ISSUE 4
FEATURING
HEAVEN'S GATE PUNKS ON MARS BUTTER THE CHILDREN ISLAND TWINS and more!
w/ special artist features on Daniel Greer and Gold Hands Collective
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EDITOR S LETTER W
elcome to issue four of 1.21 Gigawatts. This is the one where Riggs and Murtaugh find a shipping container filled with illegal Chinese immigrants and Chris Rock tags along for comic relief because people are over Joe Pesci’s schtick. This issue is taking it back to Brooklyn. Southern California was fun in the last one, but there’s a lot going on here that we need to talk about. The Brooklyn scene was kind of in a state of flux towards the end of last summer, at least from my point of view. Bands had broken up, bands had reformed, blah blah blah. But I guess that’s always the story here, you just don’t realize it’s happening until the dust settles and you can see that everything has shifted. Some new major players came to the forefront in recent months, most notably Haybaby and Hippy. Spires is also on their way up and will probably have a hell of a year this year. If you look at our roster of contributors on the next page, you’ll notice that Brandon and I are the only names that have survived from issue one to now. He’s the Jimmy Chamberlain to
my Billy Corgan, I fired the rest of the band and Brandon can stay as long as he wants. After that I’ll hire a kid who’s half my age to do the illustrations and people will think it’s super weird. Most importantly, we got a new layout person. Her name is Danielle, she’s DOPE and she’s made this magazine look the best it’s ever looked. Gigawatts isn’t trying to remain stagnant this year either, we like where we’re at, but there’s always more to do and more avenues to explore. We’re booking shows at new places, bigger places, nothing on par with Lombardy but still amazing spots. We’re trying to travel more this year and spread the good word of our tiny little magazine. And there are a bunch of other things that I can’t mention right now. Now’s the time where you crack open a beer, sink into your couch, unbutton your pants and read this shit from COVER TO COVER. I hope you enjoy our new issue, it’s definitely better than Taco Bell shits. - DANNY KRUG PS: If you’ve got 3D glasses in your pocket, put them on and flip to the Butter the Children pages.
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TEAM EDITOR IN CHIEF/
DANNY KRUG
PHOTOGRAPHER TITLES/ILLUSTRATOR LAYOUT ILLUSTRATOR WRITERS
BRANDON JOHNSON DANIELLE LEE KEVIN LI ILEANA LITTLE ASHLEY CANINO ANDREW ALEXANDER PRIETO GABRIELA JUNE TULLY CLAYMORE GWEN RODGERSON NINA MASHROVA
STYLIST ASSISTANT STYLIST
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JENNA IGNERI NICHOLE FOSTER
contents ART 4
DANIEL GREER
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GOLD HANDS COLLECTIVE
MUSIC 12
HIPPY
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HAYBABY
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BUTTER THE CHILDREN
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ISLAND TWINS
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PUNKS ON MARS
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HEAVEN’S GATE
FASHION 26
BUSHWICK GREASERS
EXTRAS 32
STUFF WE’RE LISTENING TO
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1.21 GIGAWATTS MIXTAPE
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DANIEL GREER
is primarily an architectural photographer, but he’s not making the kind of architectural photographs that I was taught to make in art school. Daniel’s straightforward architectural shots have this darkness to them that most photos in that genre never have. He’s been training with top architectural photographer, Michael Weber, for the past two years. "In a lot of ways, shooting good architecture is like shooting an a-list model, it’s hard to take a bad shot if you’ve ever used a camera before." In addition to straightforward photos, Daniel also takes his images of buildings and manipulates them to look like faces of animals. "Architecture is the largest physical expression of art by man. It informs almost every aspect of our lives; where we live, work, eat, and socialize. In the most basic sense it’s man’s triumph over nature whether that means creating a structure half a mile tall or providing shelter for survival. Public architecture was the re-
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sult of thriving population densities which translated to workers for food production and eventually public works. These people created structures that would come to define civilizations as well as themselves. This series is a reflection of ourselves made from the landscape that defines us." The buildings are layered, curved, manipulated and bent to create images of bears, owls, wolves and other animals. Photographers each have their own unique view of the world around them that informs their photography and they way that Daniel sees New York City in relation to these animal faces is no different, "At first I was only visualizing the buildings as they were. It wasn’t until after I started arranging struc-
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tures together that I started perceiving them as basic shapes and three dimensional pieces within a larger landscape. When you’re actually in the city it can feel like you’re in a sea of concrete and glass. The best way to experience this is by driving over the Williamsburg Bridge towards Manhattan and watching the shifting rows of avenues cross each other, its a really elegant dance. Go around mid-afternoon too for the best contrast." The seeds of influence for his artwork were planted when Daniel was very young. "In terms of the rationale behind why I make what make, when I was a kid I always wanted toys that I saw on commercials. My
mom would explain to me that those ads were only made to make me want things and I don’t need them. Besides teaching me to view commercials critically, she also instilled the idea that they had some sort of power over people. I’d inadvertently been influenced by commercials and mass media more than any other artist or movement simply because of it’s omnipotence in my life as an American. Commercials are the propaganda, mass media is the religion, money is both truth and happiness, and convenience is our struggle. In the end I think I just want people to take a rational, objective look at the ideals of commercialism." DANNY KRUG In addition to his architectural work, Daniel also shoots live music and portraits. More of his work can be seen at dgartistics.blogspot.com/ ISSU E 4
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GOLD HANDS COLLECTIVE John Davies aka Knot1 of Gold Hands Collective
1) Daisy May Green 2) Knot1
contacted Gigawatts after having come across our last issue at Swallow Café off of the Morgan stop. John moved here in the fall of last year to intern in graphic design. Being from rural England, Manhattan was a bit too crazy for him, but he found that Brooklyn suited his lifestyle well and he was astonished by all the creative people around him that were actively pursuing their goals and aspirations. "Just the whole Brooklyn way of life seemed perfectly alien to me, it wasn’t anything like anywhere I had experienced living previously or expected lifestyle would be like so close to an infamously hectic metropolis."
Gold Hands Collective originated in the UK and is made up of up and coming designers, illustrators, photographers and musicians. "We use our hands for all we do, and so value them like Gold." This was the motto that arrived in a brief description of the collective. Contributors to Gold Hands Collective include Knot1, Heron, Limbs, Mike Winnard, Daisy May Green and Antiprism. The subject of the work that is coming from them ranges from images of animals to pop culture to music. Sometimes the work is insanely well produced and clean looking and other times it’s a little more rough around the edges, but that’s the beauty of a collective. It’s a group of artistic minds that are on a similar wavelength, but see and interpret the ISSU E 4
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3 3) Heron 4) Mike Winnard 5) Knot1 6) Daisy May Green 7) GHC T-shirt 8) Antiprism 9) Limbs
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world differently as individual human beings. "Creativity in art and music have always been and will be massive influences in our lives. We take on freelance work and also promote the individual work by each contributor. We are able to provide a complete package since our contributors have skills in all areas of artistic creativity." Check out more work by Gold Hands Collective including a really awesome Trash Talk illustration by Knot1 on their facebook, facebook.com/Goldhandscollective, or follow them on Tumblr to keep up to date on any new work, goldhandscollective.tumblr.com. "On our blog and facebook we post about art, design and music that both inspires us and hopefully you too." Gold Hands Collective also dabbles in t-shirts (7) and other other forms of tangible art that you can purchase from them. DANNY KRUG
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to the ever popular Lo-Fi music scene. Described as Kiwi influenced Guitar Pop, this trio is making waves in the DIY scene. Frontman Nick Rogers and bassist Jenny Moffett met years ago at a show in Connecticut and met drummer Jhon Grewell at one of the last shows at Williamsburg DIY space Monster Island. The band started as a project in Nick’s bedroom. He says, "it was just me and some Lo-Fi recordings I was making with a four track and Garageband." They decided to form Hippy when Jenny started working for Sirius Radio in the city and Nick and Jhon had been jamming together. Hippy’s influences range from The Clean, a Flying Nun New Zealand band Nick heard on a trip to London, to Sonic Youth drummer, Steve Shelley. Jenny had been studying classical violin since she was 10, but was feeling dissatisfied and restless with it by the time she and Nick started making music. She describes a lot of her bass lines being born out of looking at the bass like an oversized violin. Nick pulls his lyrical inspiration from real life events and emotions most of the time. He also focuses on what it’s like "feeling alone and alienated while simultaneously feeling an immense love for mankind and a yearning to be a significant part of it along with unrequited love, the games boys and girls play, a longing for greater truths, and a desire to reconcile the past."
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Hippy released their EP called Satan’s Future Magic. They describe the EP as a mesh of "the distorted Lo-Fi of the Side A cassettes with the cleaner 12
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danny krug
ileana little
words
BRINGS A FRESH TASTE
sound you can find on Trian- "who have limitless energy gle which we came out during to go to shows weekend afJuly 2012." ter weekend. He also adds that, "if people are kissHippy hasn’t been around very ing that’s good. If they are long, but has already toured a throwing up even better." bit and they’re looking to do Hippy’s jams are upbeat, more touring in 2013. Nick fun and danceable, which talks about the optimistic probably explains why the vibes of their shows, which crowd sizes grow with every consist of friends and fans show they play.
photographs by danny krug words by ashley canino
F
rom shifting rosters, trading instruments, and a bunch of awkward moments as Peter Pan and the Lost Boys, Leslie Hong, Sam Jacoff, and Zach Ellis have come a long way. "The sound has definitely changed a lot. I mean, we used to be pretty bad," says Zach who had never been a drummer prior to Haybaby. Leslie had never played lead guitar, either, but a year and a half later, with Sam on bass and some mid-set instrument shuffling, Haybaby is a tight trio. The band members’ musical influences don’t overlap much, and it shows in the songs they write together. Sam, who also has a solo acoustic project, revels in their diversity: We end up following each other to places that none of us would have found by our own lights. Zach, who cites Neil Young as inspiration says, "I feel as a band we harness similar energy as we are all pretty amateur at our chosen instruments but put everything we’ve got in to playing." If they lack finesse, Brooklyn hasn’t noticed, as they play often and to enthusiastic crowds. They meander between sub-genres and have been said to
play post punk and swamp rock. Still with more to say, each member is involved in at least one other project, but make Haybaby the priority. In May 2012 Haybaby brought their distinct sound to venues around the Northeast and down South. The tour took them, and one of Zach’s projects Steer, to a dive where they shared a space with a Linkin Park open mic, a house party where most of the audience stood on the other side of a wall, and a lackluster furry convention. It was just a guy in a buffalo mask and a guy in a zebra mask. In March they will head to SXSW to connect with old friends and hopefully put on a show or two. For now if you want to enjoy Haybaby’s vibe it will have to be live in person or live recordings up on their site. With a packed show schedule and an apparent focus on the experience of it all, they haven’t rushed to release any studio recordings. However, they now have two projects recorded—one a collaborative effort with a producer, and the other a six-track EP set for a Spring 2013 release.
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Butter the Children?
the cover, front-woman Inna Mkrtycheva carries her own to an unrelenting musical accompaniment that drones onto plateaus of audio bliss without any regard for the size of the room that they’re playing.
t doesn’t matter how many times you say the name to yourself over and over and over again in thought, desperately trying to find some vague sense in the mysterious moniker of Brooklyn slime rock outfit, Butter, the fucking, Children. Stuck somewhere between Transient Random-Noise Bursts with Announcements and nearly any Cranberries album except the one with the Eye and naked person on
It’s Ray Weiss, Inna Mkrtycheva and Max Kagan who wrote the eponymous debut release that is so fruitfully confident in itself. Later, the threesome was joined by Jordyn Blakely, taking over on drums and quickly filling the obvious void in the band. For frontman and guitarist Ray Weiss, this organic growth, the loss of micro-control proved to be a challenge to except. In previous outfits, Weiss describes himself as the epicenter to which all things revolve; the leader and ultimately the supreme decider in all issues concerning the band. Now he was working
BUTTER THE C HILDREN.
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with a group that wanted to write for itself and although letting go would prove difficult, it proved beneficial as Butter the Children climbs higher. SITTING DOWN WITH BASSIST MAX KAGAN IS A TRIP. Not the, holy shit the snake’s coming right for me, kind of trip—more like the kind of trip where your stuck in a conversation unable to get a word in edgewise (and I’m an interrupter if there ever was one) because his verbal diarrhea just tastes so fucking good. The man is more than a musician; he is a social philosopher and egoist mechanic with ideas that should earn him a seat in congress and a historical drug habit that will prevent that from ever happening. Between beers we shared stories, similar yet never the same, of how we came to love the city’s party scene, how we came to call this shit hole home and how ultimately, drugs propelled our creative spirit at the expense of our bodies, minds and souls. And though the self-titled debut dealt with issues hitting home, I was still curious how this Brooklyn grunge band planned to continue standing out—this is a deep, deep sea to tread. Little did I know that the contextual answer was coming from a place the punk rocker rarely looks at with objective eyes-mass media culture.
an intelligent aura that keeps to a calm monochromatic voice as she calmly contradicts me with a there is no spoon sort of attitude. She describes an album that narrates unfortunate events throughout history, song by song in grim detail. The band is writing together, as a foursome, furthering a family of musicians that bleed love from the stage and from your headphones, diving into their career, cards face down, chips center table. So get ready for some darkness, get ready for True Crime.
photographs by danny krug words by andrew alexander prieto
With Inna Mkrtycheva working in an undisclosed media-compiling job: assumed for some mega-corporation that collects digital data of video/audio feed for comic-like evil doings, with her brain subjected to the intellectual poverty of the world, a la Clock Work Orange, it’s no wonder the new album is called True Crime; that’s what this hoax world is right, so why not shine the light right back with some playful honesty? Although Inna seemed to somewhat deny this subconscious connection between the subject matter and her work in favor of a less confident explanation, it remains perfectly clear that the album’s thematic revolution is rooted in exposure. The frontwoman boasts ISSU E 4
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photographs by danny krug words by gabriela june tully claymore title /illustrations by brandon johnson
we’re told we look like twins," Erik commented. Island Twins consider their music to be "Fuzz Pop", and their definition is clearly justified in tracks like "Creepaway" where catchy distorted riffs complement bratty joint vocals.
ISTENING TO ISLAND TWINS IS LIKE ENTERING A TIME WARP. You fall asleep during your junior year of high school and wake up in your mid-twenties overburdened with responsibility; you are paying rent, you are working a lame job, you are sort-of breaking up with people. The members of Island Twins grew up together, and their sound is as sophisticated as it is sophomoric. Erik Brauer and Tony Del Cid formed their shortlived death metal band Fallen Arcadia in the 10th grade, and have been in bands together ever since. Erik Brauer’s sister
Meagan eventually joined the duo to form Island Twins in 2011. Although they started recording together only a year ago, Island Twins has independently released a self-titled, fulllength album available as a download and on vinyl. Island Twins’ fuzzy, docile sound originated when Erik started recording on his own in an attempt to break away from his earlier aesthetic, "I just fell out of love with reverb and then fell back in love with all of my fuzz pedals," he said. Despite their oceanic band name, Island Twins does not label their music as surf pop, "Even though we’re called Island Twins, I don’t really want to be a surf pop band. We’re called Island Twins because Meagan and I grew up on Staten Island and
If Island Twins’ music were a person, they wouldn’t be the angry type, "They would be a person that’s very reserved and maybe not as friendly as you’d think," Erik commented thoughtfully, "We have a little punk going on. I know we all don’t look happy when we play." The band has yet to tour nationally, but they can be seen regularly at DIY venues throughout New York City. Erik hesitated when asked to describe a live performance, "It’s just loud and it’s fun," he said. Island Twins’ adaptable sound appeals to an array of audiences and settings; you are casually swaying back and forth, you are thrashing uncontrollably, you are dancing like the venue is a nineteen fifties dance hall. Island Twins’ appeal lies in their versatility, their mature musicianship rattled by an unapologetically youthful sound.
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HAIL FROM MARS.
Four extraterrestrials came down to Earth sometime in 2011 to create the band Punks on Mars, made up of Ryan Howe on vocals and guitar, Veronica on vocals and keyboard, bassist Nick, and drummer Jo. The band’s most recent record, Bad Expectations, which was released in late October by the label Zoo Music, is an exciting and fun listen, sporadic yet cohesive, and most importantly unconstrained to a specific style or time period, which seems to be a big theme for the band. On the website for Punks on Mars’ label Ratgum Records, they are described as "pop satire." It’s true. By combining elements of trash-rock, glam-rock, baroque styling, and all the while saying "We’re from Mars," the band is simultaneously creating great music and making fun of it. And this is the best part about Punks on Mars: they don’t take themselves too seriously, and they are successfully impossible to define.
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The members talk about how so many bands these days do an incredible amount of research on their favorite musicians, simply so they can emulate their style exactly. Because of this, "original" bands become cover bands, and the music loses all honesty. This is something Punks on Mars has managed to avoid; although their music does hark back to the pop-punk sounds of bands like The Ramones, or rock bands from the 60s, it is a balancing act that keeps them so real. The buzzy guitar riffs are fast and rhythmic, but the accompaniment of Veronica’s twinkly keyboard and Drive-In vocals on tracks like "You Do, You Don’t," as well as the addition of futuristic elements, keeps their music from being "one-dimensional," something Nick laments plagues most rock today. Howe says that the band’s name alone is a rich and fertile space to work with, working almost as a filter. "It’s like taking a dumb idea," he says, "like a song ev-
erybody’s heard of, but saying, ‘It’s from Mars.’" Bad Expectations is reminiscent of a movie like Bladerunner. It’s like they’re using those fuzzy-screened computers from the 80s to do some crazy futuristic shit, or driving boxy cars that can fly, simultaneously embodying the past and the future. They’re clearly taking influences from older music, but they are not simply copying it, or alternatively redoing it in a way where it becomes overly modern or digital. Howe explains it well: "It’s a way to emulate something while also updating it. "It is a certain awkwardness or displacement that successfully prevents the band from being typified, or enjoyed by only one audience. "Hey! Tiffany" is one of the best tracks on Bad Expectations and the song actually sounds like Martians have come down
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to Earth and pulled Invasion of the Bodysnatchers on a late 70s power pop band. Heavily featured on this tune is a tone generator that is used in audio electronics for testing machinery. It produces a pure tone of sound that you can change the pitch of. Basically, it’s a synthesizer, but its not made for music. The incorporation of this tool seems to be pretty exemplary of Punks on Mars as a band. Howe admits the inclusion of futuristic elements in their music is in a way "making light of use of the technology in the music." By using a synthesizer that’s purpose isn’t even for music and claiming that they are aliens, Punks on Mars keep from being bogged down by the pressure to make a certain type of music or a certain sound, and maintain their originality, something that might not be so easy to do. Punks on Mars’ next album is not going to be as straight-forward as Bad Expectations, or their self-titled debut. It will reference back to classical music of the 18th century, including space between the songs with an overture, acts, and intermissions. Think sooty English brothel-y music. Howe describes the band’s direction as more theatrical, and in a way, operatic: in fact, they are "kind of working on an opera." They would like to have a 7" out in the spring. Punks on Mars might not only have a spaceship, but also a time machine. In the future, the band would like to incorporate "theatrics and pyrotechnics" in their live shows. During the interview for this article Punks on Mars, the band members are listening to one channel of The Beatles song "Blue Jay Way" on half-speed. All you can hear are the
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slowed down vocals; it sounds like some sort of time warp. Even in their listening choices, Punks on Mars stray far from the terrestrial. When asked how they like it on Earth? They say, "We love it on Earth. We love all the Earthlings and we love playing here. We’re really happy here." The Earth is glad to have them. It’s probably a good thing they are in the process of colonizing the entire planet.
words by gwen rodgerson photographs by danny krug title /illustrations by brandon johnson
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words by nina mashurova photographs by danny krug title /illustrations by kevin li & brandon johnson
THE NAME
should sound familiar to anyone who grew up in the nineties. By combining a New Age sci-fi aesthetic that would make YACHT jealous with a belief system which assured followers that they could only be saved from the impending apocalypse by shedding earthly attachments and hitching a ride on a spacecraft that was following the Hale-Bopp comet, Heaven’s Gate established itself as one of the funkiest cults in recent history. Then in 1997, cult leader Marshall Applewhite orchestrated 38 of his followers to commit mass suicide in a California mansion to coincide with the moment the comet was closest to the Earth. As it happened, this also coincided with the early days of cable news, which meant that the 24-hour news cy-
cle was flooded with commentary on the suicides and photos of the victims. "It was such a distinct image," says singer Jess Paps. "I just remember these very neon videos of this guy talking, the Nikes, the purple satin. It was a very tangible So even though gems like "Dead Bundies," "Satan Starmaker," and "Isadora’s Scarves" were all on the table when Paps and Mike Sheffield were starting a band, Heaven’s Gate was the clear winner. The Brooklyn five-piece is related to the cult only in name – there are no Chris Owens-style origin stories, no shows played in matching Nikes. But they have no trouble coming up with disturbing imagery of their own. Where last year’s High Riser 7" was ostensibly a summer record, the forthcoming Twinship, named after the psychological desire to feel alikeness to other human beings and to believe you have a double in the world, will be the winter counterpart - darker, denser, more
intricate. The song "Screams," for example, kicks off with the line "Screams in my abortion dreams," referring to a recurring dream Paps was having about getting an abortion in a show setting. The song proceeds to blister through two furious minutes of unrelenting rock that shoots melodic surfrock shockwaves through opaque shoegaze while Paps fires off fragments like "death inside of me." Good punk songs, like bad dreams or effective projectile weapons, strike deep into your subconscious and stick there. But while harpoons are designed to linger (the barbs are there for a reason), punk songs and nightmares are effective for the exact opposite reason – they cut out as suddenly as they came in, disappearing before you can interpret them into something harmless. "They’re short, punchy songs," says Paps. "I mean, it’s one thing if it’s drone music, but if you do that with rock, you kill everything. It’s like ego central."
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"It’s not a very long record, but it feels way more full," adds Mike Sheffield. "Now we sound closer to what we want to sound like." In the year since High Riser, the band has settled into a groove and everyone seems to be vibing along comfortably. Patrick Stankard has joined in as a drummer and Paps’ voice has settled into a grippingly low register - somewhere between Grace Slick and Glenn Danzig. Or, as the crowd gathered at Death By Audio for this year’s Halloween cover show found out, Ian Curtis. As large chunks of New York were left dark by a Hurricane Sandy-induced blackout that would have been comically appropriate if it wasn’t so devastating, Heaven’s Gate raged through a Joy Division cover set that would do Curtis proud, with Paps rasping through "She’s Lost Control" while wearing a noose. "I had to go to work the next day and I had a bruise around my neck," she remembers. That’s exactly the kind of darkwave punk attitude and gleefully intense
stage presense that make Heaven’s Gate shows notoriously worthwhile, even in the murky depths of Brooklyn’s supersaturated show scene, out of which Heaven’s Gate first emerged. Sheffield, Jack Wolf, and Alex Cvetovich were in the illustrious but now-defunct Sweet Bulbs (the other half of which went on to form Butter the Children). Drummer Patrick Stankard was in Weed Hounds, which went on hiatus but is about to start playing shows again, with Sheffield filling in on drums. Paps was the eponymous frontwoman of PAPS – a gravelly folk-country duo, where her Chan Marshall-meets-Elvis Presley first caught Sheffield’s attention. "I saw a YouTube clip of Jess singing and I really wanted to play with her and I told all my friends about her," says Sheffield. He had promised to set up and open a show for a touring band, but by the time the show came around, he no longer had a band with which to play. Pressed to throw a band together, Sheffield
contacted Paps, brought in Wolf and Cvetovich from Sweet Bulbs, and made it happen. Everyone was hanging around the old Silent Barn at the time, so getting together wasn’t too difficult. Even though Heaven’s Gate plays basically all the time, almost every band member has at least one other project going on. Sheffield and Stankard are in experimental drone-fuzz project Alan Watts, Cvetovich is in Very Rare, and Paps and Cvetovich are continuing their winning streak of gloomcore band names with Anhedonia. (With so much overlap, it’s only a matter of time before a math-savvy booker figures out a formula to put together a bill with the most bands and the least people playing.) On top of all that, both Sheffield and Stankard are setting up shop at the new Silent Barn, where Sheffield lives and co-curates the Noun Rot art book library, Stankard co-runs a hackerspace, and Scott Andrews, who recorded both High Riser and Twinship, is building a recording studio. With all this stuff on their plates, it’s no surprise that, besides SXSW, Heaven’s Gate has no plans to tour anytime soon. Lucky for us, this means they can be easily found playing shows all over Brooklyn. The lights might be back on in the rest of New York, but the darkness is still strong with these guys.
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Bushwick
Greasers stylist jenna igneri
assistant stylist nichole foster photography danny krug
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STUFF WE’RE LISTENING TO AND THINK YOU’LL DIG
FIDLAR - Self-titled
Fuzz - "This Time I Got A Reason" / "Fuzz's Fourth Dream"
Hippy - Side A
Lazyeyes - Self-titled
O-FACE - Shrug Life
Peach Kelli Pop - Self-titled
Punks on Mars - Bad Expectations
Burger Records The Wiener Dog Comp (mixtape)
Widowspeak - Almanac
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MIXTAPE
MIXTAPE VOLUME 4 includes fresh tracks and demos from some of Brooklyn’s finest bands.
Listen online or download your free copy at gigawattsmag.com
WANT YOUR BAND FEATURED IN 1.21 GIGS? WANNA SAY WHAT’S UP TO THE PEOPLE OF THE MAG? SHOOT US AN E-MAIL AT GIGAWATTSMAG@GMAIL.COM ADD US ON FACEBOOK.COM/GIGAWATTSMAG FOLLOW US ON INSTAGRAM @GIGAWATTSMAG
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ISSUE 4
FEATURING
HEAVEN'S GATE PUNKS ON MARS BUTTER THE CHILDREN ISLAND TWINS and more!
w/ special artist features on Daniel Greer and Gold Hands Collective ISSU E 4
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