Industrial / noise / experimental magazines that has existed?

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Zeno Marx:
The Artware catalogue could well be considered a zine.

FreakAnimalFinland:
I don't have the very earliest catalogs, but those ones I have, are all just listing of stuff they sell. Of course it is thicker than many zines, and short comments about all items, but still, I don't know if it's a "zine"?

Something like Come Organization Kata would have reviews, lyrics printed, reports, right? I have the collection xerox book of it.

Strömkarlen:
Disco Rough/AUS. Actually Deutsche Welle zine out of Australia. Interviews with FM Einheit (can you answer shorter?) and Die Tödliche Doris.

heretogo:
How about Opprobrium from New Zealand, active in the 90s? Not so much noise & industrial, as I recall, but quite a bit of experimental stuff and improvisation. I remember at least one Keiji Haino interview. Main thing was probably the more rock-oriented stuff like Flying Saucer Attack, Doramaar etc.

Tommy Carlsson:
Do you know of any new magazines (other than ALAP) that are being planned right now? I got an email from a guy in the US named Bryant who was going to do a zine called Ov Crosses & Knives -- "primarily dealing with primitive black metal, harsh noise, experimental, occult chaos...." That was supposed to happen around summertime, but I guess it got canned. He was going to interview Alfarmania, the Utmarken gang, plus others.

I also heard some rumours about a zine that was going to be purely focused (obsessively so, I guess) on wall noise. I don't know much more than that though.

Possibly of interest here, although more as a side-step -- I just read a really good article on wall noise in a Swedish cross-cultural magazine. It is written by American writer and "sound designer" William Hutson, and attempts to place the wall noise phenomenon within contemporary art history, and also to discuss what wall noise has to offer in the way of critique of our relation to attentiveness today. The article covers the current (as in 2004 and onwards) wall noise scene, mainly focusing on The Rita. As this is translated from English language, I can only give some quotes in Swedish, but I hope the full article will somehow be published in its original language (yes, hint for magazine editors). It is well worth reading! In the following passage, he truly nails one of the problems with the current scene of carbon copy "wallers" ~

Quote

HNW var på en och samma gång ett tillbakablickande historiskt projekt och en framåtriktad omformning av noisegenrernas morfologi. Det blev ett samlingsrop för yngre musiker som försökte skilja ut sig själva från den generation av etablerade artister som redan hade nått framgång inom den experimentella musiken. Då det är relativt enkelt att åstadkomma en oinspirerad, men godtagbar, HNW-inspelning, kom en ström av nykomlingar inom noiserörelsen som hade varit inaktiva (eller åtminstone okända) innan stilen hunnit ta ordentlig form. Men i stället för att omfamna The Ritas öppenhet började nya entusiaster och artister definiera HNW som ett strikt regelverk. På chockerande kort tid började många av dess utövare att likna en sektliknande blandning av sanna troende, lismande anhängare och folk som bara red på vågen. Subgenren fick drag av ett slags domedagsreligion, och dess förespråkare började bedöma utövarna och deras verk i termer av "äkthet" -- hur trogna de var genrens regelverk. De ursprungliga stilbildarna, artister som The Rita, The Cherry Point och Richard Ramirez blev påvar och kardinaler för horder av dyrkare som nyss hade köpt sin första Boss Metal Zone-pedal och kontaktmikrofon. Enskilda musikstycken kallades inte längre för spår eller kompositioner utan walls, väggar, och artisterna blev wallers. Det vimlade av metaforer och ordlekar på temat mureri. En artist som gjorde en vägg men inte uteslutande bekände sig till HNW var en dilettant, en posör, en kättare.

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