Yer Scene Vol.12 by yerscene

1st anniv er sar y spec ial Vo l u me 12 / / OCT OBER 2 0 18

YER SCENE ZINE Oc t o b e r 2 0 18 editor in chief Kenneth Fury head of media and design Amelia Bailey co-editor Eileen Michelle Jones

@kfurybud @_ameliabailey_ @eileenjonesphotos

cover design Amelia Bailey

@_ameliabailey_

logo design Livvy Mitchell

@livvyillustration

contributing writers Adam Yoe Ariadna Vegas

@dolphinfartz @aribirdwhistle

Adel Souto Brandon Nurick Dylan Hewitson-Bevis

@bobafettywappp @dylanjhb

contributing artists & photographers Eileen Michelle Jones Daniele Carrera Matias Ramirez-Bugueno Merve Skygger Rob Mattsson Gemma Cannavo

@eileenjonesphotos @dokfitz @matiramirezb @stilleskyggerart @spookyscrayghost @gemm.c

TABLEO FCO NTENTS Page 1 - Letter From The Editor

Page 5 - botfly. A Review by Adam Yoe Page 9 - Atop a Barcelona Rooftop for Yarik by Ariadna Vegas Page 17 - ยกCuba Libre Para Los Punks! by Adel Souto Page 21 - Cheese-steaks and Black Metal by Brandon Scott Page 27 - Gig Review: Movements by Dylan Hewitson-Bevis Page 31 - Yer Scene's Backpages

LETTER FROM THE EDITOR Yer Scene has finally hit one year and I think the entire team is shook. We?re beyond grateful and excited about what we?ve done and what we will continue to do. More than that, we?ve got even bigger plans coming. But for now, I have a list of thank yous.

Thank you to everyone. This zine has always had amazing people in and around it. This team is my family. I would put them on my couch the second they needed.

Thank you for always being there to laugh, cry, crack into a beer and show me cool stuff. Yer Scene members are people who truly understand humanity. They always have a great grasp on art as well as social issues and I think we?ve managed to represent that consistently.

Since Yer Scene started, I've gotten to learn so much more about the world. From geography to gender identity, I have learned more than I can explain. Has it been stressful or wild at times? Absolutely. But there is always another cup of coffee and someone to say ?It?s okay, we?ve had worse before.? I?ve gotten to meet people through the zine! Hugh?s band Kids Luv Cops came to New Brunswick, played Quality Block Party festival and I had two of the best days of my life.

From people who have been here since day one to those who just found or joined? Thank you.

For every ?this is super cool!? to ?zines have no purpose in modern scenes?, regardless of the reaction, thank you. We?re artists and I think that's what art is supposed to do, is to illicit reactions.

Thank you to the visual artists of the team for every cover, photo, page background, transition piece. Thank you for giving Amelia what she needs to make the zine a reality every month. Thank you to the writers for giving this a look into your world.

Thank you to everyone who helps edit this and make it the best it can be. A special thank you to Eileen for making sure I don?t misspell every word in my articles.

Thank you to everyone amongst the senior staff for always listening, thinking and letting me know what they think we should do. Thank you for taking on such large jobs. Thank you to the podcast team for making us sound good and giving us another platform to listen to artists talk. .

In one year, we hit 18 thousand reads. I can?t even begin to summarize my thoughts on that, so I?m going to stop rambling. Enjoy this issue. Keep supporting us the way you have, please.

It?s been a good minute.

-Kenneth

AYEAROFYERSCENE T HANK YOU ALL FOR T HE CONSTANT LOVE AND SUPPORT . We c o u l d n 't d o t h is w it h o u t y o u .

bot f l y Bot f ly r ecen t ly appear ed on episode 4 of Yer Scen e?s ?Th e Pit .? Never on e t o give t h e f r ien ds an d f am ily discou n t , Adam Yoe is back t o w eigh in on t h eir self t it led albu m .

Recently dropped on Pink Lemonade Records, the eight tracks are an absolutely dizzying collection of noise rock. As fitting as the tag is, I find it far too reductionist for an album that culls from such a wide swath of musical misfits.

Starting with the first track, ?Disjointed? (what I can only describe as a macabre ice cream truck jingle from a dystopian future), their queasy template is firmly planted from the first moments. Fittingly, the blown out, rubbery bass tone slithers in from out of the reptile house, conjuring Jesus Lizard at their most menacing. As if daring the listener to predict the next dexterous turn, they switch into a pummeling sludge riff, laden with doom.

Botfly seems to revel in changes of pace, nuance, and bucking expectations. Noise rock of the highest order, a la AmRep?s deep roster,

an unrelenting piece of art that points a deep and nuanced knowledge of how to craft truly original music. I can?t help but hear glimmers of absolute titans: both NoMeansNo and Cop Shoot Cop spring to mind. Eschewing tonality while remaining melodious is so difficult but Botfly seems to excel where others tire, to run when others stumble. Serpentine bass lines, scraping guitar runs, and pummeling tasteful drums lay down a blackened canvas for the utterly deranged carnival barker at the helm.

A Rev i ew by Adam Yoe informs their ability to ride a riff into near hypnosis, the repetition ritualistic. There are flashes of the mighty Killdozer in their tendency to vacillate between pummeling and ambiance. A more modern touchstone could be Ken Mode or Pissed Jeans, bands that have both continually redefined what they are. I hear, at once, a glorious metallurgy of 90?s Sub Pop grunge and the ferocity of chaotic hardcore.

Lest you think Botfly can?t go quiet, take a chance on the final track. ?Gutless? not so secretly shares its name with an utterly classic tune from Hole at their 90?s peak. Though it mines different sonic terrain, there?s an anguished, desperate plea that recalls the slacker degradation of the era. ?Gutless? is a barbed dose of regret, the moment of anguished contemplation after the storm of the album.

?Back Tracked? finds itself cribbing notes from the loftiest of post metal, as the moody instrumental intro feeds on the spiritual corpse of Neurosis. As soon as we find comfort, it opens into an absolutely bludgeoning tsunami of a riff that rides into shore in a wash of noise and devastation, whereas ?Man?s Best Friend? flexes an altogether original muscle, using but a backdrop of tape hiss to round out the track, highlighting their tendency to serve the song with minimalist gusto.

Ultimately, it offers neither comfort nor resolution; instead it sends us adrift into the quiet... ears still ringing. The sweat equity has clearly paid off, resulting in a brutalizing think piece of an album. I?m retroactively honored to share a space with Botfly.

For me, ?Yellow Bike Road? is the gold star. An absolute high watermark amongst 7 of them, the track joyous head-fuck of a song. Trading off-kilter time signatures for noisy freak outs, it?s

p h o t o s b y e il e e n mic h e l l e J o n e s 7

At o p a Bar c el o na Ro o f t o p f o r Yar ik wristbands, and they have created a Facebook and Instagram where people can follow Yarik?s evolution and see him get better step by step (sometimes, literally).

by Ariadna Vegas On January 9, 2018, Yarik was run over by a bus at an approximate speed of 60 kilometers an hour on his way to attend engineering classes at his university. He was only crossing the street, like he did every day. Yaroslav Parygin (Yarik) was just 21.

They also organize charity gigs, like the one that took place on September 2nd, 2018 to a balcony in a modest office building in Barcelona. Yarik?s sister, Yulia, lives there and makes sure he has love and support even if it?s over three thousand miles away from him.

A month and a half later, he woke in a Sevastopol hospital. His family, after weeks of uncertainty and suffering, were able to hospitalize him in a private neurology clinic in Kiev.

The admission fee was a donation towards Yarik?s cause. Yulia was at the door, organizing the event. She is a kind, radiant person that greeted us and thanked us for coming. A group of ten people squeezed in a elevator heading for the attic, finally emptying to a big terrace on the roof.

Ever since, Yarik?s health has changed for the better. The prospects are good, but now his family faces another problem: money. The neurology clinic costs 13.000? (approximately 15,000$ USD) per month, which is an insane amount of money for a middle-class family. Yarik?s family and friends want him to have the best life he can possibly live, and they are raising funds to pay his medical bills and keep him in that clinic: they accept donations, sell

We could see almost the entirety of Barcelona. La Sagrada Familia on the left, behind the ?stage? (a couple of guitars and a keyboard, directly on the wooden floors of the terrace), the Agbar Tower on the right.

Màrius, Yulia?s partner and fellow organizator of the event, asked everyone to sit down on the floor and made a brief introduction about Yarik?s case, and presented the first artist that was playing that evening: Daniel Lumbreras.

album, La Vila (an homage to one of the most beautiful quarters of Barcelona, Gràcia), he asked the crowd to hum a little melody he showed us. ?I?ll tell you when you have to sing, you?ll see?, he said. He started to play and effectively, we knew when we had to sing. The whole crowd hummed the seven notes that Daniel showed us, and he kept singing over our humming. I?m sure I?m not the only one that was moved in this moment.

Only armed with an electric guitar and his voice, Daniel came out of the office, said hello to the audience, and started to play. What strikes you first about his music is how sensitive and delicate it is. Moments later, you realize that you can?t recognize the language he?s singing in, because it doesn?t exist at all. He sings in phonemes: rather than singing lyrics, he sang in wordless units of sound that convey how he views his crowd, how he lives the moment. This excellent expressive resource pairs perfectly with his fingerpicking and guitar skills, and his voice, over which he has a great control.

I found Daniel and his music so interesting that when his set was over, I asked him if we could to a little interview. Wh er e did you f ir st h ear abou t Yar ik an d h is st or y?

Well, I was contacted by Màrius, the partner of Yarik?s sister and one of the organizers of the event. He is also an organizer in Sofar Sounds, I knew him from there, and when he asked me if I wanted to collaborate in today?s gig, I didn?t think about it twice.

He easily changes and alternates between high pitched frills and more powerful, almost gritty, low pitched vocals, and he created some magical moments as the sun set over the city.

Wh en M àr iu s in t r odu ced you ear lier , h e said you r h ad a lot of in f lu en ces. Cou ld you elabor at e a bit on t h at ?

When he was just about to start the song that gives title to his newest

I grew a bit tired of western pop and rock music (my experience, because those genres are unfathomable) and I wanted to taste other countries and other music styles. I first and intensely visited Brazilian music, and then African and Celtic music, Sufi chants? a very wide range.

When Daniel and I finished talking, I returned to the crowd. Marina Herlop was ready to start. With a raw and hypnotic voice and impeccable piano playing, she took the whole audience to another planet. Marina also sings in a non-existent language, but opposed to Daniel, who signs whatever syllabes he?s feeling in the moment, she sets her own ?words?. Her songs do, therefore, have lyrics.

Wh en did you st ar t doin g t h is k in d of ?abst r act ion?, w h er e in st ead of in w or ds, you sin g in ph on em es?

When I was a child, before owning any records or actively listening to music, I already sung like this spontaneously. When I grew up, I started to sing in Spanish, Catalan, English, even Portuguese. Some years ago I wanted to revisit this. It brings me an awesome freedom.

As she explains in her website, they don?t mean a thing, they?re just a way to express herself and her aesthetical values. But her songs are always back and forth between the sweet and the sour, the highs and the lows. You feel many things, but mostly tension. It keeps you expectant, and you can only sit there, on the wooden floor, with your eyes glued to her.

Wou ld you lik e t o com m en t abou t you r n ew est albu m or an y n ew pr oject s you ar e get t in g in t o?

If I had to describe Marina Herlop?s set in a word, it would be ?magical?. She was so magnetic and had everyone?s attention that she didn?t even make pauses between songs. It was all an hypnotizing, capturing succession of beautiful, bittersweet pieces one after another. No wonder why James Rhodes chose Marina Herlop out of everyone to be the first person to sign with his record label, Instrumental Records.

Well, I published my last album last year and I?m still touring with it, presenting it. It has brought me many successes and I think I will make it last for another year before recording another one. The idea, as of right now, is to keep doing gigs all around Spain abroad, so I can grow and expand.

She had witchy vibes - playing her piano, all dressed in black and singing in a language anyone there had never heard before. Some of it sounded like a spell or some old and forgotten Nordic language.

guitar. They are super powerful during their regular gigs, and when I heard they were doing an acoustic set I was intrigued. Aleix had an acoustic guitar, and Joan played an unplugged, electric one. Their singing voices, usually more sharp and screaming, were toned down a bit to match the acoustic versions of their songs.

When Marina?s set was over, she was misty eyed; she looked at the crowd and then she looked at the city?s skyline, and said, ?I was playing and then I realized we?re all here to help Yarik. He will always have people that want to help, he will always feel loved because he is, and that is amazing. Thank you for coming.?

Cala Vento?s songs are often stories that seem to rhyme, or things that one could say in a normal conversation; relatable and usually narrating day-to-day things like having someone sleeping over or even taking a walk around the city. Their songs are almost always set in Barcelona, and when screamed in a small basement venue, they sound like complaints but in a fun way. That Sunday evening, when they softly sang lyrics like ?If you?re not going to come, you won?t have to go back; you won?t have to suffer, you won?t have to perish. If you?re not going to come, if you don?t want to laugh, [...] if you don?t want to feel, what can I do??, the vibe and energy of the crowd was very different. It was as passionate, it was as beautiful, but it also was melancholic as hell.

As Marina started packing up her gear, Cala Vento stepped in to take the spotlight. Cala Vento is a band formed by two men, Joan Delgado on the drums and background vocals and Aleix Turรณn on the guitar and vocals. They are usually a mix between punk-rock-pop. To which one of them they lean, it depends on what you as an individual listen to; if you are used to very soft pop, they might be very punk to you, but if you only listen to hadcore punk, they will sound very feel-good-poppy.

Their high energy anthems were transformed into very intimate, emotional and sensitive songs as the wind moved the crowd?s hair, the moon started to rise over the

I had seen Cala Vento before, and it?s amazing how they fill you up with sound with only the drums and one

MarinaHerl op

city, and the only interruptions we had were the sporadic sirens of ambulances and the distant murmur of cars and people driving home. And I give thanks for it. When Cala Vento finished, MĂ rius, the organizator, asked for a round of applause. For Daniel, Marina, Joan and Aleix. And finally, for Yarik. You can follow Yarik?s journey @yarikzhivi on Instagram, and with the hashtag #YarikVive.

? Daniel Lumbreras ? Yarik andhissister Yul ia 15

? Yarik withhismomand sister

Cal aVento

¡Cuba Libr e Par a Lo s Punks! A Gu id e t o Cu b a n Pu n k a n d Ha r d c o r e by Adel Sou t o Probably the earliest known Cuban punks were Rotura, who started playing in 1991, and self-released a twelve-song cassette demo in 1992, titled Jodidos Y Perdidos .

As the borders of Communist Cuba are beginning to open up, many are discovering that the island wasn?t as sheltered as they once thought it was. It?s a surprise to many (even ex-patriots) to discover that Cuba has had an underground music scene for the last thirty years.

One of the better known early Cuban punk bands is Eskoria, who formed in 1994, self-releasing the demo, Puta Vida that same year, as well as being put on a split cassette, Cortando Kdna$ on Mexico?s Herejía Music.

Though recently sensationalized by the lurid media monster Vice (thanks to their story on Los Frikis: a collective of Cuban punks who purposely infected themselves with the AIDS virus, so as to receive free living in state-run sanitariums) the Cuban punk and hardcore scene is spirited, vibrant and powerful.

The other side of that cassette contained Cuban punks Detenidos, who formed in 1993, and released a self-titled demo the year before the split tape. It?s been said that, in 1995, they self-released another cassette, titled Carne de Cañón, but it has yet to surface in trading circles.

Because much of this music was illegal, little is known about many of the early bands?histories. Though late in the game, music styles as far ranging as rap and punk started to make their way through the streets of Havana, and further throughout the country in the 1990s.

One of the more recent bands that has garnered some attention is Porno Para Ricardo, due to the numerous arrests of lead singer Gorki Águila, for his criticisms of the Communist regime.

Forming in 1998, the band was originally championed by the Cuban government, and even received airplay on national radio and appeared on tv. By 2001, the lyrical content made them targets of the state, and Águila was arrested in 2003, serving a four year sentence.

Adictox began in 2010, and released two albums, ¡¡¡En la Calle!!! in 2011, and 2 in 2014 - both on La Paja Records. They have played a few festivals in their native country and have toured Canada and Mexico, but are not allowed to play the US due to the embargo against Cuba.

In 2004, the band was nominated for the British Index on Censorship prize in their music category, and a documentary was made about the group in 2007. Gorki was again arrested in 2008, citing what the authorities claimed was ?dangerousness? and antisocial behavior.

Arrabio - who started playing in 2008 gained a bit more popularity than Adictox after they hooked up with Roger Miret of Agnostic Front on the track ?No Hay Ley? on their 2012 LP, Hecho En Trinidad (on Teenage Rampage Records), which one can purchase from their Bandcamp page.

If your appetite for Cuban underground music has been whetted, hunt down tracks by Cosa Nostra, Limalla, Gatillo, and Barrio Adentro for more punk and hardcore madness. But, if you want to really get down in it, take a trip to the huge island that?s just 90 miles off the coast of Florida, and personally envelop yourself in the local music scene. I?m sure you?ll come back with some great music, as well as a killer sun tan.

Switching over to hardcore, we first come to Akupunktura, featuring ex-Eskoria bassist Ernesto. A melodic metallic-hardcore, the band has self-released four demos (Sueño Azul, Uno Ahí, Sin Miedo de Ti and Hasta Cuando) since forming in 2003.

A newer split tape, Al Fin Por Fin, released in 2015 by Solidarity Rock showcases some older tracks from two of Cuba?s best known hardcore bands; Adictox on side one, and Arrabio on the other.

CHEESE-STEAKS

+ BLACK METAL by Brandon Nurick Philadelphia is full to the brim with passion; it's not called "The City of Brotherly Love" for nothing. We love our food (cheese-steaks from Dalessandro's), we love our sports (E-A-G-L-E-S!), but most importantly, we love our music. Though my whole life it's a city I've lived on the fringes of, it's where I cut my teeth and learned to love music. Music in Philly isn't just about music; it's community. After awhile, I learned to love that too. In doing so, I enjoyed some of the best years of my life. Like The Wonder Years, I got my start in South Philly basements drenched in stale beer and sweat. Back then, our scene seemed so small. It wasn't just The Wonder Years we were seeing in basements, but we'd worship twinkle-emo charmers Algernon Cadwallader in the bowels of the First Unitarian Church on Sundays and then count down the days until we exorcised our emotional bullshit with Snowing the following week.

When those acts blossomed into national touring acts and our routine was shattered, I can remember my friends and I certainly feeling upset, but even more so proud - our little scene had become everyone's, and we wanted nothing but the best for bands who taught us the camaraderie music can evoke. For me and my involvement in that scene, my time ended with Snowing's last show (supported by the all-star cast of Algernon Cadwallader, Glocca Morra, 1994! and The World Is A Beautiful Place & I Am No Longer Afraid to Die). Since then, my tastes have mutated and spread a million different directions - I've chugged a marinara and mozzarella pizza-bong with our local party-thrashers Pizza Face and swayed back and forth solemnly while black metal maestros Infernal Stronghold have devastated small stages in front of 30 people - only because Philadelphia's inert love for music has become a home for any and every genre you could imagine. If given the chance to grow-up

near any metropolis and their be involved in their music scene, I would choose Philly everyday of the week and twice on Sunday. Here are three albums that define my listening tastes:

Grinning Death's Head - Bl ood War

Grinning Death's Head are virtually the only remnants left of the Funeral Stench scene, a blog that existed in the late aughts where I learned to truly appreciate the nuance and power of rawer black metal. Bands like Grinning Death?s Head helped further my passion to dig deeper into the underground, and after a seemingly eternal five year absence, Blood War is GDH's return and proclamation that they aren't done delivering studded glove uppercuts and lessons in ass-kickery to the basement-dwelling black metal masses quite yet. With the perfect juxtaposition of blackened mysticism and punk snarl, Blood War is what all black metal-meets-punk should be modeled after, a synthesis that draws from opposite ends of the spectrum to coalesce into something far more menacing than its respective sources. This album is definitely good enough to hold up over the next five years, but let's pray GDH don't take quite as long next time to release their next banger.

Mal fet - The Snaking Path

This is hands down the best "dungeon synth" album I have ever heard. The reason for the quotations is while The Snaking Path definitely feels connected to the dungeon synth family tree, it's also feels like so much more. It doesn't just capture the medieval structures most DS builds, but the entirety of that era. The endless forests with beams of sunlight piercing through the canopy, trickling rivers emptying into a greater rush, even just the feeling of being surrounded by a million different forms of life. The production is incredibly dynamic, balancing the instrumentation against an orchestra of natural sounds and ambience, and its complexity defies convention; it's a million different synapses going off to create that simple sensation of wonder. The world this album creates is one I often visit when the stresses of real life become a little too much; as I settle into it mystical charm, everything else - problems and all- just seem to melt away.

The Speed of Sound In Seawater - Red Version

Red Version feels like a once in a lifetime record; The Speed of Sound In Seawater have never released anything bad, but everything they?ve done pales in comparison to their sophomore effort. A departure from the pure math rock tomfoolery of their debut Blue Version, Red Version upholds TSOSIS?s penchant for off-kilter noodling while also embracing the pop elements they previously kept in the backseat. It's an absolutely stunning album; opener "Romanticore" is playful and witty, allowing sparse emo-esque instrumentation to frame the vocal-centric piece while "Dinner And a Movie on a Post-Apocalyptic Earth: 12 Bottle Caps, Successfully Repopulating the Human Race: Price" is as technically and emotionally confounding as its long-winded name. For me, Red Version has become a standard-setter and the benchmark in which I deliberately or not rate all other math rock records.

p h o t o b y ma t ia s r a mir e z - b u g u e n o

Gig Re v ie w

3 8 Be r w ic k , T h e Va l l e y - 0 1/ 0 9 / 18 b y d y l a n h e w it s o n - b e v is When Movements announced their tour, I jumped on tickets immediately, knowing that I was bound to be in for a good time.

as it gave lead singer Patrick Miranda catharsis as well as providing relatable tracks involving a multitude of mental illnesses and his dealing with them. The gig took place in a small little venue nestled down a side street in the Valley. The venue doubles as a music college for kids in senior education such as myself. The lighting and sound setups were nothing short of great. I was impressed with the range of sounds the main act and their supports were able to play with, given how small the space actually was. I was happy that I was able to catch Ambleside?s support set. Even though they?re a relatively small band from South Australia, their music packs a punch. They play melodic hardcore with care and passion and I was enthralled with their stage presence. The crowd jumped for old favourites and swayed to new cuts set to drop some time in the near future. I will never be less than impressed by

I?ve been to quite a few gigs in my time as a young adult, and I think I?ve figured out the formula for what makes a good gig. Mix good friends, powerful music and interactive, honest bands and you have a winning performance and an intensely memorable time to go home with. The show was also a rare all-ages one, something the Brisbane local scene has been sorely lacking as of late. Such was the Movements gig I was given the opportunity to attend this September. I?ve always had a particular soft spot for Movements, having been a fan of their music since they dropped their debut EP. Their follow up release, however, has been incredibly close to my heart since its release at the tail end of 2017. Feel Something was an important album for the band itself, let alone the fans,

local acts the opportunity to tour the country, getting their sound heard. A huge thank you to the boys from Ambleside and Movements for kicking off September with such a bang!

how far their fanbase has stretched, as the crowd seemed to know every word and threw it passionately back at the band. Movements were definitely the highlight of the afternoon. Patrick Miranda?s presence on stage filled up the room, and his performance along with the rest of the band shook the venue to the core. The crowd danced, sang and cried along with every song, and we were left breathless by the end of their set. Classics from the self-titled EP era were met with enthusiasm and joy, and new crowd favourites from Feel Something were celebrated and lauded by the audience. A personal highlight was the closer, Daylily. Their most well-known track, but also their most important, I will admit to shedding a few joyous tears as I shouted the words back to the band. Movements should feel proud of their music, and how important it is to those struggling with different mental disorders. The catharsis I felt as I left the venue that evening was a weight off my shoulders, and I could never express my appreciation enough. I can only hope for more international acts to tour our shores, and to bless us with more all-ages shows. Not only is it an experience for us in the audience, but they also give

p h o t o s b y Dy l a n h e w it s o n - b e v is

Ye r s c e n e 's

BACKPAGES PRODUCTION

VENUES

MISC.

GIVE ?EM HELL!

GAMUT

GET2THEGIG

Portland, Oregon

2222 Venture Blvd, Camarillo, California, Studio R3

yerscenezine.com

Hey I?m Tyler Young, creator of ?Give ?Em Hell!? a production based resource for touring and local bands in the pacific northwest that?s aimed at helping post-hardcore and screamo bands book shows, record, and connect with like minded people. Check us out on Facebook for more information!

We are an independent artist studio that hosts a DIY safe space for creative and like-minded people. If your band is ever in need of a venue to play in the southern California area, message either Jake or Pat on Instagram at @the_daddest_landscape and @gamutlife respectively.

Check out our website to find events happening near you!

Do you want to post something in Yer Scene?s Backpages? Contact us at yer scen e@gm ail.com

BOOKING Queer s t o t he Fr ont Bielefeld, Germany This is my attempt to bring kickass queerfeminist artists to the front within the DIY music scene and challenge sexism and prejudice. This is a DIY booking service for EU+UK tours by a transgender woman for all the queers out there. I book and manage tours for FLTI* (female* -lesbian-trans* -inter* -nonbinary) solo artists and bands with at least one FLTI* member. Being a transgender woman myself and having toured EU/UK throughout the last years, I experienced lots of sexism, trans* phobia and generally unsafe environments which is why I really really want to help with booking tours in venues that provide queer-friendly and safe environments. I especially love to help out younger artists trying to do their first tours, since I know as an FLTI* person it?s even harder to get started getting out on the road. Here's what I can provide: I can book & manage tours throughout Europe + UK at any length from 3 days to up to 4 weeks. I also can help with van and backline rental and can drive.

majahag@hotmail.com

INTHIS

S ISSUE

CREDITS Cover - Background by kjpargeter on freepik.com, logo designed by Livvy Mitchell Yer Scen e Oct ober 2018 - Photo by Gemma Cannavo Table of Con t en t s - Artwork by Daniele Carerra Let t er Fr om Th e Edit or - Background by kjpargeter on freepik.com A Year of Yer Scen e - Background by kues on freepik.com Bot f ly Review - Album cover from https://botfly.bandcamp.com, photos by Eileen Michelle Jones, poster by Rob Mattsson At op A Roof t op in Bar celon a For Yar ik - Background by rawpixel.com on freepik.com, poster and photos of Yarik from @yarikzhivi on Instagram, photos of concert from Ariadna Vegas Cu ba Libr e Par a Los Pu n k s - Background by freepik on freepik.com, artwork by Merve Skygger Ch eese-st eak s an d Black M et al - Background by sketchepedia on freepik.com, album covers from https://youthattack.bandcamp.com/album/blood-war, https://pacificthrenodies.bandcamp.com/album/the-snaking-path and https://thespeedofsoundinseawater.bandcamp.com/album/red-version M ovem en t s Gig Review - Logo from google images, photos provided by Dylan Hewitson-Bevis Yer Scen e's Back pages - Artwork by Olivia Chenier In Th is Issu e - Background by harryarts on freepik.com Back Cover - by Rob Mattsson

Yer Scene Vol.12

Articles inside

botfly: A Review by Adam Yoe