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APSKAFT RELEASES musique concrETE Two different teams: one creates sounds, the other assembles them in tracks, then exchange roles

HOTSAM SPECULATIVISM PETER-DAVID SMITH TRAVIS JOHNSON

MONKEY COMIX EMPIRE COLLAPSE by Hox APINAN RAVIOLIA by Tuomas K채rkk채inen MONDAY 6PM by Malabi MIND BODY SOUL COMICS - pt. 2 by Peter-David Smith

APSKAFT CLASSICS AIRLESS PROJECT Avantlandscapes from Macedonia

INTERVIEWS JASON KAVANAGH Itsu Jitsu mastermind


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3. LETTER TO LISTENERS by Hox 4. APSKAFT RECORDS APSKAFT PRESENTS: MUSIQUE CONCRÈTE by John Ditzky 8. NEW RELEASES THE WRECK UP * SCALVAG * QTTO * HOTSAM * SPECULATIVISM * PETER-DAVID SMITH TRAVIS JOHNSON 10. INTERVIEWS JASON KAVANAGH: Itsu Jitsu mastermind by Hox 16. APSKAFT CLASSICS aiRless pRoject by fydhws 18. MONKEY COMIX

EMPIRE COLLAPSE by Hox APINAN RAVIOLIA by Tuomas Kärkkäinen MIND BODY SOUL COMICS - pt. 2 by Peter-David Smith MONDAY 6PM by Malabi


APSKAFTERS LETTER TO LISTENERS

Welcome to second issue of APSKAFTERS! In this number we open with a review by John Ditzky of our last release, “Apskaft Presents: Musique Concrète Collective”, with an into-deep analysis of every single track and how this project is related to conventional Musique Concrète. In Apskafter Releases, rubric about Apskaft’s artists new own records, there are reviews of The Wreck up (psych/prog fusion), Scalvag (electro-acustic/dark ambient), Qtto (b-movies music), Hotsam (electronic landscapes), last three records by Speculativism/Peter-David Smith (avantgarde) and a compilation of NY experimental musicians cured by Travis Johnson. Interview subject is Jason Kavanagh, the man from Glasgow behind Itsu Jitsu netlabel and a founder of a dozen of bands. For Apskaft Classics, fydhws speaks about aiRless pRoject, audio manipulator from Prilep, Macedonia. For Monkey Comix rubric we’ve got first episode of Empire Collapse, a sci-fi story about a band of terrorists; new strips from Tuomas Kärkkäinen’s Apinan Raviolia; second episode of Mind Body Soul Comics by Peter-David Smith; a lysergic illustration by Malabi of Qtto. What else? Enjoy APSKAFTERS #2!

Hox

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APSKAFTERS THENEWSOUND OFAPSKAFT RELEASES: MUSIQUE CONCRÈTE by John Ditzky Record Concept

APSKAFT PRESENTS: MUSIQUE CONCRÈTE Project started in: . . . . . . . . . . . . . . . . . . August 13, 2011 Release: . . . . . . . . . . . . . . . . . . . . . . . December 14, 2011 Number of tracks: . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Total lenght of record: . . . . . . . . . . . . . . . . . . . . . . 55:21

The idea for the Apskaft Presents: Musique Concrete album was to create a collaborative musique concrète album. Musique Concrète is taking mostly “found sounds”, or recorded sounds, and mixing them through experimental methods. Most of the time in musique concrete the artist does not have a clear idea of what the song will become until, through experimentation, it is discovered. The album was created by separating everyone into two different teams. The first team, Team A, recorded their own sounds and then sent them off to Team B. Team B also recorded their own sounds and sent them over to Team A. Using the other team’s sound files, each team member constructed their own musique concrete track from sounds they themselves did not create. This collaborative mayhem allowed for an interesting and altogether apskaftian creation.

Record Pieces

Bands involved: Team A: Travis_Johnson * Jomahoz * The anchorites * Nick Blessing * archangelfilms * billcarson * Hold_The_Gun Team B: SimiArbeit * Ditzky * Speculativism * The Acousmatics Res Band * silverlage * JackTehRipper. APSKAFTERS 4 02 - DEC 2011

01. “Vuzöolut” by Travis Johnson This piece is an interesting little intro to the album. It sets the stage with an air of doom. While the track is somewhat jarring, it also has a feeling of serenity.


APSKAFTERS THENEWSOUND OFAPSKAFT RELEASES: MUSIQUE CONCRÈTE by John Ditzky

02. “Third Mesa Circa 2100” 05. “Musique Concrete” by The Anchorites by billcarson The “Third Mesa Circa 2100” immediately transports you to a futuristic tribal gathering. The sounds of flutes get distorted by bleeps and bloops. It is a fusion of future and past, in a way that conjures up images of befallen spacecraft and enlightened tribal chiefs.

“Musique Concrete” is a very ambient and tranquil piece. Distorted sounds create a postapocalyptic ambience. It conjures up imagery of passing through a desolate wasteland, by some observer. Maybe the spacecraft from the third mesa.

03. “March of Mush” by Nick Blessing

06. “musique concrete” by Hold_The_Gun

This dismal march brings together a sad shrieking bird-like sound with sound of wind chimes. It truly feels like you are marching through a thick and exhausting bog, without much hope.

A very musical rendition of musique concrete, makes this piece quite different. It still makes use of odd and “found sounds” but in a very rhythmic and oriented way. To me this track symbolizes a path of 04. “Massacre Concrete” by Nick Blessing hope in this overly distracting world. This piece is a lot similar to a classical Musique concrete piece, but maybe with a little extra pinch of catastrophe. Sounds of machinery clash with talking and chanting in a disorderly but beautiful way.

07. “Ehdoton Dub” by Pariton This piece is a chill adventure. It moves from odd sounds through a sort of grace, to create a seamless adventure. Towards the end it seems to open up, bringing a calmness and completeness to the adventure.

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APSKAFTERS THENEWSOUND OFAPSKAFT RELEASES: MUSIQUE CONCRÈTE by John Ditzky 11. “Musical Concrete1” by Speculativism An interesting journey guided by some bilingual tour guides. This journey takes us through many different sounds by slowly moving scenes. 08. “Dinghy and Squall” by Ditzky These scenes come together with the help of the tour guides telling us to “amp up.” Maybe a comment to keep our head up This track heavily utilizes speeding up and slowing down all the through all this dark doom-filled music. sounds to create a simple image. It starts with a small dinghy just sitting in the ocean. Then the skies open up a chaotic and 12. “Gentle (Terror) on My Mind” by Speculativism frightening experience. As the title suggest a terror is created in this song, but in a very 09. “Transmissions of Consciousness” by Ditzky gentle and almost serene way. At some point it sounds like you arrive at volcano, but luckily it is This piece starts with little snippets from later in the song. As the a gentle one, no Krakatoa. song goes on you hear each of these samples in full. Each part of the song is to be like a thought, at first it just seems to drift. Then, the more one thinks about it thought the more understandable it becomes. 10. “Muse Call Come Crete” by Speculativism An ambient pulsing with protruding machinery and burps makes for an interesting combination. It creates a vision of an almost astral place. The title gives rise to a series of questions, pertaining to where do artists get their muse.

13. “Dinosaur Excavation Worksong” by The Acousmatics This song sticks out from the rest of the album, in that it actually sounds happy. I mean, who can resist the vision of cute little T-Rex sporting mining caps and mining some precious metal. Then again it does seem almost like it is using this happy picture to disguise a hidden danger at points.

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APSKAFTERS THENEWSOUND OFAPSKAFT RELEASES: MUSIQUE CONCRÈTE by John Ditzky

14. “Mysterious Underground Engine” by The Acousmatics

Summary

The underground engine chugs along underneath the dinosaurs working hard to mine the precious ore. Carrying with it all the troubles of associated with mining. This piece seems to be the dark side of the excavation worksong, showing something mysterious lies beneath.

This album shows that even though we may all have different ways of expressing and mixing the sounds, they tied together in an interesting way. Many of the sounds were matched similarly, as some of the sounds just seem to fit in an obvious manner. But overall, each artist brought their style into it to create new and original pieces. In comparison to real musique concrète this album has some striking differences. For one, most artists seemed to have an idea how to fit the sounds together, rather than just experimentation. Also, most songs were very rhythmic and ambient, when musique concrète is usually striking and random. Not to say that there weren’t any musique concrète sections, “Massacre Concrete” and “Musical Concrete1” seemed to be the most true to the musique concrète form. Also most songs had a sense of phrases, or at least identifiable “chunks” of the song. Pierre Henry once said:

15. “Concrete” by Res Band Mixed and shattered pieces come together to form a rocking concreteness. A picture of a battle-ridden robot comes to mind, as he staggers and fights to stand. This piece leaves us right back where we started, with shattered raw fragments waiting to be refined.

“musique concrète was not a study of timbre, it is focused on envelopes, forms. It must be presented by means of non-traditional characteristics, you see … one might say that the origin of this music is also found in the interest in ‘plastifying’ music, of rendering it plastic like sculpture…musique concrète, in my opinion … led to a manner of composing, indeed, a new mental framework of composing”. So did we break down and ‘plastify’ the music into a sculpture? Maybe not in the same way Pierre Henry or Pierre Schaeffer did, through a minimalist collage, but through a delightful cacophony of sound.

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APSKAFTERS APSKAFTERS RECORDS NEW RELEASES

THE WRECK UP - WRECK UP EP The Wreck Up is a duo whose members are David Preston (guitar in Res Band ) and Hox (vocals, bass and keys player in Hox Vox, Turbogrind Terrorizers, The Blasted Muffins ). First effort is a 5 tracks EP floating among progressive rock, psychedelia, jam rock and fusion.

SCALVAG - CATAPHRACTUS (HORRIBLE RECORDS] Third album by german duo Scalvag. In this record they find their way more and more: got more minimalistic aspects than the previous ones, they tried to use no real instruments, and more synthesizers. Ambiences and field recordings became a more important part. Tags: klangkunst, soundscape, experimental, electro-acoustic, neoclassical, abstract ambient, concrete, dark ambient, avantgarde.

QTTO - OUR MIND IS A BEAUTIFUL (HORRIBLE) THING (GARDINSLYNAN] Our Mind Is A Beautiful (Horrible) Thing is the debut album for Qtto, a one-man band consisting of a man with multiple personality disorder, who, with his weird and sometimes creepy sounds will hopefully be able to make you at least a little uncomfortable. The genre of choice is b-music, since the stories are very much like the stories from b-movies.

HOTSAM - LAMENTOR Finnish cinematic composer Sami Hotakainen (aka hotsam) return after a very long pause. On Lamentor he feeds some new glacial music environments filled with minimal layers, to compose an enormous picture. Tags: experimental, imbuteria, indie, the vitamin b12, under 2000 listeners.

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APSKAFTERS APSKAFTERS RECORDS NEW RELEASES

SPECULATIVISM - SOUNDS INSPIRED BY THE BATTLESHIP POTEMKIN These are the original five tracks I recorded way back at the beginning of the Apskaft Battleship Potemkin project, before allocations were made to participating group members. The concept I worked with was a two-layer sound. The under layer is anger and frustration, represented by the electric guitar. The over layer is the day-to-day routine of the sailors on the ship, performing routine banal tasks, represented by the percussion.

PETER-DAVID SMITH - EXPLORATION It has 23 tracks, is powered by guitar, synth, vocals, sampling and distortion. The 23rd track has space exploration samples placed in the public domain by NASA (including “Spooky Saturn” and “Bleeping Sputnik”. Amongst other tracks there are versions of “The Ballad of Jesse James” and “Life is Just a Bowl of Cherries”.

SPECULATIVISM - TAKE THE SMOOTH WITH THE ROUGH (ZILCH RECORDS] The concept behind “Take the Smooth with the Rough” was a meeting between rough noisy sounds and gentle smooth chillout sounds and also between structured and unstructured forms - where they meet and mutually subvert each other. Hence “Smooth” with “Rough”.

TRAVIS JOHNSON - FILAMENTS (ILSE] Compilation with exclusive new work from PREC (Paulo Chagas, Fernando Simoes & Paulo Duarte), Bruce Hamilton, bruno duplant, Lazurite, Doug Holbrook, Massimo Magee, aslis, C-C, Jamison Williams & AG Davis, Elizabeth Veldon, Ghost Volcano, Violent Pink, Delphine Dora & bruno duplant and sabrina siegel Compiled by Travis Johnson - Cover art by Richard Kamerman

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APSKAFTERS INTERVIEWS JASON KAVANAGH: ITSU JITSU MASTERMIND by Hox

Jason in da forest.

In first Apskafters issue I had a conversation with Jonas Lind, Apskaft founder. One of the topic was a about his uncanny need to play in dozen bands. Now I meet Jason Kavanagh, chief and mastermind of Itsu Jitsu netlabel, and creator of a great number of projects, alone or with other musicians, such Awaycaboose, Cavity Pitch, Gondowanland School of Subcutaneous Noise Infraction, The Blasted Muffins (a duo by me and Jason) and many others.

Seems like playing in many bands is a trend... whatever, can you shrink your bio in a few lines? So to let readers understand the background. I’m a multi-personality, unabashed sonic experimentalist. Equally happy to craft ‘serious’, intense electroacoustic/ musique concrete pieces as I am to squish random hideous sounds together to create surreal or abstract, unsettling mu-

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APSKAFTERS INTERVIEWS JASON KAVANAGH: ITSU JITSU MASTERMIND by Hox

zak. I love field recording and if something makes a sound, I’ll happily record it, use it and abuse it. What is your relation with conventional instruments? I have no connection to conventional instruments at all. I’ve tried playing guitar, piano, flute, tuned percussion, hand drums, bass, etc. etc. etc. I can strum a few chords, plonk out a tune and keep a beat and in all honesty that’s about it. The problem for me with ‘real’ instruments, is that I have no desire to be good at playing any of them. The sounds which they make don’t excite or inspire me. Don’t get me wrong, I love a lot of music which is made with the standard set up of guitar, bass, drums, keys and vocal but when I sit down to create music myself, those things just don’t feel right for me. What excites and inspires me is the act of manipulating sound via production techniques to distort, pervert, break apart and reassemble it into something new. Because of that I’m happy to play a few notes, get down something rough and then transform it. I know that is a limitation because I’m sure that putting in the time with an instrument could potentially open up new Hahaha...That’s a tough one...I think probably a little bit of all avenues of expression in my music but for now at least, I’m of those things. happy doing what I do. You’ll know what it’s like yourself, it’s hard to ever be comI’m a musician as well so I’m quite interested in this question: pletely satisfied with something which you’ve created as you do you like to build a track, and not interested anymore when can see ‘the joins’ and mistakes but yeah...some tracks I refinished... or you suffer in creating the piece, as you’re inter- ally enjoy the process of making and the end result. Others I enjoy making but am loathe to ever listen to again because ested in final results? of either the nature of the process which I’ve gone through to You can choose a third way, I mean enjoy both APSKAFTERS 11 02 - DEC 2011


APSKAFTERS INTERVIEWS JASON KAVANAGH: ITSU JITSU MASTERMIND by Hox

arrive at the finished work or simply because I can see (hear) An artist working on many different projects and bands raise how the track could have been better. up the bar in his experience; but same time he risks to atomize his image and somehow lose it? As an example, even though I am very pleased with the finished piece, it’s tough for me to listen to Glasgow#1: Pollokshields Yup, I’d agree with both of those things. I feel that pushing East to Partick because that particular work is about my ill- myself in different directions has definitely helped me hone ness and how it affects me when it is at it’s worst. But then my craft, so to speak, but I also feel that it has disseminated again, it’s also tough for me to listen to about 80% of my away- my work to the point where some of my projects have literally caboose output because I think it sounds crap! Hahahaha. only a handful of people who have heard them, due to them not APSKAFTERS 12 02 - DEC 2011


APSKAFTERS INTERVIEWS JASON KAVANAGH: ITSU JITSU MASTERMIND by Hox

being as visible as my main projects. In fact I’m pretty sure that there are people out there who have no idea who ‘Jason Kavanagh’ is but still listen to all of my old awaycaboose stuff. All of that doesn’t really worry me though. I make music primarily for myself, if others enjoy it then that’s fantastic but at the end of the day it’s no big deal if someone decides they don’t like my image because I’m trying to be a (it’s that word again) ‘serious’ artist but also want to express my silly side. So you don’t wanna be a hero!

Hahahaha...no, definitely not. Like a lot of people in the DIY/ experimental music scene, I’m just happy being part of the sea change in how music is made, distributed, listened to, etc. What are the most interesting things you listened to in last decade? Most interesting things eh? Wow! So many, too many to list as there is so much great stuff going on out there, but off the top of my head (and this isn’t me currying favour ) Your work (Hox Vox) and Doug Sharp’s recordings under his own name and with his daughter as Zilch Spacecasting Network and Math have been the two biggest influences on me in the last 3 years, since I began making music again. APSKAFTERS 13 02 - DEC 2011


APSKAFTERS INTERVIEWS JASON KAVANAGH: ITSU JITSU MASTERMIND by Hox I’ve never told you this but before you and I met through Apskaft, I had already happened across and downloaded Eight-Bit Deboned and was so astonished at this weird, surreal music that someone had made on floppy discs that it inspired me to stretch myself and start experimenting with sounds out with my comfort zone. In terms of Doug’s work, ZSN, Math and his ‘Boogafoo Music’ album are the direct inspiration for ‘Gondowanland School of Subcutaneous Noise Infraction’. Other than that, like I said, too many to mention and rather than me list them all I would simply encourage everyone reading this to get online, explore the Netaudio community and most importantly of all, open your ears and mind to new sounds Thank you! Do you think this wave of new bedroom artists is a real movement or they’re too individualists/multiform to become it? I’m not sure I’d call it a movement, a movement, to my mind anyway, has to have a cause and be organised. The DIY music scene definitely is too disorganised, spread out, individualist and multiform to be an actual movement. That however isn’t necessarily a bad thing, you don’t need a movement and to be organised and actively seeking change in order to actually provoke change. The DIY scene is, I think, creating change in how music is made, distributed and listened to in a very osmotic manner. Slowly APSKAFTERS 14 02 - DEC 2011


APSKAFTERS INTERVIEWS JASON KAVANAGH: ITSU JITSU MASTERMIND by Hox and that isn’t necessarily a bad thing. The time was right for me to stop running itsu jitsu. awaycaboose and itsu were inextricably linked as the two things which got me back making music after a long bout of illness. I had put awaycaboose to bed almost a year ago and so it was finally itsu’s turn. I felt a need to be free of the projects which to me embodied a healing process and move on to bigger and better things. Hopefully that’s what I’ll be doing in the new year Ok, thanks for your time and break a leg mate! See you in our next The Blasted Muffins record Thanks for having me and for the interesting questions. Take it easy bud but surely and without really understanding why, people are becoming more and more open to things like free downloads and Creative Commons distribution, that in turn is bound to have an effect on the Big Business Record Industry. A few time ago you announced a pitstop for Itsu Jitsu netlabel, but now things seem are on again... well... isn’t it? Tell us of netlabel next plans. Itsu jitsu is now officially closed and has been since early November 2011. I thought my last couple of posts there had made that clear but as this isn’t the first time since then that I’ve been asked about itsu related stuff, I think now that maybe they didn’t. So here it is, the official word, itsu jitsu is no more APSKAFTERS 15 02 - DEC 2011


APSKAFTERS APSKAFTaiRless CLASSICS pRoject by fydhws

This time we got the bedroom musician from Prilep, Macedonia, the audio-manipulator as he call himself, aiRless pRoject. His solo project began in 2003 with the “Underwater Airless Explosion” album, collection of tracks embedded in various styles and moods where he most notably explores the electro-jazz genre with, not so modest, touch of psychedelic guitars.

The influence of Pink Floyd and early 60’s psychedelic sound trips can be captured thorough the whole album, the spacey elements used for building the atmosphere, perfect for drifting away, are the main drive force in tracks like ‘Careful with that axe, Eugene’ and ‘Underwater Airless Explosion pt.1’. The use of saxophone is nothing short of brilliant, also used as one of the main instruments in his next albums, balanc-

ing between melody and the hyperactive, ever-changing, distorted beats, beautifully executed in the opener of “Remains of a Broken Mind”. But, he is slowly shifting and evolving into more electronic sound in his second and third album, almost dropping off the guitars and focusing on structure. Although the genre shifting he is taking short trip to his roots showing us the relentless experimental side of his work, on a psychedelic journey with “Freeform

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APSKAFTERS APSKAFTaiRless CLASSICS pRoject by fydhws

Waveform” and the darkly 70 minutes track “Breast feeding the Devil”. aiRless latest album, “Dopamine Entities”, fully explores the electronic style of his. It can be put in the IDM, downtempo, genre, it’s laid back and enjoy, piece of music. Not so experimental as his previous efforts but the biggest strength this album brings is the sense of atmosphere and the surgically precise rhythm sections. It’s strange mix of dark atmospheric mood and almost joyful melodies. And that’s the beauty of this album, you got feeling you are in the middle of some sinister surrounding but you feel comfortable, almost protective, rather than scared. Nine tracks

Dopamine Entities

in 30 minutes of pure bliss, it’s music to be played in dark room, preferable on headphones to get the deeply layered compositions. Don’t like to single out tracks, to lessen the album as a whole, but ‘triggering mixed states at random times’ with those hypnotic synths hovering over great beatwork and the drony closer ‘my entropy is well-deserved’ are shining gems, deserving to be put on a repeat on daily basis. The cover art is also in symbiotic fuse with the music, foreshadowing the felling this album encapsulate, alone on a empty road on a cloudy day with beams of light awaiting us on the other side. Infinity vs Airless

So, do yourself a favor and enjoy in these Apskaft Classics. APSKAFTERS 19 17 02 - DEC 2011


APSKAFTERS MONKEY COMIX EMPIRE COLLAPSE by Hox

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APSKAFTERS MONKEY COMIX EMPIRE COLLAPSE by Hox

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APSKAFTERS MONKEY COMIX EMPIRE COLLAPSE by Hox uh-oh.

YKE!

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APSKAFTERS MONKEY COMIX EMPIRE COLLAPSE by Hox

[continue]

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APSKAFTERS MONKEY COMIX APINAN RAVIOLIA by Tuomas K채rkk채inen

Sipulivauva (baby onions)

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APSKAFTERS MONKEY COMIX APINAN RAVIOLIA by Tuomas K채rkk채inen

Kettulapset (Fox kids)

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APSKAFTERS MONKEY COMIX APINAN RAVIOLIA by Tuomas K채rkk채inen

Eutanasia (Euthanasia)

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APSKAFTERS MONKEY COMIX APINAN RAVIOLIA by Tuomas K채rkk채inen

Quattro Stagioni (Quattro stagioni)

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APSKAFTERS MONKEY COMIX Mind Body Soul Comics - part 2 by Peter-David Smith

TRAPPED

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APSKAFTERS MONKEY COMIX Mind Body Soul Comics - part 2 by Peter-David Smith

ESCAPE ---

Mind Body Soul Comics 2

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APSKAFTERS MONKEY COMIX Mind Body Soul Comics - part 2 by Peter-David Smith

ESCAPE

TRAPPED

TRAPPED

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APSKAFTERS MONKEY COMIX Mind Body Soul Comics - part 2 by Peter-David Smith

eScApE eScApE eScApE eScApE eScApE eScApE eScApE eScApE

by Peter-David Smith 2011 - Creative Commons Attribution – ShareAlike Licence

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APSKAFTERS MONKEY COMIX MONDAY 6PM by Malabi

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APSKAFTERS MONKEY COMIX MONDAY 6PM by Malabi

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Hox (Gianluca Missero)

John Ditzky

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EDITOR, DESIGN, COMICS, WRITER

SUPERVISOR, WRITER

fydhws

WRITER

Tuomas Kärkkäinen

COMICS

Peter-David Smith

COMICS

Malabi

COMICS

APSKAFTERS - The Sound of Apskaft official monthly magazine Web presence: WEBSITE - BLOG - YOUTUBE CHANNEL - BANDCAMP - INTERNET ARCHIVE cover image: “Merry Fishmas” - illustration by Hox

M A G AZ INE


APSKAFTERS N.2