“But the thing about the Cenobites is that what they do is pleasure. Frank dreams of simple rutting, but the Cenobites are unearthly sadomasochists. Their obsessively ordered flesh, flayed and stretched and impaled, is how they get off – an exalted, ritualistic perversion. Their bodies are shrines to their faith, physical manifestations of a monastic devotion to ‘the further regions of experience.’ Frank refers to them as hierophants, or interpreters of mysteries; they untangle the puzzle of flesh for their summoners.”
-Astrid Budgor, Unwinnable



Belfie Hell is a travelogue of a world reduced to mere information, our surroundings rendered frightening and alien; a world too cluttered to effectively parse. It’s a novel trapped in an endless cycle of expansion and contraction, destruction and revision, like an auto-immune disorder forcing the host-body to attack itself until it becomes something new and unthinkable.

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Burial Grid – M Was the Shape of Its Mouth

Music composed & performed by Adam Kozak aka Burial Grid, from the album Where We Go

Where We Go was spontaneously generated during a three-week period of bed-rest and recovery from a misdiagnosis of diverticulitis. A three-week period marked by isolation, growing health-paranoia and body horror, and an obsession with high profile stories of those among us who have shuffled from this plane in mysterious, grisly, and unexplainable means. Where We Go is referential to and inspired by the desolate Hinterkaifeck Murders, Elisa Lam’s surreal fate, the breakdown and vanishing of Lars Mittank, the Nevada desert swallowing Kenny Veach without a trace, the inexplicably inhuman mutilation of an unidentified man in Rio De Janeiro, the notoriously self-chronicled disappearance of Kris Kremers and Lisanne Froon, Olivia Mabel’s maudlin disintegration after her child’s death, and the terrifying brutality of Houston’s Icebox Murders. This is the all-hardware, vintage synthesizer score to a real-life horror anthology.