Illustration by Star St. Germain. (Larger version here.)

Five years ago, we launched Coilhouse Magazine + Blog: A Love Letter to Alternative Culture.

Six beautiful issues, two grand soirees, and thousands of blog posts later, we’re dimming the lights and locking up. Coilhouse is going on hiatus. Which is not to say that Coilhouse is ending. Quite the contrary, as you can see! There’s no wrecking ball, here. Only a shedding of skin.

We can’t tell you what exactly is coming next, or when; we just know we have no intention of quitting. Potential directions that Coilhouse may move in somewhere down the line: books, apps, limited edition print/art objects, video, fashion collaborations. Smaller, more manageable one-shot projects that don’t break our backs. But first, we will have to re-strategize our business and production plans. Nothing is set in stone at the moment because, simply put, we need a break. We need to rest.

In its current form, Coilhouse is not financially solvent. The tireless and all-too-often selfless efforts of our incredible staff and contributors, in tandem with the generous support of readers and small-business advertisers, enabled Coilhouse to come this far. No small feat, is it? However, the business never had the chance to fully stabilize in such a way that it could remain sustainable long term.  For a time, it can feel okay to pour every waking moment into a labor of love, but after a while –five full years, in this case– that sustained effort can take a massive toll on both one’s body and one’s bank account. Repeating for emphasis, with astonished glee: five full years. That’s a whole lotta love, a whole lotta labor. And no regrets. But it’s time to step away for a while.

Health issues have also played a big role in our decision to put things on hiatus. Between early 2011 and now, Nadya has lost a huge portion of her eyesight due to a combination of glaucoma and several eye surgery complications. Understandably, that’s made it difficult for her to keep up with blogging, putting together the print magazine, and developing Coilhouse as a business. Mer, too, has struggled to keep all of the magazine’s and blog’s editorial fires lit in the midst of dealing with a series of financial setbacks and significant health issues.

This hasn’t been an easy decision for us to come to. We love doing this so much. We don’t want to disappoint anyone. For those two reasons, we’ve stuck it out for many moons by leaning on each other and our respective families a whole lot. But it’s far beyond time for both of us to take a step back, and regroup.

When we started writing this love letter over half a decade ago, we could not yet conceive of the humbling and inspiring amount of support that Coilhouse would receive. In our first few months, what kept us motivated were the thoughtful, hilarious, vulnerable, and insightful comments on our blog. Thank you, readers, for keeping us going. That was all you. As we hit our stride, in addition to this lively discussion, we were gifted with artistic contributions, valiant volunteer efforts, generous ad buys, and kind words of encouragement from friends. Beloved contributors, advertisers, interns, volunteers, editors, and patrons – Coilhouse wouldn’t exist without you, and it’s an honor to know each and every one of the kindred spirits who have come together to participate in this project. Thank you.

So. To reiterate, the magazine is done, the blog is going into cryogenic freeze… but! This is not the end. As you can see, we’ve cleaned up and redecorated the place to mark this moment in Coilhouse’s continuing evolution. Illustrated by the talented Stuntkid, co-designed by Nadya and Star St. Germain, the new site is a bright and colorful joygasm of some of the strange, beautiful ephemera that we’ve obsessed over together with all of you. We’ve also reorganized the categories, added a “search” feature, and put together a page of our favorite blog posts from over the years.

Have fun exploring those Featured Articles, and be sure to take a look at our newly updated Staff Page, now brimming with dozens of wonderful, dearly loved faces, and hundreds of contributor names. (If you’re a contributor and your name is missing, please just let us know and we’ll add you in immediately.)

To offset the costs of keeping the site up and its massive archive accessible, we’re offering one final round of merch: a limited-run set of Love Letter stationery and stickers, designed by Dorothy Schmidt, featuring Stuntkid’s new Coilhouse art. Half the proceeds will go directly to Stuntkid for crafting these beautiful illustrations, the other half will help us continue paying for web hosting, keeping our Flickr photostream accessible, renewing our domain name, and other random costs. Additionally, there are still printed issues of Issue 06 available for sale, and a small number of Molly Crabapple’s beautiful prints. All these items can be found in our shop.

On a personal level, the future is uncertain and exciting for both of us. Nadya is learning to see the world in a whole new way – literally – and for the first time in her adult life, she finds herself with no future projects. She’s embracing this state of flux, and feeling inspired to turn over a new leaf. Mer, having finally taken the plunge after two decades of being too timid to present herself as more than a session/backup musician, will soon be shooing her own music –both solo and co-produced– out into the world. She’s also eyeing up a potential Coilhouse community-oriented book project, to be undertaken in late 2013. In the meantime, she’ll be working on a couple different DIY projects down in New Zealand.

You can keep in touch with us here:

Nadya Lev – Twitter, New Website/Blog
Meredith Yayanos - Twitter, Soundcloud, Tumblr, Kickstarter

If you’d like to keep tabs on what Coilhouse is doing, please sign up for our mailing list. You can also stay subscribed to the RSS feed, join our Facebook group (we’ll both be keeping an eye on it), and follow us on Twitter. Also, we’d love to hear from you in response to this post! It’s been a while since we all introduced ourselves in the comments thread. Any old-timers still here? Who’s new? What are you all up to, these days? Tell us your story. Link us to your projects. We want know all about them, and all about you. We’d love to keep in touch.

We’d like to conclude this chapter of Coilhouse by offering up one final token of affection to our community, on behalf of the entire core staff, past and present. Since we have no plans to reprint our back issues, we’ve decided to release them as free, high resolution PDFs. You can download the PDFs at the Magazine Page.

Photo by Hunter Freeman.

I’ll try to keep this short; it’s late and there’s not much time left. Please forgive me if you’ve heard parts of this story before.

For me, it started with an old box of science fiction. I tore through Samuel R. Delany, Joanna Russ, Gene Wolfe, and others, reliving stories old by the time I cracked the pages. I didn’t care.

To my mind, the New Wave had it: the future was something to play in. This status quo was the most transient of things, its passing viewed with a sense of infinite possibility. If there were other cultures out in space, forward in time, why not here? Why not now?

Photo by Mike Brodie.

I lived in one of those amazing, barely-clinging corners of the country too many ignore when they talk about culture of any variety. No metropoli there, just a scattering of people trying their desperate best. By the time I busted open the box full of old books, I had already faced a fair amount of poverty, hardship, and even death.

90s Cyberpunk portraiture by Steve Pyke.

But here, as the years wore on and I read my way through an uneasy adolescence, was something else: here was hope, in the most dangerous fashion. Somewhere out there, people changed their personalities, moved in unison, turned boundaries into blurs transitory as old blood on a highway.

By that point I did not care about ridicule, and laughed when someone threatened me, but this I was terrified of, sure that the half-described scenes — goths, ravers, activists, and more —  faced possibility with a courage I felt I’d never know.

Excited about driving to the playa to destroy yet another pair of Demonia platforms? This video may be for you.

In the newly-released, self-directed video for her song “Genesis”, Grimes dons a Daenerys Targaryen-meets-Sailor Moon getup, rides through the desert, wields a fiery sword, and cuddles with an albino python. However, it’s rapper Brooke Candy, looking very cybergoth 2002, who steals the show. All that’s missing from this video is The Vengabus.

[via Marina Galperina, who adds, “I can’t even tell if this is #PLUR.”)

See also:

Free Pussy Riot! #freepussyriot from Peaches on Vimeo.

Well, it happened. The Pussy Riot verdict has been announced. The girls have each been sentenced to two years in prison for performing their one-minute “punk prayer” in the Christ The Savior Cathedral to protest Russia’s fusion of church and state. ”Even though we are behind bars, we are freer than those people,” said Pussy Riot band member  Nadezhda Tolokonnikova from her glass cage on the last day of the trial. “We can say what we want, while they can only say what political censorship allows.”

Below, a free poster by Molly Crabapple. Download the hi-res here. Print, post, mashup, and share. (Or buy a limited-edition 17″ x 22″ print to support their legal fund from Molly.) FREE PUSSY RIOT!

M.E.R.,

Are we no longer pretending you’re human in inter-office memos? Must have been in the newest handbook, the pages of which I have been using to line the area where I sleep.

As for your reply, well, what can I say? While the subject was, indeed, amusing, I found it repetitive for reasons I can’t quite put my finger on. It’s a mystery, really. As for my response, I submit “Gangnam Style” by Psy, perhaps one of the best things to ever come out of the Republic of Korea.

Yours in captivity,
Ross Rosenberg
(Sub-Level 23, Writer Pod 14B)

P.S. I was not attempting to dismantle the monitor, I was simply warming my hands on it. It is the only source of warmth in here.

In early 2012, the Russian feminist punk band/avant grade group Pussy Riot staged several disruptive performances in Moscow. Inspired by Oi! bands, the riot grrrl movement, and an diverse slew of cultural thinkers, the band donned colorful ski masks, armed themselves with electric guitars, and sang in protest of the  devastating violations of civil rights happening under Putin’s regime.

Back in February, Mer blogged about the band’s “Punk Prayer” – an incident in which the band stormed Moscow’s Christ the Savior Cathedral for an impromptu performance. The lyrics of the song criticized the Orthodox Church’s corrupt alliance with Putin’s government, asking Mother Mary to deliver Russia from Putin’s third term. “Virgin Mary, Mother of God, become a feminist,” the girls sang before they were dragged away by the authorities.

Nadezhda Tolokonnikova, Mariya Alekhina and Yekaterina Samutsevich, the three jailed members of Russian punk collective Pussy Riot

After the performance, things got dark for Pussy Riot. Three members of the group were arrested, thrown in jail, denied bail, and held without trial for months. They have been charged with “hooliganism,” and are facing up to seven years in prison. At time of writing, the women have spent 117 days in jail, with the trial postponed for months longer. This is without any family visits, despite two of the girls being young mothers.

Shit is fucked up and bullshit in Russia. Putin has just exponentially increased the anti-protest fine, riot police are savagely beating anti-Putin protesters, and the homes of opposition leaders just got raided. Moscow has just placed a 100-year ban on LGBT pride parades, and St. Petersburg has banned any images of “gay propaganda.” Meanwhile, Russia’s Kremlin-controlled media has done its best to sway public opinion against the girls, painting them as “blasphemous” criminals bent on destroying the entire Russian Orthodox religion. In this climate, it’s likely that the three members of Pussy Riot will be convicted. In fact, just 7% of Russians believe that the band should not somehow be punished.

Luckily, Pussy Riot’s plight has started to gain international attention. Solidarity demonstrations are happening around the world, there have been enthusiastic benefit shows, and Pussy Riot has caught the attention of the art world. In Russia, more than 100 of Russia’s best-known cultural figures have signed a letter urging for the band to be released. Abroad, musicians including Kathleen Hanna have taken up the cause, and Anti-Flag released a Punk Prayer cover in support.

What can you do to help? For one, spread the word. Organize a local benefit, or donate to their legal fund (note: at time of writing, the site freepussyriot.org where you can donate is down, but most of the time it’s running). Take action with Amnesty International, urging the Prosecutor’s Office to drop the charges and release the band. Stage a protest at your local Russian Embassy  or Russian Orthodox Church. Take pictures. Show the band that they are not forgotten.

Long white clouds in the sky above the southernmost tip of the North Island. Photo by Mer.

Greetings, comrades, from the Motu-Kairangi valley of Aotearoa. New Zealand’s north island is spectacularly sun-drenched at the moment– an unseasonably serene autumnal week, by Land o’ Long White Cloud standards.

Perfect timing, too, ‘cos Nadya‘s here! Squee! We’ve been talkin’ some SRZ COILBIZ (“Brainstorrrrm! Maaaaagic!”) and have decided to give ourselves a few days off from blogging and cat-herding to take a much-needed Coil-free road trip together. Coilhouse.net will probably be a bit sleepy for the next leetle beet. Consider this post our GONE FISHIN’ sign.

Speaking of fish, check out this jaw-dropping photograph of an immaculately preserved, exquisitely beautiful/fantastical Mola Mola skeleton:

A specimen housed in the Naturhistorisches Museum Wien, Austria. (Via Paul Komoda.)

Oh, our marvelous world. It is full of such fantastical things, both natural and unnatural. We hope you’re all reveling in the weirdness as much as we are right now!

Love,

Mer & Nadya

O frabjous day! (Callooh! Callay!) It is March 20th, 2012– the official US release date of UK-based author Nick Harkaway‘s second novel, Angelmaker.

Comrades, if you appreciate joyful and highly original storytelling, you need to pick up this book. Immediately. Trust me when I tell you that Angelmaker is easily one of the most endearing works of fiction that will be published this year… or next, for that matter.

Better yet, trust William Gibson: “You are in for a treat, sort of like Dickens meets Mervyn Peake in a modern Mother London. The very best sort of odd.” Or Tim Martin: “this is as far as it could be from the wearied tropes that dominate so much of fantasy and SF.” Or Glen Weldon: “A big, gleefully absurd, huggable bear of a novel.” Or Charles Yu: “Nick Harkaway’s novel is like a fractal: when examined at any scale, it reveals itself to be complex, fine-structured and ornately beautiful. And just like a fractal, all of this complexity and beauty derives from a powerful and elegant underlying idea.”

(Yes. YES! THIS. What they said. All of it, plus tax, and with great interest.)

Who among you has read Harkaway’s debut novel, The Gone-Away World? Those who have know what a big-hearted and ferociously intelligent storyteller he is– how he crafts narratives that defy categorization (and sometimes gravity), shunting his intricate, multi-pronged prose along at breakneck speeds. TGAW is a sprawling, surprisingly poignant hero’s epic that unfurls like a Lichtenberg figure against an unlikely backdrop of pirates, mimes, ninjas, horrific super-weapons and devastating post-apocalypse. It’s equal parts meticulous, silly, sincere, impassioned, hilarious.

The yarn of Angelmaker is made of similarly electric stuff, only spun even more finely, and woven so intricately that many passages play out like a kind of multi-layered literary sleight-of-hand: How did he do that? Within his wordplay, Harkaway ensconces acts of commensurately deft swordplay, espionage, gangbuster hijinks, and even higher fantasy. Intricate family bonds are explored and philosophical quagmires grappled with. There are trains, planes, automobiles, and submersibles. Sex! Monks! Murder! Mechanical bees! We are introduced to tragic elephants and a heroic pug. Harkaway dares us not to fall in hopelessly in love with each and every character and object and exotic locale he braids into the microcirculatory tapestry. (Bear in mind, there are thousands of distinct and lavishly described elements.)

At the golden hammering heart of the story we find Joe Spork, a lonely/adorable identity-crisis-having horologist, and Edie Banister, a ninety-year-old former superspy whose badassery transcends time and easy pigeonholing. Together –with the help of their magnificent friends/lovers/family, and thwarted by an assortment of deliciously loathsome villains– Joe and Edie must rescue the world from an antiquated doomsday device unlike anything anyone ever imagined… save for the tormented genius Frenchwoman who haplessly invented it.

It all sounds utterly absurd, doesn’t it? Well, it is. Ravishingly so.

Now. That being said, I’m delighted to present the following Coilhouse interview with Nick Harkaway, author of Angelmaker and The Gone-Away World. Huge thanks to Qais Fulton for supplying several of these questions, and downright humongous thanks to Mister Harkaway for taking the time to answer them all so thoughtfully.

Nick Harkaway. Photo by Rory Lindsay.

COILHOUSE: You were a professional screenwriter before becoming a novelist. Both The Gone Away World and Angelmaker –while infinitely more complex, dense, and multi-layered than the medium of film could ever allow for– have decidedly cinematic qualities: panoramic descriptions of places and scenes, well-paced bursts of action, crackling dialogue. Do you often find yourself pushing or pulling against that previous construct, or have you compartmentalized the two mediums? What (if any) are some of the most important tools you’ve brought with you from your screenwriting career?
NICK HARKAWAY: Mostly for me the sense of the story leads the writing, so I know where I’m going and I come up with how to say it as I go. (I don’t mean that character doesn’t drive, rather than I have an overarching sense of what character and plot will do in combination, and I then have to write a line through that using the right scenes and the right language to express it. There’s a constant battle to find words and events which properly capture the concept in my head. And sometimes it turns out that the concept has conveniently ignored some logical realities and I have to bridge a gap…)

But screenwriting is a terrific base to work from. There are two gifts it gives which are obvious: if you’ve written a movie script, you know that you can finish a story. (I swear, more people get hung up on sheer terror of the long form than anything else.) And you know about concision. Every good writer I know has at one time or another worked in a field which required them to be able to express a lot in a short space, with minimal linguistic flourish. Whether that’s journalism, the civil service, the law, or something else, it’s a great discipline. I, obviously, have sort of abandoned that kind of sparse writing, at least for the moment, but that doesn’t mean I don’t benefit from it.

What pushed you to write your first novel? Was there a specific catalyst?
Yes. I was heartily sick of pitch meetings. I couldn’t stand taking another great story to someone who was fried on Starbucks’ coffee and not really paying attention and have them object to everything which was interesting about it and then complain that what was left wasn’t original enough. Or some variation on that theme. The final straw was a musketeer-ish story I wanted to write which was about a women who had, in her youth, dressed as a kind of D’Artagnan figure. She’s in middle age, her kid gets kidnapped, and she has to go back to being an adventurer – but she’s no longer a waif. She’s a farmer. She’s strong, heavy, and very obviously female. So she puts on a fake beard and decides essentially to be Porthos instead. There was all kinds of fun stuff in that story – just talking about it I want to get it out of the drawer again. Anyway, my panel of (female) execs sit through this, and at the end they say “well, it’s kinda hard to place stories with a middle-aged female lead”. And that is their entire critique apart from a nice extra kiss-off about transvestitism being hard to sell, too. And I just thought “screw this”.

Note: This issue has been sold out. Thank you!

Joy and surprise! Recently, we unearthed a long-lost box of Issue 05s we didn’t even know we had. We’ve put them up for sale in our online shop. To promote the sale, we’ve also thrown together this HTML page with an assortment of free “Making Of” goodies that everyone is welcome to check out. Enjoy!

It’s been a lot of fun, taking a trip back to 2010. From the Coilhouse vaults:

This is a paper proof of an alternate cover concept for Issue 05, featuring all-holographic foil. We worked with two companies and logged many hours in conference calls to try and make this happen, but ultimately decided to go with a holographic effect that was more subtle in order to preserve the original photo’s vibrant background. Ah, well! One of those “live and learn” scenarios, and a fun experiment in the evolution of Issue 05.

There were many such experiments. These Dorian Gray images, for example, went through tons of iterations: different backgrounds, multiple stages of Photoshop, etc. And photographer Allan Amato’s simultaneous Dorian Gray/Amanda Palmer & Neil Gaiman shoot was, itself, a pretty boisterous experiment! From beginning to end, the process of putting those two features together involved, quite literally, thousands of emails and phone calls between roughly two dozen collaborators. The ”Issue 05 Making Of” page includes behind-the-scenes Dorian Gray snapshots, as well as several gorgeous photos of Amanda Palmer and Neil Gaiman that we didn’t have room for in the magazine.  There’s also a zip file of a high resolution file of Mildred Von’s paper doll, so you can print out and embellish your very own giant Dick Cheney! (Oh boy! Just what you’ve always wanted!)

So, to reiterate: there’s an unexpected windfall of Issue 05s briefly available in our shop. There are 43 copies available. Buy ‘em now before they’re gone forever. Also, this seems like a good time to remind everyone that we still have Issue 06s available in the shop. GET SOME.

Did you miss out on Coilhouse Issue 05: Let All the Children Boogie? (It’s not surprising… the print version of Issue 05 sold out in a record time of three weeks.) If so, we’ve got great news for you!

Starting tomorrow, we’ll be selling the last remaining batch of Issue 05′s in our shop. We have a very limited quantity of mint-condition copies from the original print run, and we’re putting them on sale to make room for more boxes of Issue 06 and other upcoming goodies.

The brightest, most colorful issue of them all! Featuring a gorgeous tribute to Grace Jones on the cover, holographic gold foil, two prints from the issue’s Dorian Gray-themed shoot, and a giant fold-out poster, it included interviews with Neil Gaiman & Amanda Palmer, Clive Barker, Chet Zar, Zoe Keating, Jo “Boobs” Weldon, and Chris Conn Askew. There was a tribute to fashion designer Tiffa Novoa, a richly-researched article on Chinese pulp fiction by Jess Nevins, a charming memoir of adolescent geekhood by Wil Wheaton, striking photography by Ali Mahdavi, paper dolls drawn by Mother of London creator Mildred Von, and much more. Check out a full preview of the issue.

Check back tomorrow for Issue 05!