The Works
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Diagonals
Valley of the Cyclops
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Tim Kerr
Your Name Here
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Street art, Valencia Spain
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Pillow Queens
Kookoolegit
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Thor Harris – A Post Apocolyptic Tale of Friendship
IF 10
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IF 05
Diagonals & Michael Berryhill
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Andy Rihn
The Tiger's Last Tooth
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Max Juren
Videos
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Black Gum
s/t cs EP
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Ralph White
The Mongrel's Hoard
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Picture Book #4
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Over the Hill – The Album is Dead
The Album Is Dead
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IF 03
John Wesley Coleman
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Palm: Haiku by Grant Cross
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IF 07
Thor Harris
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Secrecy
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Follow That Bird
one-sider
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IF 08
Michelle Devereux (Turn This Book Right-Side Up!)
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IF 06
Looking for a Spark & Mile Marker
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Sands Hollow
Half the Night is Candlelight LP
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John Wesley Coleman III
Nightmare on Silly Street LP
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The Pheromoans
Bar Rock
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The Collections
Max Juren & Jill Pangallo
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Sun Araw
Houston Abstros 7"
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Flower Man
Inversion Fortuite
IF 05 Diagonals & Michael Berryhill
$12
CD + BOOK set
IF05 is not what it seems. On the surface, it’s a collection of dance songs with catchy guitar riffs paired with a sweet comic book about a kid in a diner. But take a closer look, and the whole thing gets a little more unnerving.
Diagonals’ debut album, Valley of the Cyclops, offers “an infectious cross between classic garage guitar jangle and Eighties underground dance beats” that sound happy and carefree. But the sordid tales (among them the realities of our aging bodies, the disappointment of things to come, and the loneliness that is sex for money) paint a decidedly different picture. Told with humor, each song explores the underbelly of human nature, all the while asking you to forget your cares and dance your fucking face off.
Like many Monofonus projects, IF05 is a family affair – the album is paired with a comic book by artist and ex-Diagonals guitar player, Michael Berryhill whose painting, R2-DTrees, graces the cover of Valley of the Cyclops. Berryhill’s short comic “I Could Be Happy” is a brief but bizarre glimpse into the everyday: a diner-booth moment in which “master and puppet” take on a whole new meaning. And while this book reads as figurative narrative rooted in the traditions of Western folk with Crumb-esque historical references, similar to the album it accompanies, Berryhill’s surreal painting style lends the story a darker edge.




