More from the esoteric eclectic P. Emerson Williams

Extreme Chromo

Good dosage of Veil of Thorns. More coming out on Dark Europa album, by Circle’s Conspiritors and friends.

Featuring TONTTU. Miel Noir. Extreme Chromo. Choronzon. Laguz Rune and V.O.T.


Special thanks to P. Emerson Williams for Dark Europa Art & TFG for Extreme Chromo feat Miel Noir videography.

So many more to credit- will have to wait for the full release

Meanwhile, dishing up some disturbed driving guttural groove ear candy: antidote antacid for social indigestion.

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Lackington’s Magazine Issue 12 (Fall 2016)


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Lackington's Magazine Issue 12 cover art by Pear Nuallak

Lackington’s Magazine Issue 12

I’m very excited to have the latest issue of Lackington’s Magazine on my reader to explore this issue’s bestial themes. The story it was my privilege to illustrate is by Elaine Cuyegkeng, who has created something truly unique and brilliant that will persist in the mind of the reader for a long time.

Issue 12 is the bestiary we always knew we wanted. This “Animals” collection features one, perhaps two (if you squint) traditional animal tales. The other five stories are hardly the stuff of nurseries, full of shadowy creatures that creep and skitter, slink and lunge.

Hie thee hence: Lackington’s Magazine Issue 12 (Fall 2016)

Table of Contents


One General Law, by J.J. LaTourelle

The Horse Road, by John Linwood Grant

The Compassion of the Pheasant Lord, by Leena Likitalo

The First of Her Name, by Elaine Cuyegkeng

The Visit, by Subashini Navaratnam

Zoopoiesis, with Mountains, by Rhonda Eikamp

The Hedgehog and the Pine Cone, by Gwynne Garfinkle

And Did Those MOFO’s Do the Tasmanian Devil Dance


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We came off a crazy routing that took us from the South through Toronto, to Vancouver and then on to Sydney. The customs and immigration people of Canada seem to be dismayed that anyone would want to come through their airports, and at the Sydney airport all is courtesy and efficiency. I had taken a chance and checked the guitar and banners, and both were there at baggage claim in Hobart. Our driver greeted us with goodie bags of DARK MOFO info and gifts from sponsors. The temp felt like low 60’s, which the driver said was warmer than usual because of the massive storms that had come through the week before. One could see evidence of the DARK MOFO takeover of Hobart all through town, exciting and intriguing even in repose in the daylight. Room service followed by crashing for most of the following 24 hours left one day to wander, the day of the show and then t’was to get back on the plane.

The entire trip to Hobart is worth it just to experience MONA. It is going to take much for me to process and express how profound an experience it was to see what has been created here and I can feel a new vein of inspiration as an artist.

Hobart is beautiful and the people here are rightfully very proud of their town and their museum. Many a revelatory moment were found among all the automata and installations, the architecture amplifying a kind of psychogeography of the rock out of which it is carved.

I can feel an immense excitement about the energy I retain from the day, something life-changing was sparked by spending the day at MONA.

We had rehearsed the set entirely without amplification of any kind, Jarboe leading the direction and imparting the subtleties and power of the material. It was kind of disorienting to play the set through a huge sound system in sound check, so I really put a lot of mental energy into meditating on the character of the sound of the space and the feeling of finally seeing the banners I painted for this performance hoisted and looming as they were created to do for the first time.

Many thanks to Tom, the stage manager at the Odeon Theatre. It was quite an experience to be sure. We got there at quarter to four to the gamma wave blast of Chelsea Wolfe doing her sound check. The evening was promising to be an expansive triptych of a sonic journey, and this promise was truly delivered. I spent some time with the Tom getting the banners situated and the lights right.

I have to admit that I was a hit by a wave of adrenaline and nerves at the start of the set.The moment of truth after crafting and refining shades and subtleties of the performance meets the sheer energy of the attention of 1500 people and it takes some discipline to channel it.

I walked out on my own to start out the set with an instrumental piece I had written specifically for this DARK MOFO performance and my hands were shaking like maracas. My heart was beating out of my chest, but I played it as I wanted and got a big applause. I breathed out, Jarboe joined me on stage and the set proceeded and moved like the living entity it had become.

A huge thanks to Jarboe, JG Thirlwell, DARK MOFO and MONA for all the kindness and inspiration. There is much to come and this experience has fed me with vision and energy.