Quotes:
It sounds like boring fire with people tied up. - Zoe, 4 1/2 years
Sensory deprivation is a must the first time you listen to Wizard Prison. If you do someting erotic with your partner, while _they're_ listening to it, then they might die. - Beth Mort, Spokane, WA
I just had to tell you that my friend michelle and I had an intimate bonding experience with wizard prison. it was night, it was desert, and the only thing visible were the eyes of hundreds of rabbits daring us to stay on the road - strange music that made more logical sense than anything i think i have ever heard, along with the promise of bright lights and enlightenment on the other side kept me from the dark ones. those rabbits couldn't stop us and they couldn't stop wizard prison for three hours solid. in the end, thanks to the wizard, we won....
thank you ben - two adoring fans have been embraced by the prison...the legacy continues.... Beth Mort, Spokane, WA
I am x's friend y. I go to cal arts. I was at the henry fonda on sept. 18th [ed: in LA opening for Animal Collective] on a good amount of strong psilocybin. You started me on a long hard road of mystical realms that I'm not sure what to think of. I feel certainly compelled to talk to you and Avey and all the interesting artists you associate with about many things but certainly about how to effectively change peoples ideas drastically. please contact me. - names removed to protect the addled.
"WIZARD PRISON rewrote 1984 Ambience,,,,,,, after seaing the fillmore Dropwow performance and then the Pancakes sleepy tonefloat they Finally break free!!!!!!! a Dance Party breaks out and the Wizards and the audience breaks a sweat dancefloor noise Culture Fuckin happens]]]]]]]] Prison broken,,,,,no shit! ask Decker who danced like a Hammer and the other Noise Kids,;.........hop dammit brake the bland;;; go sea the fillmore rerun tomoorow in hoaxland... Wiz Priz are like Sex. not always great.........but when it is..... its fukin Wonderful!" - 5lowershop honcho Lowgun, speaking of our 9/22/2007 show there..
"I got your cd and man - it's way too musical for a pancakes show. I thought you were doing more ambient hell stuff." - Grux
"I got scared of Wizard Prison from just the pictures. Then your sounds zapped me and I ate some rigatoni. Your band is dark and foreboding; yet I could see you playing at my parents' 50th anniversarry party."
July 3, 2008
New visualization experiments are up. Click here to see
Wizard Prison appears on the long playing vinyl record ...and Shiva Came for Charlie a tribute to the late Charles Gocher of the Sun City Girls. From the site:
This LP collects the monthly mp3 series hosted on the Ri Be Xibalba web site from June 2006 to June 2007. Each track was only available for one month and then deleted. In the midst of this, our friend Charles Gocher passed away. As an immediate reaction to this, I bumped Sir Richard Bishop's track from the March slot and left the page silent in remembrance of Charlie. As all the artists in the series are based in Seattle, and many were good friends of Charlie's, it was decided to dedicate this collection to his memory.
Wizard Prison has one Track, Kamchatka Afternoon
October 15, 2007
Dublab is currently featuring a track from our album The Early Years. Check it out.
Two VERY favorable reviews of our Tuscon show at the Rialto Theater:
Review #1 - Click here to read
Review #2 - Click here to read
December 13, 2007
New video posted: Click here
November 9, 2007
Finally, John and Scott's diary from tour
Scott's Diary:
The tour started in Seattle at Neumo's. During sound check, I thought that it was incredibly hot on stage. I was pretty sure that I would pass out if it was that hot when no one was there. The monitors were really fucking loud, but with earplugs, it was OK. When we hit the stage...I was right. It was really loud and hot, so I took off my pants and played with just wizard costume and boxers (a trend that would follow me throughout the tour). the Animal Collective set was amazing. The lights they have are run by Rev Green and are so psychedelic. It looks like you are on LSD even if you are not. I'm sure most couldn't figure it out.
Vancouver was next. We had to play sans Ben but John and I had a great trip up there and got to talk a lot, something that we hadn't been able to do since he moved back to Seattle. The border crossing was easy and everyone at the theater was cool and friendly. AC was late because of a border screw up, so we really only got a line check, bit that's OK. The show was cool, but the club had weird acoustics which made the conversations of the people in the audience really loud on stage. it was almost as if their conversations were the main level and we were providing an ambient background to them. No bother though. The set was cool just the same, but different because it was just John and I. We got major applause when the prison came down. This continued through the rest of the tour, maybe because they were really happy that we were finished or maybe they were were amazed that the prison could collapse like that.
John and I decided to bail right after the show and drive back to Seattle. We got to the border around midnight just as a shift change was happening. It didn't look good to me, the guard put out the orange cone and motioned us to approach. I mean, how dismal is it that you work the midnight to 8am shift at Blaine, WA. I felt bad for the guy.
The first thing he said was BBBBRRRRR DNNNNMMMMM VVVVVRRRR NNNNN PARK! What? And then he repeated it. For some reason, John understood mental patient and said, "put the van in park". I started to turn white as I really thought we were in trouble because the guard was on meds or mentally disturbed or something. He opened the van door and looked inside and then he looked in the back in the van and mentaled something about $10,000. I didn't know what he said and I was sweating. I just said, "$10,000?...No no no" and he said goodnight. Then he turned around and asked us about Tees and CD's and I said "no" and we were on our way. FUCK! that was scary. Once we were away from the situation, I wondered if he did that on purpose to to amuse himself. Now that would be funny.
The next day we hoped down to Portland and got it with attitude. "Where am I?" I THOUGHT I was in Portland, OR not Shithole Asswipe. The stage dudes TOLD us how the night was going to go down and after our set they would be throwing all our gear off the stage. I explained that we had lots of wires and computers and stuff and it wasn't like a rock band that you could move an amp and some drums. They bent a bit but it was stressful. Sure enough after our set, they hustled our shit off stage into an elevator and dumped it into the "green room". There is really no reason for this. I mean, we are all citizens. The AC set was amazing and it was the first time I got to see the whole thing. Damn, these guys are good.
After the show we decided to drive to Eugene and stay a few hours before heading to SF. It's a really long haul. We checked into this motor lodge. It was about 2am. We settled and then started watching Batman - the movie with Adam West. It was so fascinating that we couldn't sleep. About 3am, we forced the issue and got up at 6am to hit the road.The night guy, who just checked us in a few hours ago was bewildered that we were already checking out. We grabbed a few bagels and coffee and hit it.
Bleary eyed, we arrived in SF to the nicest, funniest and coolest staff ever. The Fillmore was amazing. Maybe I was excited because I saw the Residents on this very stage 6 times, but really it was very cool. There was a tiny bit of shit I had to wade through but everyone was reasonable. The sound was amazing, the crowd was amazing, the lighting was especially cool. The guy GOT it and looking at the video later, i realized that we had the right guy for the Priz. He had these spotlights roaming around the stage in prison search style. It was sooooo cool. Our wives flew in to see this show and that made it even more special. Unfortunately John had to leave the tour at this point which was really sad as we all bonded and were playing really great shows. C'est la vie
We got up early to drive to LA. Had to leave the wives behind which was really weird. I think it's common knowledge that I HATE LA but I think Ben understood it immediately because as we entered LA, he said,"what's happening? It's like everyone took the prick pill" . INDEED!! We arrived at the theater and the attitude started AS WE ENTERED the THEATER. This is why I hate LA (attitude attitude attitude). I really don't want to go into all the gory details, but lets just say that I know how to interpret LA speak and my interpretation was , "We are gonna make your lives difficult because we can. We are gonna fuck you before you even have a chance of thinking about fucking us." . Then there is the guy telling me I have to pay $450 to film my own performance and some more money to record it. I thought about the Mooninites leaving earth and giving the earth the finger. Where Am I? Is this some sort of weird Vortex? Do we really care about a party where Van Halen played to 300 people. How many people bought bootlegged back stage passes. Should I just shit in the sink or get out my flame thrower and end it right now! Fuck LA!!!!
OK...I'm calm now. we have a day off that I spend with real friends that just happen to live in LA. It was fun, relaxing and cool. we cried at Amoeba, saw Mullholland drive, ate amazing Cuban Food and headed out of town late to shave a few hours off the drive to Tucson.
Tucson was the complete polar opposite to LA. I think everyone was sooo laid back that they fell over. I got to se my friends that run blackmetal.com which was cool and the AC set was amazing again. Unfortunately this was our last night with them, . They are such cool dues and it was hard to leave the tour and go our separate way, but it had to be done.
Ben and I speed-balled it back to SF to a super sweet Mil Valley retreat . Super nice folks with super nice attitudes and a super nice pad. The next morning we went into SF for the Godwaffle show which was amazing and another dream come true. Originally I wanted the first WP show to be at Godwaffle but 666 came about first. Doesn't matter, we had a great, short set with a bunch of great artist . Of particular mention was Bean Dip Troubadours which were two old men playing noise music theater. It was the funniest thing I'd seen since sliced bread. Ben and I separated for the afternoon. He napped while I ate Mission burritos and waxed poetic about my career. We met up again at Amoeba in SF and cried, ate amazing Thai food and headed over to the 5lowershop for an all out rave of noise music and debauchery. We did a special show of trance, hypno mind control. It was well received and the nicest people around.
Back to the Mill Valley retreat and had a leisurely afternoon of luxuriating in bed, chowing and looking at trees. After a few raw oysters and some chowder, we headed over to 21 Grand which was the coolest space and the nicest people. I was looking forward to playing here for soooo long. The show was sparsely attended but we were able to meet everyone there and they seemed like instant friends. Pigs in the Ground blew me away. Heco had this barrage of sound that was sooooo interesting and Tainted Pussy was mesmerizing. All in all a good show. SF rules LA blows. Case closed
The next morning we had to leave early and high tail it to Eugene. This show was cool because it was in an art gallery of sorts. The people were cool and the crown was reactive. The perfect end to the perfect tour
Headed back to Seattle but not before stopping in Portland for another Powell's excursion and some amazing food at Ten 01. I'm talking truffle oil fries with soprosetta sandwich . Food of the gods.
Finally made it back to Seattle to our wives and all was good in the kingdom. And as we drifted off to sleep, I pressed the T bar on the TNT charge placed neatly under the Henry Fonda Theater and said goodbye to Wliley and woke up in Paris.
November 9, 2007
John's Diary:
Wizard Prison (henceforth, WizPriz) is no charm school, no rose garden, no Harry Potter tribute band and, no, it's not a brand of deodorant. What is it? It is humanly organized sound looking to soundly organize humanity. It's peace dealing with it's tensions without cowardly resorting to war. It's earth-mother-speak. It's an aluminum armature with a scrim clothes-pinned to it.
In what follows I interpret my recent WizPriz touring experience through Pierre Bourdieu's Outline of a Theory of Practice. I appropriate Bourdieu's conception of the habitus, structure, practice, and doxa in an effort to coax a meaningful reading of my experience as WizPriz drummer and electro-gismo person. The recognition of these Bourdieuian concepts in the realm of music and musical experience should provide an underlying framework for the discussion while at the same time enabling me to sift out previously obscured kernels of meaning.
Before jumping to Bourdieu I wish to contextualize the events leading up to and surrounding the tour. It's August 2006. Scott asks if I want to play music with him and Ben. I say yes. Scott becomes famous and then lands us a sweet tour opening for those freak folksters, those hippie-hoppers, Animal Collective, in September 2007. I can only go on the first four dates and returning to Seattle after our Fillmore show (if you need to know of good bench to sleep on at SFO, just ask me).
It is important to note that Bourdieu does not come out and offer one definitive statement concerning each of his central concepts. Instead of compiling a glossary with the definitions of his concepts, he offers the reader a definition of a concept, but will revisit it later, defining it once again. This is not to say that his definitions contradict one another. Rather, they add to the richness of their meanings. With that in mind, I will offer abbreviated definitions of four concepts that Bourdieu employs with great success in his Outline of a Theory of Practice.
Habitus : "Systems of durable, transposable dispositions, structured structures predisposed to function as structuring structures (Bourdieu 1977: 72)." The habitus is the principle of "generation and structuring of practices and representations which can be objectively 'regulated' and 'regular' without in any way being the product of obedience to rules (ibid.)." It "produces individual and collective practices, and hence history, in accordance with the schemes engendered by history (ibid.: 82).Thus, the habitus is an underlying stratum of social body language which backs up the common sensibility that peoples share among themselves.
Structure : Understood as objective, structure defines "the social condition of the production of the habitus (ibid.: 78). It is conceived as the structure of the consequences of human practices.
Practice : Produced from a dialectic between the habitus and the structure, "practices ... tend to reproduce the regularities immanent in the objective conditions of the production of their generative principle, while adjusting to the demands inscribed as objective potentialities in the situation, as defined by the cognitive and motivating structures making up the habitus (ibid.)." Practice is what is produced from the play between habitus and structure. It is what we do.
Doxa : "When there is a quasi-perfect correspondence between the objective order and the subjective principles of organization (as in ancient societies) the natural world appears as self-evident. This experience we shall call doxa (ibid.: 164)." Doxa remains outside of the realm of discourse until there is a crisis in which questions related to this "quasi-perfect correspondence" are brought forth.
To sum up, practice is produced as a result of the fluctuation of the dialectic between the habitus and the structure. When the habitus and the structure seem to be in perfect correspondence, the experience of the practice produced is doxa, but is never referred to until there is a crisis in which its representation comes into question.
It is possible to recognize many manifestations of the habitus. WizPriz's most fundamental habitus is the habitus common to most, if not all, Americans. This habitus, that which enables us as a society to practice common and implicitly agreed upon sensibilities which maintain relative peace and economic prosperity, is of little interest to me here. I am instead concerned with the habitus of the band WizPriz. This habitus is unique to WizPriz, though I realize that it cannot be separated completely from the larger habitus of "America" or even "rock music." Like an onion's core, WizPriz's habitus may be unique, but it's existence is dependent upon the outer layers, the general habitus. Without these layers, which protect and contain the core, the habitus particular to Wizard Prison would not exist at all. My eyes are starting to water.
The WizPriz habitus produces WizPriz practice: i.e., music. This music is produced as a result of a dialectic between WizPriz habitus, our shared sensibilities, and an objectified structure of what we want to enter the public space. Wizard Prison's music is uniquely our own, but at the same time is generally redolent of a set of overarching musical sensibilities: Black Metal, Afro-Beat, Shoe-Gazer Pop, Horror Core, Retro-Electro. Therefore, music, as an art of practice, is a cogent concept. After all, music, like practice, is often situated beyond discourse, is unmediated by words about it, and is the result of common sensibilities and objective structures. But what of this doxa?
Much of our WizPriz set was gleaned from two CDs that Ben and Scott recorded previous to August 2006. Within this music, the practice of WizPriz's habitus, my drumming fit in. By listening to their CDs, texts in a Ricouerian sense or materialized practice in a Bourdieuian sense, I felt prepared to play with WizPriz. But there is musical knowledge that can not be transmitted through the materialized practice of the CD. There is a realm of knowledge about music that is situated beyond the realm of discourse and does not become apparent until the practice of the music fails to reflect the "quasi-perfect correspondence between the objective order and the subjective principles of organization (ibid.: 164)." This realm of musical knowledge is analogous to Bourdieu's doxa. With Wizard Prison, though the CD's prepared me for the most part, when it came time to actually join in their practice, we all had to tweak our practicing to the appropriate doxa: what's referred to as "Wizard Prisonness."
There was an additional tier of musical knowledge that WizPriz was attempting to actualize. This doxa, which was represented on the CDs and the result of multi-tracking, sampling and other studio wizardry, was sometimes challenging to reproduce in a live setting. When attempting to reproduce the static nature of recorded practice we sometimes sounded less like wizards and more like mortals. In order to correct this rising up of the doxa, we determined which aspects of the doxa would be dropped during our performative practice. Thus, and in sum, it was only when the ability to present the practice adequately was in question, or crisis, that we, the WizPriz, gravitated toward the examination, and sometimes extermination, of doxa.
My stint on the tour was great: Seattle, Vancouver, Portland, SF. I felt our music sounding best and then better. We were sensing a good thing then, now, ahead. The habitus felt good because the practice felt good. Never did we begin to associate WizPriz's habitus with tedium. The practice produced as a result of the dialectic between this habitus and the objective reality (structure) of touring was invigorating. The habitus did not become akin to mundane repetition, the structure proved not to be grueling. The set list breathed, ebbed, waxed from night to night. Improvisation was alive. Our practice grew richer and our doxa became reborn night after night. I may have lost a few of my cochlea's hair cells, but I'm looking forward to playing with WizPriz again. What? Did you say something?
Bourdieu's concepts and insights have provided a path to understanding certain aspects of this experience which I had not fully appreciated. I believe that a further application of Bourdieu's concepts of heterodoxy, orthodoxy, and manipulation of power to this and future tours would be beneficial, or not.
John
BIBLIOGRAPHY
Bourdieu, Pierre. 1977. Outline of a Theory of Practice. Cambridge: Cambridge University Press.
October 6, 2007
Review from Aquarius Records (currently on their front page)
WIZARD PRISON "II" (Gravelvoice) cd 8.98
ATTENTION SUN CITY GIRLS FANATICS!!!
Apologies to Wizard Prison for beginning the review like that, but it strikes us that fans of the late great Sun City Girls would definitely dig the strange sounds found on this disc, no huge surprise as half of Wizard Prison is none other than long time SCG collaborator and producer and Climax Golden Twins mainman Scott Colburn.
Not that II is any sort of SCG rip off, in fact, in most ways it doesn't actually sound like SCG at all, but the vibe and the mood, are quite similar, a sort of alien world music, modern instrumentation channeling old world sounds. The disc begins with what first appears to be an electronic trip hop jam, but quickly reveals itself to be a bizarre krautrock style jam, simple and propulsive, peppered with electronic bits and a young girl singing and speaking in some other language. It's a bit Portishead, if they put out a record on Abduction. The second track is similar, a sort of electronic rhythmscape, that quickly begins to sound less specifically electronic, and more -electric-, a pulsing tone over simple drumming, a relentless pulse hovering over strange growling animal sounds and subdued low end melodies, again, it doesn't -sound- like it, but it somehow reminds us of the Butthole Surfers, not sure if it's the strange slowed down vocals, or just the vibe again, but it's dark and damaged and haunting, but also strangely hypnotic and groovy.
The whole record is a series of simple rhythms and looped melodies, mesmerizing, repetitive and hypnotic, most songs with a single riff, a sole part repeated over and over, but with a constantly shifting backdrop of strange sounds and disembodied voices. Almost like a more alien lo-fi Circle, or a more krautrock Nurse With Wound, or like some DJ took their favorite Sun City Girls parts and looped them into endless jams. Some of the tracks are super dark and heavy, others are more murky and mysterious, all seem to have some strange drifting electronic element to them.
The second to last track stands out as super creepy and cinematic, and sounds a bit like Goblin, with haunting minor key melodies draped over slow shuffling rhythms and atonal guitar fragments, and the final track is super spare, and sounds as if it was cobbled together from radar, sonar and the Conet Project, minimal and mysterious.
Plus the whole record is a concept album (the story is printed inside the booklet), and you should know by now how much we love concept records...
Really fantastic, and a nice surprise. Not at all what we expected (not sure what we expected really), but definitely recommended. A new favorite around these parts...
September 23, 2007
Tour Diary - San Francisco II
On the way back up from Tuscon we finally hit Mill Valley and our posh crash pad courtesy the wonderful Julio and Mimi. Managed our first dent in the van on the way up the steepest driveway in history, however.
All was restful for the ensuing 5 hours - we booked early to the Mission to play the Godwaffle Noise Pancake Breakfast courtesy Grux. Suprisingly well attended - I wonder whether you could ever get Seattlites motivated for something like this, but the DIY movement (SS Marie Antoinette, Happy Times Funclub etc) gives an old man hope. Speaking of old man, Bran Pos, preceding us at Godwaffle, was a brilliant piece of theater feature two dawdering old men claiming they were from the future, repeatedly: [old man voice: 'we're from the future!!!']. We found out at 5lowershop that this was none other than Bran Pos. Nice work. We played some morning sleepy vcs3 action. The whole morning was surprisingly relaxing.
Much noise ensued at the sensory overload fest of 5lowershop that night after a bit of afternoon sleeps. The video jockey action from tod was awesome, as was the music of Rhiknoberus, Oaxacan (yes!) Bran Pos and Telepathic Friend. Super inspiring night. We did a one-off show featuring Rev Bruce Howard footage which Scott edited together and it killed - much love from the crowd. After our set we played the exalted Earth Wind and Fire video from about a half hour, and it only took the confused crowd one song to get on their feet and shake it. Happy priz'ners for sure. Now to 21 Grand tonight.
September 18, 2007
Tour Diary - Los Angeled - Henry Ford Theater
We are already feeling the psychic toxicity on the freeway as we roll into town. We hit the Henry Fonda theater and are greeted by this attitudinal (is that a real word?) guy asking us in a smartass way: "So who are you guys? Wait - let me guess: Daft Punk, Iron Maiden, La Guns" and he fires off 6 or 7 random bands. Not sure what he was drivin at but he ran the place, so we laugh a bit.. He proves to make life difficult for us in the ensuing hours, denying us backstage, not allowing us to tape our own show, etc.
Everyone is getting mighty tense as the afternoon continues, so that folks are alternately burnt out or pissed within the first hour. Many events ensued that night, but long story short is that we're not there anymore and happy for it. At one point, the backstage was filled with about 50 strangers, who had all bought fake wristbands from someone outside the club. ! How that could happen was a bit baffling. On to Tucson..
September 18, 2007
Tour Diary - San Francisco I - Filmore
I could write a book on this one. The Filmore is so full of history it's sick. We pulled into the Filmore's back entrance and loaded in - huge room with a very distinct vibe - what a way to be introduced to the place - to actaully be playing there. AC was setting up so there was time to kill. House mgr Tony was the coolest of the cool, making us feel like we belonged as we scanned the posters and photos on the walls of the entryway and dining room, looked for the Otis Redding show my folks attended in 67. Great Ween pic.
We had our own dressing room stage right, with our own beer and snack supply - SO nice. Only tour stop to do that. Many laughs were had speculating on how many/which rockstars had thrown up in our toilet, pissed in our sink, crashed on this floor etc.
The set went off without a hitch and both crowd and staff loved it. Though, beforehand, Leesa and I went outside for a smoke. Eric Copeland from Black Dice is playing and the guy tending the back gate is bitching - "Terrible! First band sucks!" He's asking us and the other staff as they walk by "Do you believe this garbage?" Lees and I warn him how bad the 2nd band (us) is and advise him to brace himself. He ended up being funny and cool though, despite the aversion to the awesome noise Eric was pouring out - "I'm an Ice Cube kinda guy" he says as an explanation. After the convo we showed him our all access passes and told him we were in band #2 - pretty funny. "I'm not even trippin" he says
I could write a book about the LA show...
September 17, 2007
Tour Diary - Portland
Heading down to SF for Date 4 of Priz tour 2007 with Animal Collective. Dudes in and with AC are gems - Noah, Dave and Brian (they are less Josh this time out), tour mgr Brad and Merch man Ethan - all excellent folks.
We're selling cds and shirts every night; the word is getting out. Portland last night was excellent - Roseland Theater had a nice big stage that easily accomidated the Priz amidst AC's setup, and the soundcheck was top-notch. Folks were pogo-ing to the VCS3 section of Sunn Kill Moon, so we must be south of Seattle - folks are more active at shows the further south you go, y'know. New gear from Trading Musician made my setup much smoother. So nice having a beefy PA for the VCS3 stuff.
I had Vancouer off so heard stories from all about the border crossing. John and Scott hit the beginning of some border guard's shift. This guy talked like he had his jaw wired shut but didn't know it - after 10 confusing minutes or so, they were free but feeling like they were in the middle of a Lynch movie. No big border trouble for AC which is great - they can cause big headaches on a whim.
AC's set on Friday wrapped up with a cool rework of the first song from Sung Tongs (I always call it 'the kitties song') - last night they rocked We Tigers and it was on. We had such a blast at this show - thanks Roseland theater.
We left after the gig for our hotel in Eugene, trying to shave off 2 hours of the SF haul. We had to get up at 6 to make SF by 4, so three sleepy wizards are we here today. Just arrived at the Filmore and wondering how many rockstars have been in our dressing room..
-Ben
July 7, 2007
Cd release tonight at SS Marie Antoinette in Seattle, WA
Check out the Priz covered on the Pitchfork Media page.
June 13, 2007
Wizard Prison provided the track for the June installment of the Eric Lanzilotta's Ri Be Xibalba
mp3 series - here's the blurb:
It seems like there has been a bit of black metal in the air for me the last few months: Forest of Grey, Malkuth, Under Satan's Sun, Fauna... So it seems fitting that eventually something like that would sneak into the mp3 series. Any coincidence it is the 13th installment? Fear not that I have gone astray though, any self-respecting fan of SCG and CGT should recognize what connection this has pretty quickly.
Here's the link to the cut. Hope you like.
Wizard Prison appears the May/June edition of
May 11, 2007
Transcript of our interview with
Also, check out the video, above.
April 15, 2007
Look for writings about Wizard Prison in the May/June 2007 issue of
December 23, 2006
Wizard Prison performs at the Re-Bar in Seattle December 23rd, 2006, at 10pm. Re-bar website, with directions
June 7, 2006
After a day of serving our master, the site is up and ready for battle. Please click mp3 on your left, download the cds, and play them for victims.
August 1, 2005
It has begun. He is listening... He is here.
All site content (c) 2006 wizard prison