If you’re in the Boston area, I’ll be part of a group exhibition featuring some amazing artists. Putrid, Mark Richards, Lucas Ruggieri, and Dan Seagrave are just a few of the talents that my wholly crappy work will be put up next to. I’ll just have a couple prints on exhibition and for sale. I won’t be able to attend myself, unfortunately. Here’s the information if you can.
Eridanos Tattoo & Gallery
36 Prospect St.
Cambridge, MA 02139
Being very, very excited at the new Star Trek trailer and its use of 1990’s rap hits to really hit upon the cerebral nature of a show set in the 23rd Century, I decided to see what it would be like if director Justin Lin took on another famous franchise. Here’s my interpretation of Justin Lin’s Star Wars: The Force Awakens.
It’s weird to get an email from Universal Music Group, but that’s the manufacturer used by Willowtip Records for the Impaled “The Dead Still Dead Remain” CD. So, I get the same mass email from them as someone doing layouts for Los Tigres Del Norte and probably Adele.
The gist of this latest email has something to do with HD digital media and a lot to do with Apple. The standard requirement of art provided for an album used to be for CD cover layout size of 1:1 print at 300 DPI. The streaming companies are now asking for cover art to be available in 600 DPI at minimum 5×5 inch. This makes a lot of sense when you consider people are digesting their music more and more digitally and throwing it up on big, oversize monitors and flat screens.
It also means bigger file sizes and my personal need for better photo gear. Shiiiiiit. Well, you need some damn big art as LPs take prominence in the merch market these days, anyway.
I’ve detailed before how I added a power socket to Sean’s Peavey XXX. This was because the Sennheiser’s wireless system that he uses doesn’t include a power adapter that actually reaches the floor from the height of a full-stack. Way to plan, Sennheiser. A second power socket used to be standard on old amps, but they’ve gone the way of Bill Cosby’s standing as a moral person. Now Ben has the same XXX amp and wanted me to do repeat the process. But I thought about an easier solution than cutting into his amp. So, I was certain someone thought of it before me.
What you got there is your standard plug for a modern amp, an IEC C13, with an extension for a US three-prong plug. This tiny cable allows for things you want to keep on your amp, like a pedal, wireless unit, or a hair straightener plugged in without searching around for a shit ton of extension cords. Pretty sweet! These are available on Amazon for about $10-20.
Yes, it’s been a very busy year for posters. Which is a good thing for me… and you! If you like my posters, anyway.
First up, I got to do a gig poster for the classic garage rock band The Sonics. In keeping with their classic sound, I did a classic parody of the old Charles Atlas comic book ads. But instead of ordering some dumb rubber bands to become a muscle-bound dullard, you get an Epiphone Riviera and become a guitar god!
Next up, I did a commissioned shirt design for Punkstuff.com that will be available soon. In the meantime, I got the go-ahead to make this fabulous art print for fans of Daryl on that show about zombies. I refuse to not call them zombies, because that is the dumbest part of that show. Mashed up with one of Manga’s most prominent heroes, Daryl walks with confidence to his hog.
Both of these LIMITED screen-printed gems are available in the Sewage Shop, so do me and yourself a favor; pick one up.
Our band recorded a tune for Image Comics’The Humans graphic novel series by Keenan Marshall Keller and Tom Neely. It’s a cool comic set in the ‘70s and follows a motorcycle gang’s exploits, but with a twist; in this world, the gangs are all apes and actual humans are primitive beasts kept around for sport. Each issue of The Humans is accompanied by two original songs released online from bands such as Goblin Cock and Witches of God. Our song, “Humans Till Deth”, is an octane-fueled surf-thrash tune attached to the release of issue #8 on October 7.
The song is available for download from the Humans Soundcloud page. I was so excited by the tune, I decided to put a video together for it. I used nothing but iMovie, some old television clips, and art from Tom Neely.
We recorded the tune at a new studio to us, Antisleep, with Scott Evans. I think it came out rad and I’m pretty pumped to start recording the new album there in December.
Richmond, VA has become our East Coast home away from home. I can now find my way from our friend Jim’s house to the Slave Pit, but more importantly, to the local WAWA. Of course, we were more than stoked to be invited again for the annual GWARBQ to play and get wicked drunk with all our good friends.
First, we shipped all of our biggest stage accouterments on Amtrak well ahead of our flight. Tip: this is easily the cheapest shipping method for large items in North America. Then, we headed out on an early flight to enjoy the rest of the weekend.
My most recent High on Fire poster was a pretty exciting job to get. The call for a tour series went out late, so like Judge Harry Stone from Night Court, I got the call after everyone else didn’t answer the phone. Not only was this their big hometown show, but it was being held at San Francisco’s amazing Regency Ballroom. It’s a big time venue and absolutely littered with the gig posters from living legend Chuck Sperry. I wanted to do a poster that was as big and bombastic as High on Fire.
Were folks expecting another picture of a barbarian? A devil lady? Another skull with a helmet? Well, they got my poster instead: a 24×24″ pseudo-drug filled black light induced nightmare of form and function. This is not something I was able to spin out of whole cloth, but from a myriad of inspiration.