I love zines. I published one myself, sold them all and got too embarrassed about what I wrote that I never intended to reprint or even read it after it was published. 

But zines are mostly born out of crappy, strange ideas that are sometimes too self-indulgent. Zines exist because of the desire to express ideas, to, at least for me, convey the desperation to write about what I was going through and translate those larger-than-life emotions into printed copies. No gatekeeping, no editors, no anxiety to be perfect at what you do. I’ve never met anyone who wanted their zine to be a sold-out success, but I know a lot of people who find joy in one or two friends reading them. Most of the satisfaction I get from my one and only zine does not come from its reception or the number of sales I garnered (not many), but from the joy I put into the year-long process, even if the subject wasn’t particularly fascinating

I went to every vendor at ZinexDIY Festival 2023, asked for music zines and bought five copies to bring home. I had a simple mission: to ‘explore’ the music scene via these zines. However, some of them were not so recently published, so they don’t exactly mirror the current state of our music scene, though one could also argue that not much has changed. So here are five music zines I picked up from ZinexDIY Festival.

Kena Sound On The Spot

Discovering Kena Sound On The Spot is akin to rummaging through a pile of dusty, warehouse-scented clothes to uncover that elusive gem of a jacket at a thrift store. In short, it’s a rare find, a gold mine for music enthusiasts everywhere.

However, I must admit that this zine is beyond me. Modular synth music is a rabbit hole I’ve yet to explore, but it has cultivated its own community that seeks solace in futuristic devices capable of producing unimaginable sounds. Kena Sound On The Spot is a humble project by MAB 189, also known as Saufie, whose work on YouTube is described as “rakaman dokumentasi performer bunyi khususnya di sekitar Melaka.” Musicians cling to their devices, crafting a soundscape, an ambient music tapestry that seamlessly weaves chaos and control into a singular piece of work.

In one video, mahumaju, a guest musician on the channel, sits comfortably on a bench amidst the greenery, presumably in a secluded forest in Jasin, Melaka. He twists the knobs, presses buttons, alters pitch and generates intense waveforms. His hands sculpt the sonic realm, resulting in a piece of work that harmoniously coexists with its surroundings.

Published by Tegak Balai, the zine features interviews with musicians such as Meng Qi from Beijing, Kasargusar and articles exploring musical influences like Pharoah Sanders. Trying to grasp both the zine and the music feels akin to conversing with a stranger who only speaks a foreign language and there’s no translator in sight. I stand there, captivated, yet grappling with a tinge of envy — I can only dream of speaking the same language.

Publishing date: 2022

Price: RM10.00

Mosh

You can’t discuss local music zines without acknowledging Mosh, a publication that has been covering the indie underground music scene since 1999. I paid RM12 for Mosh Issue 17, drawn in immediately by the sight of “Iqbal M.” on the vibrant red cover. It wasn’t until I found myself in the car on the way home that I realised it was published back in June 2015. This was Iqbal M. slightly after Antara Dua Darjat EP was released, and four years before I found myself immersed in an enthusiastic crowd at Tapau Fest 2019, witnessing Iqbal M. on stage, evolving from a clueless girl amidst a sea of fans who knew every word to “Jangan Cakap Saja” into an instant fan.

In the zine, Mosh delved into the band’s origins, the reception of the Antara Dua Darjat EP, and, like many other Iqbal M. interviews, exploring Iqbal’s theatrical showmanship. His stage presence is undeniably a selling point for many and a subject of mockery for some. For me, it was nothing unusual — just a guy with the knack for having fun on stage, not just for himself but with the crowd.

Publishing date: 2015

Price: RM12.00

Teen & Roll

At first glance, I was misled into thinking this was a music zine. Despite its title suggesting a cool music zine, Teen & Roll turns out to be the personal venture of Saufi Tahir. He describes the project as a personal space, a gift he gives himself, to pen down thoughts without any constraints.

This zine serves as a compilation of Saufi’s writings spanning from 2019 to 2022. It features concise articles delving into his musical inspirations, which include OAG, Joy Division and a punk legend whose life was tragically cut short without receiving the justice he deserved. Additionally, it also includes photographs and poems, snippets of his memories while traveling, living and writing.

Publishing date: 2023

Price: RM12.00

Dust

Dust is a testament to what I wanted to accomplish for this article, which is, again, to explore the music scene via zines. Beyond that, the craftsmanship of the zine feels true to the whole DIY culture — you could almost sense the passion of its author beaming from every page. There are handwritten notes, newspaper and comic cutouts turned into collages and then plastered as interview backgrounds. And of course, like almost every zine in this article, Dust also includes an editorial note that humbly apologises for its lacking —something considered a rare feat for big, established publishers.

Dust Issue One conducts interviews with bands from across Peninsular Malaysia. Notable highlights include Hem, an indie rock band hailing from Ipoh, delving into the distinctive sound of Ipoh and sharing insights about their favourite Nasi Kandar restaurants in the city. Also featured is The Fools Effect of Kuantan, a pop-punk band generously shedding light on other Kuantan bands — a city that I need to pay more attention to their scene.

Publishing date: 2022

Price: RM12.00

Bangkit!

Bangkit! Issue 13 is a music zine that focuses on the hardcore punk scene and interviews bands like the surf punk unit Lorsa, indie rockers Tujuh7, Kelantan blackened death metal duo Hymnöir and more.

The interviews delve into extensive details, paying attention to the overall crafts of songwriting and music production, and addressing the perils of the DIY scene in an ever-evolving era where music discovery transitions from black-and-white booklets made by your cool uncle’s friend to algorithms curated by the invisible hands of major music labels on platforms like Spotify and TikTok.

The essence of Bangkit! seems geared toward a generation that once attended gigs and bought zines as a means to discover new music, rather than for the generation who mostly go to shows to jump on the TikTok bandwagon to make content or mini-vlogs. But who can blame our generation? Discovering new music via zines involves more steps — reading the zines, searching for bands that are mostly not on Spotify (you’re lucky if they’re on Bandcamp), and their physical releases are limited in copies — in comparison to discovering music on digital platforms that promise the world at your fingertips. Yet, Bangkit! exists, as do every other music zine in this article, still with the passion to push our scene into the limelight and a few hundreds dedicated listeners. They persist in this age, and that’s something worth noting.

Publishing date: 2020

Price: RM8.00