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SPON
Issue 11 (2011)
Created by: Dr Steg
A5 colour and b&w
Approx 80 pages
(plus inserts)
Genre: Not known
Cover price: Not known
Country of origin: UK
Schedule: Irregular
First issue published: Not known
Web: The World of
Dr. Adolf Steg

SPON
Issue 11: The Cultural Detritus Issue
By Dr Adolf Steg

Review by Jennifer Wallis

Finally someone's found a use for those bloody pizza menus that get dropped through the letterbox umpteen times a day (though to get the full picture of door-to-door advertising, you should probably also include those cards for taxi firms all claiming the 'best rates' for airport transfers, and those suspicious pleas for clothing for 'foreign countries'). Takeaway menus, comic books, newspaper supplement pages and personal letters form the basis of SPON 11: The Cultural Detritus Issue, embellished with photographs, post-it notes and postcards. Aah, that sounds quite nice, you might think - a kind of grunge version of Kirstie Allsopp's Homemade Home. Nope. The newspaper articles are littered with handwritten expletives, the personal letters are a veritable catalogue of misanthropy, and the post-its proffer samples of 'nose blood' and 'finger blood'. Just in time for Christmas.

Ultimately, I guess SPON is an art project, one that would probably be 'postmodern' if it was done by Damien Hirst, but as it is, is more likely the kind of thing to get your name firmly on the suspects list should the police spot it when they pop round to ask you if you witnessed that unfortunate incident in your street last week. The copy I saw was numbered 8 of 25, and you have to admire the dedication of Dr Steg considering that each of these 25 uses one-off items to make up its contents (and are, as Steg suggests on the back cover, 'a total waste of time'). Mine included a glow in the dark skeleton keyring tacked to the first page, a leaflet advertising Lancashire County Council's Speed Awareness Course, and a black and white Polaroid of a small dog labelled 'Dawn'.

'What the hell is it then?' you ask. SPON is part scrapbook and part fanzine, with no connecting thread whatsoever. Apart from showcasing the work of Dr Steg, it also acts as a miniature gallery for other artists, with Andrew Paciorek's mixxy in the metropolis ('any similarity to the Miffy books by Dick Bruna, entirely coincidental') stapled to one page and Paciorek and pStan Batcow's Man booklet stuck to another.

More than the artwork, I found the letters forming some of the pages the most interesting part of SPON, mainly because all of them seem to be written by slightly unhinged people I'd like to go to the pub with: Paciorek ('when I was a kid I felt actually repulsed by the Krankies without ever really knowing why exactly'); 'Carplitoe' ('I write this sat outside Temple Tesco') and 'Dean' ('Spon plague strikes St. Annes-on-Sea'). If those samples interest you more than some of the musings to be spotted on the magazine pages used as background (dilemmas such as 'How to write about the White Stripes without using an endless list of superlatives?'), then SPON is probably for you. Frankly, I don't know whether you'll like it or not, but you probably won't forget it.

No doubt Dr Steg also expects this to be a review of must die records who are advertised throughout via numerous stickers and inserts. I refuse to do so. But I did buy something from their store. Clever.

   
Image cover ultra violent 11

Image cover famous monsters

ULTRA VIOLENT
Horror & Exploitation Film
Issue 11 (2011)
Editor: Art Ettinger
Publisher: Scott Gabbey
A4 b&w 112 pages
Genre: Film
Cover price: $5.95
Country of origin: USA
Schedule: Irregular
First issue published 1999
Web: UVmagazine



ULTRA VIOLENT
vs
Famous Monsters of Filmland
(and conquers the world)

Review by David Kerekes

There has been resurgence in recent years of horror film magazines whose unashamed model is the granddaddy of all horror film magazines, Famous Monsters of Filmland, founded by Forry Ackerman and James Warren in the late fifties. Hell, even Famous Monsters itself is back in digital format. For fans of horror brought up on a diet of Famous Monsters, at a time when there was really little else to snack upon but Famous Monsters, this is probably a treat. It’s clearly a treat for a lot of newer readers, perhaps too young to know any better.

I like Famous Monsters for what it is and what it achieved. But I wonder where that “serious publication” went that Forry Ackerman had in mind when FM was conceived (as I read a moment ago on the FM website, here), and how different would fandom be today without the awful puns – years and years of awful puns, a half century of awful puns in fact – that came to be Ackerman’s stock in trade?

It’s a moot point, of course, but interesting to speculate that maybe horror wouldn’t have remained a cinematic pariah if Ackerman had kept a straight face. I personally don’t want to be reading contemporary genre magazines devoted to the “classics” that are written and presented in the glib manner of Ackerman. Actually, that’s a little unfair: Ackerman was at least a pioneer.

Plucked from an early issue of FM quite at random:

DIG monsters? Bet your life you do! So pull up a plate of tanaberry sauce and let’s talk Turkey. (Count Dracula talks Transylvanian, the Frankenstein Monster talks broken, and we here at the FAMOUS MONSTERS pad—that’s short for padded cell—talk Turkey. Like right now Vampira is saying, “Pardon me, Clark Gobble, but that’s my red-polished fingernail, not a cranbury, you just stuck your fork into.”)

Ad nauseum. But then, regardless of whether the model is FM or not, very few contemporary genre magazines are worth much of a shout in my opinion.

For anyone interested in a serious alternative, Art Ettinger’s Ultra Violent: Horror & Exploitation Cinema is among that stable that provides it. It may not have the big, splashy colour graphics of some of its peers (indeed it’s gritty and black and white), but it packs a lot of meat in 100-plus pages. And prime cuts at that. Ultra Violent covers those films, filmmakers, actors and actresses rarely given space. Quite frankly, many of them are all but forgotten, or might soon be forgotten, or are unknown outside of a handful of mates. But this is what makes Ultra Violent such an entertaining read and an invaluable resource. In the most recent issue, fans of classic horror and exploitation are treated to interviews with Ray Sager, who plays Montag the Magician in HG Lewis’ The Wizard of Gore (he gets twenty-pages!), and the haunting Lynn Lowry (she gets eleven). Lynn confesses that her own personal favourite Lynn Lowry scene is the sinister close to David Cronenberg’s Shivers, set in the hotel swimming pool. Amidst the newer blood in Ultra Violent issue 11 is Peaches Christ (a blood spattered drag queen and host of the annual Midnight Mass event in San Francisco) and Chad Ferrin (director of Easter Bunny, Kill! Kill! and Someone’s Knocking at the Door). A retrospective of masked supercriminals rounds out the features section of this Ultra Violent.

Whatever your attitude to its content, which often covers extreme ground, Art Ettinger stitches together a fascinating and informative package, with very few puns.

   
Image cover doomwatch 3

DOOMWATCH FANZINE
The unauthorised and
unofficial guide to the
BBCtv series Doomwatch
Issue 1, 2, 3
Designed & produced by
Scott Burditt
A4 / approx 24 full colour pages
Published: 2011
Genre: Film & TV
Cover price: Nos 1 & 2 free to
download / No 3 £2.99
(£5.99 worldwide)
Country of origin: UK
Schedule: Not known
Web: Doomwatch

DOOMWATCH FANZINE

Review by David Kerekes

Here's a forum post I made on doomwatch.org, some months ago, a website devoted to Doomwatch, the British sci fi tv series of the early seventies:
I found your site through your Doomwatch fanzine, which I happened upon by chance on eBay (kind of; I was searching for "fanzine"). I'm enjoying the zine and applaud you for this website and the work and research that has clearly gone into it.

I don't actually remember the TV series and haven't seen any episodes of it, but I do like the movie.

Issue one and two of the fanzine are now available free to download as pdfs, while the latest, issue three, is a hardcopy and can be purchased for a modest sum through the doomwatch.org website.

Whether or not you remember the tv series, or care about it, is naturally going to influence your enjoyment of a publication devoted to the subject, but I got a kick out of these nonetheless. They are intelligent and well put together by a dedicated team of writers and researchers, whose passion and humour shines through.

   
Image cover biblio-curiosa

BIBLIO-CURIOSA
Unusual Writers/Strange Books Issue 1
By Chris Mikul
A5 / 44 pages
Published: 2011
Genre: Pop culture/print
Cover price: AUS $5
Country of origin: Australia
Schedule: Not known
Publisher: Chris Mikul
Email: cathob@zip.com.au

Web: None


Image cover bizarrism 11

Image cover cult files

Readers might also care to explore Chris Mikul's Bizarrism and the book The Cult Files: True Stories From The Extreme Edges Of Religious Belief (pub: Pier 9, 2009).

BIBLIO-CURIOSA
Unusual Writers/Strange Books
Issue 1
Written and published by Chris Mikul

Review by David Kerekes

Chris Mikul is the editor and publisher of the long running Australian based Bizarrism, a zine devoted to eccentrics. With his customary flair for the arcane, it is no surprise that the four lengthy essays in the debut issue of Mikul's new zine, Biblio-Curiosa, are as much a commentary on oddball literary creators as they are oddball books themselves. Case in point is The Pepsi-Cola Addict, a vanity press novel published in 1982, which opens this debut issue. The author of The Pepsi-Cola Addict is June Alison Gibbons, who was born in Barbados in 1963, with her twin sister Jennifer, before moving to the UK at an early age and eventually settling in Wales. Here the sisters retreated from the outside world and communicated to one another in a strange language, which was later discovered to be an accelerated form of English. They then descended into petty crime and arson and ended up in care.

Having discovered an elusive copy of The Pepsi-Cola Addict, Mikul takes up the curious and miserable story of the Gibbons twins; how they wrote profusely and how prescription drugs while in care ultimately robbed them of the desire to write. Having no success with regular book publishers, the sisters pooled their dole money to print The Pepsi-Cola Addict. It's no great literary shakes, but Mikul states that the book does have an odd vibe and is quite an achievement for a sixteen year old, no less one as closeted as June.

Elsewhere in Biblio-Curiosa is Hodgson's Tales of Medical Students, a book edited by an esteemed nineteenth century physician. Mikul notes that the pages of this eclectic book are so brittle they almost cannot be opened without fear of them decomposing out of existence.

There is a look at the life and works of Hanns Heinz Ewers, a German born multimedia artist at the turn of the century, and author of some disturbing psychological fiction, among them The Sorcerer's Apprentice and Blood. Ewers had some affiliation with the Nazi party, yet won few favours with the opinion that the way forward was to marry the German and Jewish races.

Perhaps my own favourite article in the first issue of Biblio-curiosa is one devoted to a novel titled The Fangs of Suet Pudding. It's a thriller set in war-torn France, written by one Adams Farr, a mysterious and possibly pseudonymous author about whom nothing is known. Mikul picks up a copy of The Fangs of Suet Pudding ostensibly because of its curious title. He finds the story rich with idiosyncratic characters and some truly bizarre situations, deeply unlike any other thriller. A prime example is the lead female character being abducted and forced to play the board game snakes and ladders over and over under a bed. Later, she ends up in a newfangled personalised bomb shelter and is driven away in it. I don't really think you need to know more about The Fangs of Suet Pudding to get a handle upon it.


I asked Chris a few questions pertaining to his life in zines and publishing zines in Australia. Here follow excerpts from that interview:

Headpress: Is there much of a small press 'scene' Down Under? How does the scene differ now to when you first started Bizarrism, and how do you fit into it, if at all?  

Chris Mikul: There was no scene at all when I started Bizarrism. The only zines (the word didn't exist then) I had seen were some Dr Who fanzines, and the direct inspiration (as I wrote about in the latest Bizarrism) was coming across some copies of Fred Woodworth's anarchist journal The Match. Shortly after I started, some very good film zines appeared, including Crimson Celluloid and Fatal Visions. The zine scene was very healthy for most of the nineties, and declined around 2000 (as I think it did everywhere) when the conventional wisdom was that paper zines would die as everyone moved online. That's changed again and it's probably as healthy as ever. This is partly being driven by an outfit called the Sticky Institute, who have a cool little zine shop in a subway in Melbourne, host zine fairs and issue a regular online newsletter. There are numerous zine fairs, with the largest being associated with the annual This is Not Art / National Young Writers Festival held in Newcastle (small city three hours north of Sydney by train) and the Sydney Writers Festival (I'll have a table there at the next one). Last October I went to another zine fair at the National Gallery in Canberra, held in conjunction with an exhibition called Space Invaders that was mostly about street art but included zines. (Strange to see Bizarrism behind glass in an art gallery!)  On the opening night, I've never seen so much free alcohol in my life - or so many drunken street artists and zine makers.  

Headpress: What inspired you to create Biblio-Curiosa?  

Chris Mikul: I'm a big fan of digest-sized magazines about books and authors like the US Paperback Parade and the UK Paperback, Pulp and Comic Collector, so I'm emulating those a little, though not sticking to any particular genres. On a more mundane level, I've just emerged from five solid years of researching non-fiction books and have barely had time to read any fiction at all, so I have a great stockpile of weird and wonderful books to get through. Also the material usually doesn't quite fit Bizarrism, which is very fact-based. My grand plan - and I always have a grand plan - is to do a few more issues and then combine them with a few other things I've written and turn it into a book. Oh, and you may be interested to know that Fender Tucker of Ramble House and I are bringing out a new edition of The Fangs of Suet Pudding.


Image cover bizarrism
Bizarrism: Strange Lives, Cults, Celebrated Lunacy by Chris Mikul, stories of real people whose lives have been governed by inner voices, sexual aversions, bovver, interplanetary heroics, and UFO magazines. More about this item»

Image cover bedabbled! 1

Image ghost of a hurt

BEDABBLED!
British Horror and Cult Cinema
Issue 1
Edited by Martin Jones
A5 / 32 pages
Published: Feb 2011
Genre: British film
Country of origin: UK
Cover price: Not listed
Schedule: Not known
Publisher: B!
Email: bedabbled@hotmail.co.uk
Web: None

GHOST OF A HURT
by The Sinister Insult
CD / booklet / photos in DVD slipcase
Price: £10 (UK) / £14 (International)
Web: The Sinister Insult

GERM CULTURES: An Appreciation

By David Kerekes

A mixture of review, interview and essay with a professional spit and a dash of colour, Bedabbled! approaches the matter of British horror and cult cinema with a quixotic eye. As one might surmise from its title, this is in some part fan appreciation and some part irreverence.

There was until recently a gap in the availability of a particular type of British movie: that is, the fantasy and exploitation movie that didn't qualify as Hammer or Amicus, and was otherwise ignored or forgotten. Even zines dedicated to British horror didn't really care much for them. In recent years there has been a turnaround, thanks to certain writers and the work of DVD companies such as Odeon and the BFI's Flipside in getting obscure material into the public arena.

I do believe there is more to it than that, however; that at times a 'culture germ' infects like-minded individuals in cities all over the country to tune them into 'doing something about it'. This particular culture germ has been working for some years now, and as its agent we are active in producing a little cultural exposition: Books are springing up on the subject of British B-movies, sexploitation films and directors that a decade ago were simply an embarrassment; the aforementioned DVD labels are releasing films that have little or no form in themselves, but are a piece of a bigger picture. A number of years ago, the programming committee for the Cornerhouse cinema in Manchester began dredging up 'lost' TV fantasy for their Halloween weekends, with author Ramsey Campbell and TV personality 'Garth Marenghi' (of Dark Place) popping by to lament its passing. At around this time I was spurred to create Creeping Flesh: The Horror Fantasy Film Book, through no commercial intellect, but rather some warped necessity to simply do so.

The germ continues. When the new collector edition series of Headpress started last year, I decided to publish without an ISBN, which is tantamount to heresy in the publishing world. A book without an ISBN doesn't register on any database, such as the British Library, and it won't appear on Amazon. In effect, the Headpress collector edition wouldn't exist, except for the people who wanted it. Perhaps there is an element of pigheadedness about such a decision, but then, a few months ago, I was attracted to a zine called Kontinental X (the first issue is reviewed here), primarily its look and attitude, which are clearly intended not to fit the natural order of things. With uncharacteristic deftness for the small press, other issues of Kontinental X soon followed and within a matter of weeks, issue number four was popping through the letterbox. Issue four carried no contact information in its pages, not even an email address. In the age of proton, this is the equivalent of no ISBN. If you want Kontinental X you have to actively search it out. I asked the Kontinental X editor, Cranston McMillan, about this and he said: "Yes it is on purpose. It's to give it an anonymous feel, as if it comes from nowhere."

Cranston adds he will go back to including his email address in later issues, but his decision to leave it off in the first place is an intriguing one.

When I first heard that Martin Jones was working on Bedabbled! British Horror and Cult Cinema, it came as no surprise that its path should cross with another project. Unbeknownst to Martin, Julian Upton was working on Offbeat: British Cinema's Curiosities, Obscurities and Forgotten Gems, a book to be published by Headpress that covers similar ground.

This celebration of forgotten British films is no great shakes in itself. What I find interesting is that popular culture moves the way it does, when it does, with people operating within it and making it happen often independently of one another.

But, back to Bedabbled! It's a pleasing A5 size zine with slick production and occasional use of colour. Issue one opens with Martin Jones' article on the very English gothic of Mumsy, Nanny, Sonny and Girly, a 1969 film directed by Freddie Francis. Jones looks at the film as if it was a forgotten treatment by Joe Orton, given that its presentation of family and class and the somewhat constipated predilection toward sex is common in the work of the cavalier playwright. It's an engaging take by the customarily inventive Jones. Elsewhere, Sean Crossey tackles Piers Haggard's Blood on Satan's Claw (71) and Julian Upton deals with Stephen Frears' Bloody Kids (79). (The evident lack of available film stills for Bloody Kids is ably compensated by a lovely picture postcard of Southend-on-Sea, where the film is set.) Issue one is rounded out by an interview with movie tie-in novelist John Burke, conducted by Johnny Mains. All in all, it's a tight and entertaining package and a hopeful indicator of more to follow.

Another product with which the estimable Martin Jones is associated is Ghost of a Hurt. This is an audio/literary package, as performed and presented by The Sinister Insult (Anthony Fielding, Martin Jones, Rik Rawling and Oliver Tomlinson). Contained within a DVD slipcase are a booklet that recounts an old Black Country legend ('Who Put Bella In The Witch Elm'), some colour photographs of the bleak location of the legend, and a CD of six musical tracks that evoke the legend. The music comprises loops, guitars and ambient sounds, and my immediate impression was that of 'white noise folk'. I haven't bothered to reconsider my initial opinion because I like the concept of white noise folk. It's a great package, limited to ninety copies only. You should get it.

   
Image paperback fanatic 17

THE PAPERBACK FANATIC
Issue 17
Pages: 68
Year: 2011
Genre: Pop culture/print
Country of origin: UK
Cover price: Not listed
Schedule: Quartery
Publisher: Not listed
Web: Paperback Fanatic

THE PAPERBACK FANATIC
Issue 17
Editor: The Fanatic

Review by David Kerekes

There have been other zines dedicated to pulp and esoteric literature. The US based Book Happy was one I liked; Chris Mikul, editor of the Australian Bizarrism, is working on another, which I'm sure I’ll like. The Paperback Fanatic is British based and has a UK bias. Having successfully weathered its humble A4 origins, it has hit a hugely respectable seventeen issues and boasts a decidedly more suited pocket size format (at sixty-eight pages, I have big pockets).

The Paperback Fanatic is a treasure chest of information on matters pertaining to the ‘trash’ and lowbrow entertainment of an earlier, more literate era, when even kids at school (boys, mostly) went out of their way to read books. Granted these books tended to have enticingly lurid covers with plenty of scenes of horror and lust inside. But any misconception that the UK paperback ends with Peter Cave and James Herbert, and bikers and skinheads and fat rats, is put to rights here.

Edited by the Fanatic, this is a zine that really has a sense of community about it, with a focused editorial preamble, healthy letters pages, and coverage of related media events (in this issue the 2011 Zardoz book fair in central London is reviewed, and by all accounts it’s the best attended for some time). It all helps create a strong sense of identity and everything else in the zine falls naturally into place around it.

A smattering of the contents in this issue includes an overview of the Nick Carter superspy series of novels and a piece on Joseph Nazel, a black author and heroin addict who outraged white society with what was effectively blaxploitation in print. There is also a history of New Worlds, the sci-fi fiction digest that started in 1946, possibly best remembered for being a literary staple of the swinging London scene under the editorship of Michael Moorcock and, later, Langdon Jones (who is interviewed in this issue). Elsewhere, a look at Fawcett Crest, a US publisher and distributor that sparked the paperback revolution when forced to publish material that was original and not simply reprints of hardbacks. The piece is a good example of the tone of the zine in general, in that the piece works as a primer that is neither stuffy or flippant, but knowledgeable and accessible.

The Paperback Fanatic is printed on good paper with many full colour reproductions of book covers. All in all, a class product and at seventeen issues and counting a reassuringly healthy one at that. But you’d better hurry as pretty much all the back issues and special one-offs are sold out. And now so is this one.

   
Image cover interstitial cinema 1

THE JOURNAL OF INTERSTITIAL
CINEMA
Year: #1 (2009), #2 (2009)
Genre: Film
Country of origin: USA
Cover price: 1 ($), 2 ($4)
Schedule: Quartery
Publisher: JOIC
Contact: JOIC, 387 Grand St
#902 New York, NY 10002 / grogz@hotmail.com
Web: journalofic.com

THE JOURNAL OF INTERSTITIAL CINEMA
Issues 1 & 2
Editor: Grog Ziklore, RJ Wheatpenny

Review by David Kerekes

There is some mystery surrounding The Journal of Interstitial Cinema. On the surface it's a film zine that defies modern convention to resemble the arcane aesthetic of a by-gone era, when word processor and floppy disk was king. I don't think it's intentional it looks this way, but then it's no bad thing. The guys responsible, Grog Ziklore and RJ Wheatpenny (pseudonyms I'll wager), are enamoured with TV movies of the late seventies and cine society at large.

The reader is pretty much on their own, with no introduction or editorial, just straight to the features themselves. These are film related, but not necessarily film reviews. Chances are you won't know quite what's going on until you've reached the end of an issue and then it all snaps magically into place. This is what I like about The Journal of Interstitial Cinema. It's a free form observational piece that jumps back and forth at the whim of the writers. In the article 'Clementalia', RJ Wheatpenny straight away dismisses the Jim Carrey movie Eternal Sunshine of the Spotless Mind as a lame comedy about memory loss, but then confesses to having very little recollection of it because he was drunk and that it's probably a safe bet of a movie to talk about on a first date. Carousel is also a safe bet, confides Wheatpenny, but some girls "would probably break into some song from it and get all annoying."

Elsewhere, Grog Ziklore recalls attending a screening of Fassbinder's epic Welt Am Draht at MOMA, during which somebody's phone rings. Other non-articles concern great cheapskates of cinema (among them Fred Astaire in The Towering Inferno) and four pages on the forgotten 1979 comedy, Incoming Freshmen, or rather 'the true story about the version you'll never see'. Four pages. There's also an interview with Damon Packard, who blew his inheritance on making Reflections of Evil, who talks about why the eighties are great. This sort of material puts me in mind of the wonderful Subhuman, and I'd be surprised if that defunct zine wasn't some sort of inspiration.

Image cover shock cinema 39

SHOCK CINEMA
Issue 39
48 pages, journal format
Shock Cinema
c/o Steven Puchalski
PO Box 518
Peter Stuyvesant Station
New York, NY 10009, USA
Web: Shock Cinema

SHOCK CINEMA
Issue 39
Editor: Steve Puchalski

Review by David Kerekes

A fanzine year is like a dog year, but longer, and Steve Puchalski has endured many of them with his publication Shock Cinema, which he edits, does much of the writing and co-publishes with his wife, Anna. Shock Cinema has been the voice of film fanatics since 1990, reviewing cult, arthouse and underground movies, and interviewing their makers and stars. Shock Cinema is what you would term a pro-zine and has hardly budged from its clean look and design of twenty years. Before it, Steve was publishing Slimetime, an altogether more modest film zine. Slimetime first appeared in October 1986 and ran for twenty-seven issues, through to June 1989, before access to the office photocopier and supply of green paper was unceremoniously yanked from his reach. (These issues are long gone, but the collected Slimetime has been published by Headpress.)

For anyone with any interest in cinema beyond the multiplex and its sallow parade of corporate entertainment, the institution that is Shock Cinema remains required reading.  This latest issue, thirty-nine, covers God Is on the Other Side, Dossier 51, The Incredible Professor Zovek, Amateur Night at the Dixie Bar and Grill, and a whole bunch of other movies you may not yet have heard of. Interview subjects this time round include Nigel Davenport, Luke Askew, and Marlene Clark.

I spoke with Steve recently and asked whether he would mind being interviewed. "Sure," he said, "I'd give it a shot, since I've now been doing this shit for twenty-five years. Unlike Mike Weldon or Rick Sullivan, I haven't retired from the scene.  Unlike Chas Balun or Bill Landis, I'm not yet dead."

That's reason enough by my books.

Image cover kontinental x 1

KONTINENTAL X
Issues 1 and 2
A5 / approx 32 pages each
contact: cranstonman@o2.co.uk

KONTINENTAL X
Issue 1 & Issue 2
Editor: Grey Wyler

Review by Ganymede Foley

In an age when everyone and his carrot has a blog online, it's a refreshing change to see that a fanzine with as primitive production values as Kontinental X can still exist. This is no-nonsense A5 stuff, with a staple in the spine. Issues 1 and 2 cover by-gone outré subjects, such as Brit poster-comic Legend Horror Classics (which I didn't know ran for thirteen issues), the Italian Fotoromanzi photo story mags for girls, an appraisal of Jonathon Frid and even an obscure Euro film director appreciation (Ugo Libertore, for you need-to-know types). Running through these first couple of issues (and possibly the third when it appears) is 'The Monster of Rillington Place', a comic adaptation of the John Christie murder case that is uncredited, but evidently derives from a very short-lived and obscure digest sized British publication of the 1970s. I'd tell you what it was called but I would have to first Google it, which, for the purpose of a very cool old school zine like Kontinental X, is most certainly not allowed. That said, the only way you can order copies (at 99p each!) is online.


fanzine  , the paperback fanatic  , kontinental x  , shock cinema  , chris mikul  , martin jones  ,
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Reviews
 
Guide to the Counterculture
. --Excellent
16/09/2011
With its wealth of archive reviews of zines and periodicals, Headpress Guide to the Counterculture is now available free to download as a pdf... well, the first part anyway. More parts to follow. Go to the BOOK EXTRACTS section of this website.
David K.
 
More zines, please!
. --Excellent
14/01/2011
Thanks for that, Ant. This is an idea we have been kicking around and we hope to put into practice soon.
David K.
 
More zines, please!
. --Excellent
14/01/2011
Are you planning on uploading the zine reviews from older Headpresses? I would think there is an invaluable resourse there.
Ant
 
 
Zine Suppository
Call for fanzines for the Zine Suppository. The small press is dying. Few people are bothered now to go to the time, trouble and expense of printing hardcopy zines when a blog on the internet can do practically the same job with fewer overheads.
 
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