Filthiest Sludge record I've ever been deafened by!! Riffs are disgustingly heavy, the pounding of the drums is ferocious, the bass is gnarly as shit, & the vocals are pure evil!! ALL HAIL DOPETHRONE🤘 TheMetalheadGuy go to album An unstoppable force fuelled by your favourite nightmares, inching closer and closer, each chug equalling the energy needed to fuel a small star, just when you think you're safe you wake up, to see you're already looking down the barrel of the gun. Dope Rider is a delightful blend of gritty sludge and kaleidoscopic psychedelia from one of the most integral cogs in the Steel City’s doom inner circle." - Astral Noize This is a perfect example of a band making good on their live promise...This is essential listening for riff-worshipers everywhere and cannot come highly-rated enough - 10/10." - SonicAbuse In 2002, Kirchner returned to freelance illustration, working primarily in advertising. [5] Personal life [ edit ]

Dope Rider,’ the trippy wild west comic from ‘High Times’ ‘Dope Rider,’ the trippy wild west comic from ‘High Times’

In the postscript essay he wrote for this new collection, Kirchner writes, "As I go through my daily affairs, I feel I often have one foot in the material world, the other in the world of my imagination." The finest work in Awaiting the Collapse allows us to step into that imaginative world too, and dream along with Kirchner's strange and wonderful visions. Highly recommended.If a few of Kirchner's Screw covers evoke psychedelic transformation, more fail to transcend their initial publisher's inherent sexism. In the most offensive example, an old bald man lounges at his leisure on furniture made of young naked women (there's even a "footrest"). In his postscript to Collapse, Kirchner says that he considered the work for Screw humorous, not pornographic, but it's worth noting that he signed most of it with the pseudonym "Kurt Schnürr." Kirchner's power to evoke surrealist fantasy evinces throughout the miscellaneous comics collected in Collapse. Standouts include "Hive", a riff on Fritz Lang's Metropolis, and "Tarot", which plays out as a duel between a knight and a wizard (both strips were published originally in Heavy Metal). There are some artists who seem to arrive fully in control of their aesthetic and their vision from the outset of their career. As they deliver new work over time, their development seems so subtle and incremental that it is barely discernible to the uninitiated. But when an audience becomes versed in the artist’s language—visual or otherwise— they can detect and delight in this seemingly imperceptible (but no less apparent growth). For these kinds of artists, reinvention is unnecessary because the artist’s ability to access that magical space of familiar novelty with greater ease becomes the reason to keep showing up. Every addition to their body of work seems of a preconceived whole. Even as themes and tropes are re-hashed, they sparkle with greater clarity and deeper nuance. There is comfort in their familiarity. The work transcends the limitations of the medium to achieve an emotional tone.

DOPE RIDER A FISTFUL OF DELIRIUM: A Fistful of Delirium

Toyland: The High-Stakes Game of the Toy Industry by Sydney Ladensohn Stern and Ted Schoenhaus (Contemporary Books, 1991)And yet for all the attention to detail and all the layering of allusion, Kirchner's illustrations never feel cramped or stuffy. There's space to breathe here, and this stuff is good to inhale. Dope Rider's drugginess isn't so much narcotizing as enlivening. The strip propels itself with a vivid kinetic energy that functions on its own logic, a visual grammar that Kirchner develops throughout the series. Kirchner was born in New Haven, Connecticut. He attended Cooper Union School of Art but left in his third year, when, with the help of Larry Hama and Neal Adams, he began to get work in the comic book industry. [1] Career [ edit ] Comics [ edit ] Paul Kirchner's Shaman, from Heavy Metal I was asked to design a tattoo by a cinematographer in LA. He wanted to base it on an old frame in which Dope Rider is holding a heavy machine gun and replace the gun with a Panavision movie camera. The line on the tattoo would be "Cinema is Dead, Long Live the Cinema!" in French. Dope Rider: A Fistful of Delirium is an enticing doorway into the spellbinding unreality of Paul Kirchner.»

Paul Kirchner - Wikipedia

Dope Rider: A Fistful of Delirium – An Enticing Doorway into the Spellbinding, Hallucinogenic Unreality of Paul Kirchner Kirchner lives in Connecticut with his wife, Sandy Rabinowitz, an illustrator specializing in equine art. They have three adult children. [5] Bibliography [ edit ] Comics [ edit ] Roughly a third of the stories star Dope Rider, the pot-smoking skeleton whose psychedelic adventures take him through colorful vistas equally reminiscent of Sergio Leone’s spaghetti western films and of the surrealistic paintings of René Magritte and Salvador Dalí. These stories were originally drawn for the marijuana-themed magazine High Times but were also for Kirchner an excuse to create his very own brand of visual poetry. This insight---that a more colorful, more surreal world is available to us via imaginative perspective---is threaded throughout Kirchner's cult classic strip The Bus, which originally ran in Heavy Metal between 1979 and 1985. The Bus, which centered on a mundane hero's fanciful duel with the banality of everyday existence, found a second life on the internet through pirated copies---grainy, incomplete versions that hipped a new audience to Kirchner's fabulous comics. In 2015, French publisher Éditions Tanibis released a complete (and very handsome) edition of The Bus strips, along with The Bus 2, a sequel featuring new work. Kirchner would later find more regular work at Heavy Metal, where he turned out a brilliant, surrealistic comic series called “The Bus” for several years. (That series is available in book form.)

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