don’t forget the visit, buy or rent the movie !!

Bir Gece Ansızın: Extreme Parking

Anıl Savaş Kılıç & Kaan ‘Golem’ Akay (2003-04)

Dergiler ve magazinler de okurların şeklini aldı, gittikçe daha yüzeysel ve ortamcı oldular ya da olmak zorunda kaldılar -ayakta kalmak için-. Kendilerinin bile sevmediği ya da dalga geçtiği, inanmadığı kişilerin haberlerini yapmak zorunda kalıyor çoğu, çünkü bunlar merak ediliyor ve insanlar bunlar hakkında yazılar, linkler görmek istiyor. –Kaan Akay

Golem sahne adıyla tanıdğımız Kaan Akay Dj’liğe 1997 yılında başlıyor. Bir çok festival ve mekanda beraber çaldığı Dj’ler arasında Dj Suv, Grooverider, Adam F, Goldie, Photek, Total Science, Klute, Dillinja, Paradox gibi isimler var. Yurtdışında ise Bristol ve Londra gibi şehirlerde çalmışlığı var. Prodüktörlük yakasında da Flatliners, Psycho Mantis, Extreme Parking mahlasları altında başka müzisyenlerle de işbirlikleri yaptı. Zeleia ile beraber kaydettikleri ambient türündeki albümü de bu birlikteliklere eklenebilir. Uzun zamandan beri davul çalan Kaan’ın yer aldığı gruplar arasında Proudpilot, Altgeçit, Rashit, Tatufly, Funeral Pyre of Mankind bulunuyor.

Ümit Üret 2018 / AID Zine #7

Golem: Sadece bazı şeyleri fazla ciddiye alıyorum ve kendimce ne yazık ki istemeden aşırı romantize ettiğim durum ve konular olabiliyor, müzik de bunlardan biri hatta en önemlisi. Çünkü benim için bir hobi olmanın çok ötesinde ve neyse ki benim gibi olan başka insanlar da var etrafımda, dolayısıyla onlar bu sivri dili ya da sert çıkışlarımı neden yaptığımı görüp anlayabiliyorlar sanırım. Ülkemizde de dünyanın bir çok yerinde olduğu gibi yine her şey bağlantılara ve tanıdıklara bağlı, onlarla aranı iyi tuttuğun sürece onlar da seni pohpohluyor genelde, böyle karşılıklı bir körler ve sağırlar birbirini ağırlar durumu mevcut yani. Alan da memnun satan da memnun, dolayısıyla azıcık bile bu düzenin karşısında olup ortalıkta olup sevilen birileri hakkında negatif bir yorum yaparsan ya “hater” olarak anılıyorsun ya da “kıskanıyor kesin” damgası geliyor, biraz komik ve acı ama böyle ne yazık ki.

Ortada ne söylenirse buna inanan ya da zaten bir sürü şeyi sindirmeden tüketen bir topluluk var, dolayısıyla dergiler ve magazinler de okuyucuların şeklini aldı, gittikçe daha yüzeysel ve ortamcı oldular ya da olmak zorunda kaldılar ayakta kalmak için. Kendilerinin bile sevmediği ya da dalga geçtiği, inanmadığı kişilerin haberlerini yapmak zorunda kalıyorlar; çünkü bunlar merak ediliyor ve insanlar bunlar hakkında yazılar, linkler görmek istiyor. O zaman okunur oluyorsun ve devam edebiliyor yoluna herkes bir şekilde. Ya da bana öyle geliyor, bilemedim.

The Future is Now » Golem Radio Shows

Kaç yıldır radyo programcılığı yapıyorsun? Dinamo.fm ve standard.fm’den sonra şimdi sub.fm’e geçtin. Bu keskin geçişin altında ne yatıyor? Bir de günümüzde fm bandı harici internet radyolarının çok da eskisi gücünün olmadığını savunanlar var, bu konudaki fikrini de merak ediyorum. Türkiye’deki dinleyici ile diğer ülke dinleyicileri arasında bir fark olduğunu düşünüyor musun?

Bu sene Kasım ayının ortaları gibi radyoculukta tam 15 yıl dolmuş olacak. Aslında çok da keskin bir geçiş olmadı belki de, sadece senelerdir devam ettirdiğim bu “öğreten adam” rolünden çok sıkıldım ve gördüm ki zaten kimsenin de pek bir şeyler öğrenmeye ya da keşfetmeye pek de niyeti yok. Sonuçta türk bir Dj’sin ve tabii ki adam gidip rinse fm setlerini ve oradakileri tercih ediyor. Kool bir şey değil çünkü. Türk dinleyicisi ile yabancı dinleyiciler arasında da tabii ki ufak tefek farklar var, onlar biraz daha az kompleksli ve ego problemleri de biz Türklere göre daha az gibi. Seninle iletişime daha rahat geçip bir şeyleri beğeniyorsa bunu dile getirmekten çekinmiyorlar. Burada ise mesela benim programımı 5 sene boyunca sürekli takip edip bunu 5 sene sonra bana dile getirip bana söyleyen insanlar olabiliyor. Ya da genel olarak sessizce dinleyip hiçbir şey söylememeyi tercih ediyorlar. İnternet radyolarının eskisi kadar güçlü olmadığı konusuna da kesinlikle katılıyorum, çünkü gittikçe değişiyor müzik dinleme şekilleri ve insanlar yeni müzik dinlemektense bildikleri şeyleri dinleyerek eğlenmeyi tercih ediyorlar.

Eskimeyen müzik yani klasikleşen ile yeni çıkan müzikler konusunda ne söylemek istersin. İyi de bir dinleyici olduğun için -merakın bir yana- işin gereği de yeni müzikleri takip ediyorsundur ister istemez, bu konudaki fikirlerini merak ediyorum. Yeni müzik türleri gelecek mi ve eskilerinden ne kadar farklı olacak? Ya da teknolojini gelişimiyle müzik performansı mı önem kazanacak? Ya da dinleyicinin pozisyonunda bir değişim mi olur? Ya da başka bir şeyler mi…

Yeni müzik ya da müzikler diyelim, hala beni en çok heyecanlandıran şeylerden biri. Dolayısıyla hayatımın nerdeyse büyük bir bölümünü yeni şeyler arayıp araştırarak geçirdiğimi söyleyebilirim. Eski klasikleşen şeylerin dışında bir de şöyle bir durum olduğunu düşünüyorum, genelde herkes kendi gençliğinde ne dinlediyse onun en iyi olduğunu düşünüyor; bunu anlayabiliyorum çünkü bir yandan çok duygusal bir durum bu. Zaten yeni açılan bir beyin ve kulaklar ilk defa duyduğu şeylerle çok daha farklı bir iletişim ve bağ kuruyor. Bu yüzden herkesin kendine has klasikleri oluyor, bütün dünya tarafından kabul edilen klasik şeyler dışında. Yeni müzikler elbette gelecektir diye umuyorum. Ve hatta umarım insanlar tekrar ve sadece, o sırada başka hiçbir şeyle ilgilenmeden müzik dinlemenin ne kadar güzel ve özel bir şey olduğunu hatırlayıp yeniden keşfederler.

Extreme Parking ‘Snow’ 2016

Kaan Akay ve Anıl Savaş Kılıç’lı Extreme Parking’in eski kayıtları “S/T” albümünde toplandı

Özellikle uzun yılladır “Golem” ismiyle drum & bass türünde DJ setler ve radyo programları yapan Kaan Akay’ın, Anıl Savaş Kılıç ile birlikte 2003 – 2006 yılları arasında kaydettikleri parçalar, M4NM etiketiyle karşımızda.

2003-2006 yılları arasında Taşoda’da Kaan Akay ve Anıl Savaç Kılıç’ın kaydettiği lo-fi, deneysel ve noise türündeki kayıtlar, uzun bir zamandan sonra nihayet gün yüzüne çıktı. Extreme Parking ismiyle karşımızda olan ikili S/T albümlerinde tam altı kayıt paylaştı. M4NM etiketiyle yayınlanan ve Bandcamp üzerinden ücretsiz bir şekilde dinlenebilen albümü, aşağıdaki bağlantıdan dinleyebilirsiniz. // Kaynak: Bant mag.

Kaan ‘Golem’ Akay & Anıl Savaş Kılıç (2003-04)

EXTREME PARKING » ÆVOM Portal 3 Live

Deneysellik son zamanlarda çok satmaya başladı ve aslında belki yine hoyratça kullanılıyor. Son zamanlarda biraz çizgi dışına çıktığına inanılan, az biraz bi gürültülü gelen ya da her şeyin kolayca nitelemesi olduğunu görüyorum. Sence bir tür olarak değil ama özellikle de üretim sürecinde ya da müzikal fikirlerin oluşumu ve gelişiminde deneysellik gibi bir şeyden bahsedebilir miyiz?

Deneysel müzik konusu biraz sıkıntılı bir hal almaya başladı, en azından bana öyle geliyor; bahsettiğin şekilde üretim aşamasında oluşan deneysellik tabii ki de harika bir şey ama çok garip ve tuhaf şeylere bile “abi ama bu deneysel müzik” diyebiliyorsun ve işin içinden çıkıyorsun o şekilde mesela. Kimse bir şey diyemezmiş gibi bir durum oluşuyor bir anda, biraz saçmalamanın entellektüel olma şekli gibi bir şeye dönüşme tehlikesi var sanki.

Extreme Parking ‘Wherever U Go’ 2016

EXTREME PARKING XTRM PRKNG X16

Peki müzik birleştirir mi? Sosyo-kültürel bir statü belirtisi olabilir mi müzik dinlemek ya da dinlediğimiz şeylerin niteliği?

Müzik birleştirir ama bir yandan da insanları ayırabiliyor da bence. Neye iyi ve kaliteli müzik dendiği ya da denebileceği ise zaten başka bir tartışma konusu aslında. Kim nasıl karar veriyor buna mesela? Çoğunluk dinliyor ve seviyorsa biz de buna güvenip kanmalı mıyız? Eğer çoğunluğun sevdiği bir şeye dandik dersek “kool olmak için popüler müzik bokluyor” damgası yer miyiz? Tabii ki yeriz ve yiyoruz da afiyetle bazen.

Anıl Savaş Kılıç & Kaan ‘Golem’ Akay at Roxy (2003-04)

“İyi bir şeyler yapmak için sadece laptop kullanmanın yeterli olmadığı o garip ama bir yandan da hoş zamanları özlediğim oluyor.”

Yani artık herkes her şeye ulaşabiliyor ve kaliteli müzik dinleyebiliyor mu? Sanki üretim arttıkça “kaliteli” olana ulaşabilmek güçleşti.

Üretim ve djlik mevzuları da oldukça ilginç noktalara gitti. Mesela eskiden sadece plak almaya devam eden insanlar dj olarak kalabiliyordu. Eğer senin için önemliyse bu iş ona para harcıyordun mesela. Elbette bu beraberinde şu soruyu da getirmiyor değildi “o zaman sadece zenginler mi dj olmalı?” Aynı şey müzik yapmak, prodüksiyon konusunda da böyleydi. İyi bir şeyler yapmak için sadece laptop kullanmanın yeterli olmadığı o garip ama bir yandan da hoş zamanları özlediğim oluyor. Neden hoş diyorum çünkü tüm bu zorluklar bir yandan da kendi kendine bir eleme oluşturuyordu, cidden sadece eğlenmek ya da takılmak isteyen insanlar bir noktada pes edip vaz geçebiliyordu. Dolayısıyla da orada da şu an olduğu kadar çöp müzik ya da dandik djler olmayabiliyordu. // Kaynak: AID Zine #07

KAAN AKAY X HUMAN SCUM

The Body Image of GG Allin As a Non-Discoursive Object of The Eye

*GG Allin in one of his controversial performances.*

“I hate you motherfuckers”

Introduction

This essay will focus on an American Punk that both enlighted the spirit of rebellion which anarchy would take place in but also brought up a huge cinism: GG Allin who manifested himself as a part of an “image” throughout his body and the “hate” he possessed. GG Allin in The USA was a popular phenomenon with a non-discoursive punk attitute which included speeches of both self-awareness that turned into a cinism and self-reputation by using his own bodily rejections such as urine and feces. “I hate you motherfuckers” began to officialize his state of self-manipulation and he became one -or maybe the first- of the most hated artists of all time. It’s been officially heard from his own speech that the day he met rock’n’roll was a salvation which prevented him from becoming a serial killer. It is no coincidence that he received fan letters from the infamous serial killers whose positions within societies were highly related to the industrialization and idolization of the “other” as the modern day anti-heroes. GG Allin borrowed the same cultural influence by sloganising “legalize murder”. Still a hate against the members of a society would never prepare an enough space for a legitimate homicide in any sense GG Allin believed in. Was it a flashpoint when he started to reflect the anger to himself and the hate to his body?

GG Allin concerts were full of “artistically” self-mutilation that both affected himself and the audience. The throwing of his own feces to the face of an audience simply resulted with a lawsuit which has been lowered as killing rock’n’roll if he ever was sentenced. He simply declared that all his actions were licit as long as he really believed in that. Thus, his lowering continued as avoiding an artist to be put in a political context since “socio” was eliminated by self-oriented, lucid behaviours. That’s why GG Allin should be evaluated as a “body image” through the visual methodology of Panofsky which consists of pre-iconography, iconography and iconology. This method will contextualise the Punk attitutes which turned into a body image rather than a political discoursive commune.

Dr. Burak Bayülgen

*GG Allin & the Holy Men ‘You Give Love A Bad Name’ LP* cover

WHEN JUNKIES LEGALIZE MURDER

Pre-Iconography

Hated: GG Allin and The Murder Junkies (Todd Phillips, 1993) presented GG Allin from the public eye rather than judging his actions. The film stripped GG Allin from the comments which metaphorically covered up his body. Almost the whole film presents GG Allin in performance, naked and uncovered from the accusers. Phillips depanded on fans, long time drinking buddies and audience. The film saved GG Allin’s phenomena for the pre-iconography as if no over-voice has been dubbed onto his career. This leads the way from an undubbed representment to a critically approached “body image” in which GG Allin shall be deduced. This is an approach to see GG Allin through a reasonable eye, yet this structure makes his actions apparent to lead the way to iconology. Phillips’ film focused on representations of his artistic reality while avoiding the apprehensions of his hate against everything that were reflected and cinically submerged. The reflection of GG Allin as a non-discoursive artist will stick to Phillips’ film but the first part of this reading necessitates avoiding an over-voice.

Phillips structured his film from “what he did in front of people” rather than “how he is accepted”. As pre-iconography, GG Allin was nothing more than he artistically thought. Since GG Allin behaved in the name of rock’n’roll, he became a cornerstone that rather changed himself instead of his time and space. He did not offer a salvation but his short life submitted a kind-of-joy for the eyes of his fans, apoliticized from all the rules and regulations.

“hate”, “fuck”, “scum”, “die”, “myself”, “ass”, “cock”, “suck”, “shit”

Iconography

“He kept threatening to kill himself, yet he poured every ounce of himself into living his life to the fullest and doing it his way. He was committed to his art. Over the course of his life, he made numerous recordings, overcoming lack of money, lack of consistent collaborators, lack of anything even close to record label support. He recorded output ranges from catchy as hell songs like “I Wanna Fuck Myself” to sinister dirges like “Snakeman’s Dance.” He was unrepentant about everything he did. He was on a mission. And it ended too soon”. (Johnson, Richard, 2015: 5)

According to some of his fans, GG Allin was totally an idol that was on a mission. Nevertheless, even Phillips’ film does not determine the motivation of a fanhood and agglomerate a GG Allin fan with a punk music fan. That’s why the iconography should focus on how GG Allin treated himself and his body in terms of “hate”, “rock’n’roll” and “mission”.

The most significant part of iconography is the assumption of a discourse as an out-of-discourse. In other words, how did GG Allin extinguish the signs of a discourse into none? It requires 2 steps in which his lyrical themes are included.

The first step is to look at his body as an “image” which has been seen through the eyes of fans. He’s been treated as a fictious character who could be adapted into anything that is “other” than a leading artist. The anthology called Blood For You managed to do that:

“It’s not meant to aggrandize the man of apologize for the shit he did in his life. It’s designed to put this character that had no place in the real world into worlds where he makes sense, and maybe to make sence out of who he was”. (2015: 5)

The Second Step is to attribute a fantasy that refers to any other arts. The image is so loaded with fantasy that his licit attitutes make sense as if they were fictious. GG Allin’s image is not only the rejection of urine and feces but a rejection and apoliticization of real-time/space. GG Allin’s image becomes fictious if the punk attitute has been drawn out of a political context which brings out toleration and endurance of his stage acts.

Iconography’s schematics lead their ways to look at GG Allin in terms of visual methodologies such as artist-artwork-audience relationship in which the audience take part in both iconography and iconology. As Greenberg stated for Pollock paintings, the kitsch was where there was no other explanation beyond the viewing or every viewers would feel the same. Out of his performative characteristics, GG Allin’s visual body was kitsch that could not complete itself to a camp behaviour. He broke his teeth with the microphone, hurt and cut himself with razors, injected microphones and bananas to his anus. He intended to rape his female audiences. He shit and smeared. All these actions were beyond an explanation and were self-mutilations of a body image that was viewed but not interpreted as if reading a newspaper by hearingly repeating the slangs “who cares?” or “suck it then”.

Iconography is also related with the context of his music. Since most of his recordings were poorly produced in audio quality, he performed music from punk to spoken word, from rock’n’roll to country. He gave stand-up shows and most of them resulted with brutality. He stood as if he convinced to say something to his audience, but he only burned newspapers which he read and attacked his female audience which resulted with being attacked by her boyfriend. The repetition of words “hate”, “fuck”, “scum”, “die”, “myself”, “ass”, “cock”, “suck”, “shit” in almost all of his songs still make no sense out of slang, self-mutilation and cinism. These songs refer to end his own self rather than ending a society or a commune. Whenever he had a message to convey, it consisted the words “fuck it, suck my cock, die” as a formulation. His disbelief in any authorities applied every outlaw casts to himself and only left a few of them to the audience. His defense against “killing rock’n’roll” prevented him from flapping and as much as he flapped, rock’n’roll survived beyond authorities.

Can I discuss the mental health and personality factors that may be at work in the life and death of Kevin Michael “GG” Allin?

“GG Allin is like a cartoon character – a horrible, obscene cartoon character with a rich history of fucked up behaviour and a messiah complex, not to mention all the cum, shit, self abuse and abuse of others. He’s got an army of obsessive fans that is balanced out by those who hate and deride him”. (2015: 4)

Iconology

Iconology strips GG Allin from the time/space of a fantasy in which the toleration of a devoted fan took place both artistically and visually. To give him an extra-diagetic life brought him an utopian safety to ensure his extreme actions. That was the moment when punk attitutes made sense in GG Allin’s context. His lyrics made sense unless they were not applied to a fantasy. Then, he became a flashpoint of where and when everything had possibilities like “legalizing murder”. His fans stated that GG was their God, yet, it was still the fantasy which was applied to their self, rather than a consciously focus on politics. Hated did a great work which apoliticized GG Allin from his fans’ discourse. The film did not bring out a determinist basis for becoming a fan who wanted to be apoliticised from the discourses they have been embarked. That was how the audience perceived GG Allin as if as much as they see GG Allin and apoliticize them from a discourse, they see themselves away from the politics of the environment that sorround them and dominantly embarked on them by governments, states and nations.

“As GG Allin stated in the mass media’s populer phenomenia on serial killers, he is a cartoon character to whom mass audiences follow, like and enjoy. He preached violence, but was almost always polite and respectful offstage. In some interviews he was soft spoken and thoughtful, while in others he was clearly putting on a show. He happily invited as many punches as he threw”. (2015: 4)

Hated: GG Allin and The Murder Junkies (1993) documentary

Conclusion

This essay has evaluated GG Allin as a non-discoursive artist despite his actions meant much for his fans. In order to determine a “non-discoursive” statement, GG Allin has been taken as a “body image” that required perspectives of pre-iconograpy, iconography and iconology. Pre-iconography followed Hated: GG Allin and The Murder Junkies’ structure to present him as the object of an eye without an over-voice. Iconography part took his actions and his lyrical themes to a level of fantasy which staged him to a fantastical view rather than politically acquired. The artist-artwork-audience framework has been given in terms of artist-message-receiver but the body image of GG Allin has only been what it was seen without an interpretation. Finally, iconology stripped GG Allin from all the real time/space to create him in a world of cartoon in which the toleration for his actions took place.

RESOURCES:

Bal, Mieke (1996) “Reading Art?” In Generations and Geographies in the Visual Arts: Feminist Readings, G. Pollock (ed). London: Routledge, pp. 29-52.
Barthes, Roland (1977) “The Rhetoric of the Image.” in Image-Music-Text, S. Heath (trans.) Glasgow: William and Collins and Sons, pp. 32-51.
Blood For You; A Literary Tribute to GG Allin (2015) Ed. Johnson, MP, Sam Richard, Weirdpunk Books.
Foucault, Michel (1978) “The Incitement to Discourse.” In The History of Sexuailty, Vol. 1. New York: Pantheon Books, pp. 17-35.
Rose, Gillian (2001) “Discourse Analysis I-II.” In Visual Methodologies. London: Sage, pp. 135-186.