words from the editor:
thank you everyone who made this first issue of digestible possible. a very special thank you to those who gave me the special privilege to print their work. it is more than an honor! i am first a fan of every single artist in here. I really hope I did you all justice. & big thank you of course to those who shared some words with me. my goal for digestible was to make the sick art that my friends and I found more accesible and wide spread. this has been the goal of the eat worms since its beginnning, and now we are starting a project that I believe is the full circle of our original idea. So thank you every one who picked up a copy of this humble magazine. You are part of this too! Community breathes life into art and that is what Eat Worms is all about.
+ I really hope you think this stuff we found is sick too.
— beto
How has your day been?
What is it like in the life of Carmen?
Dude, all I do is work. Work, music, work. But uhh… today is my day off, so I caught up on some sleep.
I really didn’t do much to be honest with ya.
But I had to uh.. - my landlord, I have to mow her lawn every now and then *laughs*
That’s the life of Carmen.
But yeah man, I just been working. tryna make it happen.
Had to stop the partying and the bullshit.
Today is kind of a big day though. Technically tonight AYN should be out on all streaming platforms. And that will be the first song of yours since October 1st, 2021 with Parting Company I think? That’s like two years, over two years..
Yeah, I even forgot I dropped that one. I thought it had been like three years. *laughs*
But yeah, AYN technically should be coming out tonight.
in conversation w/
CARMEN
AYN?
It’s A-Y-N, it’s a shortened version of “All Your Nights”, that’s the original name. But I didn’t like how it looked so I cut it down, and AYN looks clean to me.
How does it feel to have music coming out after so long? Is it a good feeling? Does this feel like the feeling you’ve been working toward?
I always tell my friends that music to me is like a love and hate relationship. See, I’ll love it but I will also hate it.
It’s very anxious.
Even though I’m not at a level like:
“Oh shit there are so many people looking at me.”
It’s still like, this is me.
This came from my heart. I produced this, I did all this, and I hope that people enjoy it.
I took a hiatus because I didn’t know where I wanted to go with the sound.
And I was just going through a lot in life, I was learning a lot of new things about myself growing up as a person. And as a man, in the world.
The change and the feeling naturally came about.
I noticed I wasn’t super focused on music because I was focused on getting my life together, or working to make more money to support myself, and doing this and doing that.
It was natural but it was also like:
“I need to get back to it, I need to get back to it, I need to get back to it!”
So now, I actually have a team of people that I can trust, around me, when it comes to this music and this artistic vision and creation. We have plans for different projects that will come out in the near future, and it feels good.
I feel like I have been looking for people that I genuinely artistically and work-wise connect with.
A lot of people around here are like
“Yeah I would be down to do this”
But when it comes down to doing it, we don’t end up doing shit, you know what I mean?
That was frustrating for a lot of years so I kinda just tucked off for a while.
But now I got a new manager, I got some good homies around me, and I am just sticking to that.
And I’m hoping for our first release to go well.
It is exciting to hear you already have plans in mind. Will there be a project or is it too soon to say?
Or are you trying to take your time with this? Let it simmer and cook naturally?
Oh imma let it simmer. I don’t wanna really say too much because there is a lot of planning going on and things aren’t just yet concrete. Don’t want to say something that might not be.
On your instagram you label yourself as Carmen but you also have it written in Ukrainian Abekta. I noticed, also through your manager, how you kinda align with the Sacramento brand FAMINE that also happens to be proudly Ukrainian. Sacramento has such a large Ukrainian community, which I think is especially unique to here. Would you say being surrounded by a large Ukrainian community affected your art? Has it helped you at all?
Definitely. I am not necessarily purely around Slavics, Ukrainians, and Russians, as of late.
I have actually been around a very diverse group of people, which I think is rare to have.
But me growing up Slavic, going to Slavic Church, people think:
“Oh you want to be a musician?”
They’re not going to take you seriously, as is in most cultures you know?
In our culture it’s like:
“You better get a truck driving job!”
You know? You better work your ass off doing this, and meanwhile I am doing this whole other thing.
But it is really cool to have those people who support around me, but then I realize they don’t even have to be Slavic.
Like my manager, Georgios, he’s Greek. He genuinely comes from there. And I align with him on so many things, on how we work and how we move. His culture lines up with my culture very much so. Finding people like that helps you a lot. They keep your mind on track and away from other BS.
How would you say the creative process has changed working with a larger team? Now with a manager, you get organized. It can’t just be“I am making music in my room, let’s see how it goes.” You have to start working professionally now, or at least try to.
Yeah you got it on point right there.
I really am making music in my room and I’m seeing where it goes, most definitely.
The transition to having a team around me, with that the difference is you don’t have to feel like you have to do everything and everything you do has to be perfect.
Last year I had to come to the realization that whatever I am going to do, it isn’t going to be perfect. Even if I focus way too much on perfection, I am not going to like it at the end of the day.
But now with a team, they will work on these things with you, or they will actually just take things for you.
It takes a lot of the stress off your shoulders.
When it comes to stuff like a video recording or even something simpler like a Tik Tok. If you are braindead after the day but you have a homie around you that knows what you’re about and is also invested, it’s really nice.
So I can do my music thing still, just making my music.
But we are planning things now, and I have people working with me consistently.
That is so important.
Do you find yourself working with multiple people when you make music? Or do you stay in your own zone?
When it comes to the music itself, it’s still all me.
I’m like, “Get yo ass out of here!” *laughs*
I want you to touch nothing. I did have a change of heart though for people who can do the mixing and the mastering and throwing extra keys here and there, maybe a saxophone or whatever.
It used to be:
“Nah, I have to do everything completely on my own” which is really stupid.
Music is a collaborative process.
Even though I still do it on my own, I create it — the beginnings of it on my own, I am willing to now work with other musicians or artists or maybe say a feature.
I am a lot more open to it.
What things are influencing your art? In the art world, in daily life, what is feeding your process?
Like right now?
You know, it’s weird, this is the first time I have been searching for music.
I am at that next point of life, right? Musically. And I have been searching for something to inspire me, for that. But I haven’t found that yet. It has been bits and pieces.
I have been most inspired by people in the clothing world, and seeing how the way they do things can be translated in the music world.
I guess you can say I am just inspired by the work ethic. It has been about trying to conjure up information and have that in mind for whatever projects I have next.
I want to be consistent with how I work and get things done quicker.
You have kind of always been around the Sacramento fashion community. You’ve been making music but you also stay aligned with the clothing scene around you. You have modeled, walked, and even performed at a fashion show, right? Would you say this connection is important to the identity of the artist, Carmen?
It’s funny, because before I dove deep into being a musician or an artist, at 15 I wanted to make clothes.
I had a whole book full of my sketches and all that so I don’t know, clothes have always caught my eye, I always liked it. I never got into learning like the screen printing process or anything like that, but it has always been around me. So I guess it might be part of my image.
I don’t know. I love it. The shit is tight.
How do you listen to music? Do you have physical copies, playlists, radio, what works for you?
I’m basic man.
Ever since I found out how quickly you can find people on Spotify I’m like: “Hell yeah, I’m snatching that”.
I feel like they bring up really good artists out of nowhere that you have never heard of before.
I still have some records, I’ll buy stuff that looks cool or I have never heard of, but honestly Youtube and Spotify is where I am doing most of the deep dives. A lot in the car.
Physically, where are you listening to music at?
I will just drive aimlessly, I don’t care where I’m going. For me driving my car is very therapeutic. I need it at least once a week, I gotta drive and play some music. I never even know where I will go.
It’s like 2 in the morning downtown, nobody’s out.
“AYN” by Carmen, feat. Mega Nova available on streaming everywhere.
Q’s by Beto
A’s by Carmen
Photos by hiddenmist___
zayflixx
My name is Isaiah Carlson I am originally from Eureka, Ca but I have lived in the Sacramento area for the last 7 years.
I’ve always been interested in the idea of photography.
When I was young my Mom would always have one of those disposable film cameras on hand and I loved seeing the results of the prints when we would get them back. I started personally taking photos when I got my first phone that had a camera around age 10 I took photos of any and everything that caught my eye. Eventually I moved onto an iPhone and continued just casually taking photos with that.
I knew I wanted a camera but I didn’t know what route to go when buying one. My friend Michelle suggested I should get a good starter film camera and after doing a little bit of research on film photography I was sold. In November of 2022 I bought my first camera and I’ve been hooked on shooting film since then.
Growing up I consumed a lot of cartoons and art that provided me the escapism my peace of mind needed to disconnect from a turbulent environment.
Today, I use the camera’s eye to capture and translate what my mind romanticizes and admires in my life. I am reclaiming the awe and wonder that art in media developed within me in order to apply that sort of essence to my day to day life.
Everything I am has always been.
Everything I have yet to be, will wait for me.
But only in this lifetime can I love the way I love.
I love you, Fernanda @fernitoe
of my sibling
portrait
Blank Slate is the second offering from Los Angeles based BASS DEMON PRODUCTIONS.
It was directed by Aaron Tebache, who also did the cinematography, scoring, editing, and writing.
Sean Roche acts and writes.
Aaron McGuire handles coloring and also operates the camera.
The prelude to the Demon, was a short film called Pacific Smoking Club, written by Sean Roche and Daichi Marian, released December 24th 2021. During the filming of PSC, one of Sean’s friends encouraged him to speak to Aaron McGuire, specifically because he would “be mean” to Roche’s work. Roche had already previously known McGuire but by involving him in the work, he had begun the first step to build the team for Bass Demon’s first project, One Wheel Dave. This short film, released September 29th 2023 was directed by Sean Roche and featured him alongside Aaron McGuire and the titular character, “ One Wheel Dave ” . Newcoming team member Aaron Tebache, a long time friend of McGuire, offered better knowledge in audio to help amend the team’s mic situation, and also shot the film. It was after One Wheel Dave released that Roche and McGuire sat down with Tebache to formally solidify the team. They agreed that they wanted to make as many more shorts as they could and their plan was to rotate directors each time. Their first film was directed by Roche and their second by Tebache. At the time of interviewing, they were finishing up McGuire’s directorial debut.
Blank Slate was a spawn of Aaron Tebache’s Covid infection. Whilst quarantining, Aaron made an effort to make a song every day and he would share them with his friends. After hearing one of Aaron’s songs, Sean began to draw ideas. He was inspired by the unique sounds Tebache had created and felt it tell a story. He sent drafts of vignettes that the team began to build their film with. Tebache would continue to score the entire film and the scenes were built off this work.
Aaron thanks Roche for writing his ideas down in the first place because he felt that without that, he probably never would have done anything with the songs. Once Roche had the snowball rolling, Tebache was able to build off the ideas. Soon enough, Aaron was beginning his first directorial experience, which he says was the hardest thing for him. He had previously directed a music video for his song Dirty Hands and long before that, worked with McGuire on various videos in elementary school. Otherwise, Tebache lacked solid directorial experience, especially on the scale of Blank Slate.
He struggled a bit with getting it all organized but it was thanks again to the aid of Roche texting Tebache about shoot times that also helped move the project along. Aaron often found himself figuring out plans the day before shoot, but Roche’s prompts kept him on track. Tebache was especially excited to have a big crew but he later learned it made his job even harder. Scheduling shoot times that involved such a large group of people was new to Aaron and the team just as well. They faced a challenge of really getting people committed, as they would often find people who were excited to participate but would fall short on the follow through. They all worked together though to gather a group via texting en masse and then would perseveringly cover multiple scenes a day. They had apparently gathered quite a lot of material, so much so that they had to cut a significant amount from the final product. Suppose it wouldn’t be a “short” if they had done otherwise.
One idea that didn’t make the cut was not necessarily by choice. The last scene of their first day shooting was the chase scene featuring Roche and Tebache. The location was actually a pick of Sean’s, as it was an industrial area that would theoretically not have too many people to bother them while filming. Unfortunately, towards the filming of the climax of the chase scene, where Roche is to catch Tebache, bring him to the ground and punch his face bloody, cops come to intervene. The real fight scene never ends up happening because the officers cracked down on the production team.
The cop asked, “Are you guys making good life choices?” Meanwhile, Tebache has blood on his shirt and dripping from his nose, all while laying on the floor. Sean tried to play the “student film” card and then resorted to indie film. Denied both times and either way the officers were not impressed nor supportive. Sean felt the officer wanted to “be a dad about it”. They wrapped up filming after this, and had to cut the violent scene.
When asked about difficult to access shooting locations, the team was given trauma from flashbacks to their first day of shooting.
The spot was one of Tebache’s picks, a park that he visited with his girlfriend a few months prior. The scene was the opener [featured right], which had Keiva Bradley standing on a wooden structure surrounded by a nature preserve. The team arrived to shoot at the location early, and this was before the sun had risen. They journeyed through marsh to reach the structure and encountered a golden orb weaver spider along the way. Some members of the team were startled by the spider, but not discouraged, and overall not too distraught. That was until coming back from shooting on the wooden platform that the now risen sun revealed a very large number of these spiders on the team’s path. As they got deeper into the marsh, they would find more and more. Tebache counted at least twenty. Aaron McGuire claims it was his brave leadership that guided the team out.
To him a lesson was learned, and that is in his words: “Whatever you cannot see, cannot hurt you”.
On the other hand, Aaron Tebache recalls: “Dude, I was having a fucking panic attack”.
The team all agreed that Blank Slate was a rewarding challenge for Bass Demon Productions and for them a big step towards creating the work they have always wanted to make. McGuire mentions that there is a gap between taste and capability, and that you will find through trying new things that this gap becomes smaller, and you become closer to your best work. Roche had a coworker compare the team’s work to the likes of an A24 production, and that, for him, showed his team was shooting in the right direction.
Alongside praise from the film’s viewers came a series of in-jokes and possibly even a cult following, all surrounding the character revealed in the final scene of Blank Slate, Pepper, a blue otter plush. During the week of the film’s release, Tebache’s coworkers would come up to dap him up like Pepper and would tell him how much they loved the character. The plush originated as an obsession of Aaron McGuire‘s that stemmed from an Instagrawm Reel featuring plushie otters in a rainbow of colors. McGuire located one at a local Japanese store and would bring the otter along to each day of shoot. Pepper lifted the team spirits during moments of stress and in Tebache’s words:
“He’s a team player, he’s really inspiring… he’s really squishy.”
I hold each photo closely, I remember the meals I shared and the moments of a dmiration of friends in the moments before and af ter each exposure.
My photography is more like a personal diary than a cohesive collection.
All photographs were taken within the last two years between travels w at home in California and away in France , Denmark and the Faroe Islands .
evan toji
just omar .jpeg
index
cover omar in santa barbara by beto
4 lookup by omar
6 gallery ad by timeless thrills & eat worms
7 frickuhermano by omar
8 & 10 - 13 carmen by hidden mist
14-15 pile of slaps by mostlyoverwith
16 literally 911
17 mail slap
18-19 lettering
20-21 a lot of garbage
22-23 tunnel from old sac to doco by isaiah
25 gibbons park, carmichael
26-27 alcatraz, ca
28-29 random azz bando, carmichael
32-33 across from Chick-fil-a on Madison
34-35 river city brewing, carmichael
36-37 mission north park, carmichael
40-41 unnamed cowboy in seattle by fernanda
42 somewhere in the distance
43 utah
44 never lonely - see the moon
45 cold drinks, fuel gas, diesel
46 baby land
48-49 low rider - jerry goldstein
50 portrait of my sibling
51 curiosity at the thrift
52 rivz
53 cherish your friends
54-55 pensive…
68-69 hot springs, arkansas by beto
70 natural bridge, arkansas
71 two rivers park, arkansas
72-73 sam & adam in rosemont
75 dirt bike kids at einstein
78-79 new kid shows up, conflict erupt
80-81 adam at einstein
82 king krule in copenhagen by evan toji
83 faroese goat
84-85 perfumo canyon
86-87 arabel in the south hills
89 alana on the north sea
90-91 logan in biarritz
92-93 g jógv, faroe islands
94-95 pfeiffer beach
96-97 lincoln in bloom
index cont.
114 datsun! by omar
116-117 pricks
118 peaceUP!
119 reflections
120-121 eatboogers
122-123 eat worms united fc
124-125 BamBam
126 MilesSolo
127 elias
128 prez3
130-131 fucku
132-133 ironic
136-137 madison
142 myfavorite
143 makethisadoublepagewiththeotherbluepic
145 blurry woman
146 fuckyourexpectations
147 z-2
148 mavi
149-150 pendejos
151-152 the getty
153-154 japan
155-156 wallpaper
157-158 lilbro
159-160 mexico sunset