Browsing Articles Written by

Zachary Jensen

Zachary Jensen is a writer, journalist, sometimes translator and educator from Los Angeles, CA. He currently teaches English at various colleges across LA. His work has recently appeared in LA Record, Cultural Weekly, Entropy, Pank, Art Memo, Dispatches From The Poetry Wars, Alligator Zine and other places. He is the Managing Editor of Angel City Review and the editor for the Animals Chapbook Series at Business Bear Press.

Music Music Review

Dávila 666 at Alex’s Bar

by on June 28, 2024

After a five-year absence, in part due to the pandemic causing disruptions in touring, Dávila 666 has returned to the west coast like a drug-addled bat out of hell. Doing 19 dates in just about the same amount of time, the band has proven that they are still as locked in as ever. For those unfamiliar, Dávila 666 is a band from Puerto Rico (a territory of the colonial United States) that blends elements of 77-style punk, garage rock, and psychedelia together to create a sound that is at once nostalgic and fresh. They sing and belt in Spanish with a fervor that can be enjoyed with or without knowing the language. Their songs can be at one moment filled existential myopia and philosophical dread then shift to moments of resistance and resilience with some good old fashion carnal and romantic notions sprinkled in for good measure. The band sounds amazing when recorded; the layers of the dueling vocals and group harmonizations, the aggressive guitar and bass rhythms on some songs, with multiple layers of percussion coming from both the drummer and tambourine, and an unnameable playfulness that all comes together in a way that can hype up any moment.

Hearing the recordings does little to prepare you for the experience of seeing them live. We checked out the band on one of their earlier dates of the tour at Alex’s Bar in Long Beach and they did not disappoint. The venue is a storied place where many punk rock legends have come to play smaller shows. There is a charm and grit to the space that definitely has a punk rock vibe, but also a bit of Mexican influence to their décor. You might recognize the space if you’re a fan of the HBO series True Blood. From the moment the band took the stage they were on. The songs were loud and blaring but not overwhelming. The banter between the band members (only five members were on this tour) was humorous as well as pulled in the crowd. You could feel the emotions of the songs and the energy of the band. The band moved across the stage, playing off of one another’s energies. There was a level of impromptu choreography to the movements that made everything always feel tight and put together.  A Puerto Rican poet friend of mine casually mentioned while smiling that they were getting Menudo (the boy group not the food) vibes from them. I, without as deep of a cultural context of Puerto Rico and boy groups in general latch more onto the punk and garage elements of the band, casually pushed that notion aside. But the very next day a post promoting their show in Lancaster, CA mentioned that Dávila 666 was a Menudo on drugs. You’d be right to guess that I promptly received an “I told you so message” that day. That’s one of the band’s charms, their ability to reach different audiences and give completely different, though complimentary, experiences all at once. If you missed their dates in Long Beach and San Pedro, you are in luck because they are heading to The Paramount in Boyle Heights on July 4th before they swing into Arizona to close out the tour. Here’s to hoping that they come back sooner than another five years.

Honorable mention goes to the band Mad Menace and the Murder Dogs who had their debut show opening the night. While bringing in a bit of garage rock to the mix, they really channeled the energy and essence of Motorhead with hard hitting rock songs that packed a punch. The band has that classic straight ahead rock energy going for them that is missing in a lot of bands these days. For a first show, MMMD was quite tight in their set and the songs, while calling back to older genres didn’t feel like a recycling of a genre. Keep an eye out for them as their songs will be up on SoundCloud and Bandcamp soon.

  • Zachary C Jensen

Dávila 666 Photo by Bowie De La Pena
Dávila 666 Photo by Bowie De La Pena
Dávila 666 Photo by Bowie De La Pena
Dávila 666 Photo by Bowie De La Pena
Dávila 666 Photo by Bowie De La Pena
Dávila 666 Photo by Bowie De La Pena
Dávila 666 Photo by Bowie De La Pena
Dávila 666 Photo by Bowie De La Pena
Dávila 666 Photo by Bowie De La Pena
Dávila 666 Photo by Bowie De La Pena
Dávila 666 Photo by Bowie De La Pena
Dávila 666 Photo by Bowie De La Pena
MMMD Photo by Bowie De La Pena
MMMD Photo by Bowie De La Pena
MMMD Photo by Bowie De La Pena
MMMD Photo by Bowie De La Pena

Bowie De La Pena, a native of Southern California, is a dedicated photographer and student at Cal State Long Beach, a decision influenced by the city’s vibrant music scene. Bowie has been honing his photography skills for six years, with a particular focus on music photography for the past four. Initially inspired by friends who were talented musicians and skaters, Bowie picked up a camera as he found his true passion behind the lens. He started with a Canon 7D borrowed from his high school, which he used extensively before acquiring his own camera. His work can be found on his Instagram @bowie_stop


Issue Ten

by on March 29, 2023

Featuring the work of:

  • Christian Saldana Sands
  • Pia Simone Garber
  • Emily Joy Oomen
  • Samuel Miller
  • Corey J. Boren
  • Vivian Ia
  • Ruth Thompson
  • Sage Tyrtle
  • Anna Sandy-Elrod
  • Sophia Amanda Morales
  • Angela Gaito-Lagnese
  • A.J. Huffman
  • Dorothy Cantwell
  • Yessika Maria Rengifo Castillo
  • Chris Bullard
  • Julia Kooi Talen
  • James Miller
  • Anu Pohani
  • Callie Rowland
  • Heather Iverson
  • Kira Houston
  • Nandini Bhattacharya
  • Rachael Biggs
  • Robin Rosenthal
  • Kate Swisher

Art by Julio Rodriguez, Bridget Klappert, and Anthony Grant

iBook/epub Interactive PDF

Issue Six

by on September 22, 2018

Featuring the work of:

  • Anahita Safarzadeh
  • Rose Knapp
  • Douglas Payne
  • Janice Lobo Sapigao
  • Yesenia Padilla
  • Adam Brown
  • Erika Gill
  • Helen Wickes
  • TJ Reynolds
  • DM O’Connor
  • Lauren Davis
  • Joshua Lipson
  • Begoña Díez Sanz
  • Nylsa Martinez
  • Andres Paniagua
  • Henry Hoke
  • Rachel Chalmers
  • Keith Vaughn
  • Jaime Campbell
  • Makai Andrews
  • Art by Ghost Ghost Teeth


Interactive PDF


Submissions open and new addition to the team.

by on August 6, 2018

We are excited to announce that Janice Lobo Sapigao will be joining us as the new poetry editor for Angel City Review. We have been a big fan of her work for some time now, not just in writing but in the community as well, and  we are overjoyed to be able to work with her and are looking forward to seeing her mold the poetry section into her vision.

In addition to this great news submissions are now open and we are ready to start reading your work for issue 8. Read guidelines here Issue 7 was slightly delayed but will be coming out shortly.

Janice Lobo Sapigao is a daughter of immigrants from the Philippines. She was named one of the San Francisco Bay Area’s 2017 Bay Brilliant artists (formerly known as Women to Watch) by KQED Arts. She is the author of two books of poetry: Like a Solid to a Shadow (Timeless, Infinite Light, 2017) and microchips for millions (Philippine American Writers and Artists, Inc., 2016) and three other chapbooks, one of which is forthcoming in 2019 from dancing girl press. She is a VONA/Voices and Kundiman Fellow, and the Associate Editor of TAYO Literary Magazine. She co-founded Sunday Jump open mic in Los Angeles’s Historic Filipinotown. She earned her M.F.A. in Writing from CalArts, and she has a B.A. in Ethnic Studies with Honors from UC San Diego. She teaches English full-time at San José City College.


Issue five

by on December 29, 2017

Angel City Review issue 4

Issue 5 is now available.

Featuring the work of:

  • Lucas Bailor
  • Rose Quezada
  • Emilio Sotelo
  • Matt Schumacher
  • Kathryn Jensen
  • Michael Rerick
  •  Savannah Oliker
  • Laura Salvatore
  • Ariel Kusby
  • Daniel Calabrese
  • Alexis Gómez Rosa
  • Jorge Canese
  • Samantha Goli
  • Alberto Ramirez
  • Jackson Blss
  • Sarah Reyes
  • Valerie Kinsey
  • Lindsay Miller
  • Natalie Mislang Mann
  • James McGirk
  • Anthony Seidman
  • David Shook


Interactive PDF


Issue 4

by on July 21, 2017

Angel City Review issue 4

Issue 4 is now available.

Featuring the work of:

  • Will Alexander
  • Rocio Carlos
  • Melisa Malvin-Middleton
  • Trista Payte
  • Sesshu Foster
  • Lana Bella
  • Linda Michel-Cassidy
  • Harold Abramowitz
  • Tad Tobey
  • Mark A. Fisher
  • Micheal Dean Clark
  • Alexandra Naughton
  • Mark Valley
  • Sarah Hoenicke
  • Sean Pessin
  • Joe Ricciardi
  • Jian Huang
  • Caroline Tracey



Interactive PDF

Book Review

Smooth-Talking Dog

by on November 8, 2016

smooth_talking_dog_coverSmooth-Talking Dog by Roberto Castillo Udiarte

Translated by Anthony Seidman


The saying “misery loves company” has always irked me for some reason. Perhaps, because the connotation that it often takes is of a miserable person wanting to take you along for the journey. But really, I believe it comes from a more meaningful place – that of empathy. Poets – or any sort of artist for that matter – that can capture the ideologies of a generation, that feel left out of what society has to offer, and articulate it in a way that resonates with people on a large scale are important due to the fact that they make even the outsider feel understood. Their empathetic nature reminds us we all have somewhere we can belong.  Yes, while some may romanticize the follies or self-destructive actions of another’s life, the true beauty in the work is in its ability to cross boundaries and resist expectations. Ultimately they capture the humanity in life in places that it may not be easy to find.

Castillo Udiarte is one these poets. His work delves deep into the darkness of human nature, yet somehow comes back with an air of hopefulness. One could say he is a veteran of that path. Since 1985 he has published over half a dozen poetry books in Spanish; however, up until recently very little of his work has been available in the English language. This is all despite the fact that he translated many of his contemporaries in such as Bukowski into Spanish during his lifetime. Now, thanks to Phoneme Media and the poet/translator Anthony Seidman, there is a full-length collection of Castillo Udiarte’s work available in English.

The collection Smooth-Talking Dog gives readers a taste of what many have been experiencing for quite some time. Poetry that bites, poetry that stings, poetry that takes you to the darkest places in order to beat you down, and poetry that picks you back up again. The words Castillo Udiarte writes take you to another world, one of back alleys and corrupt cops, folklore and superstition, family and remembrance, office workers and prostitutes. It is an examination of the human existence of all sides of life that has a deep level of honesty to it. Many of the poems are short yet poignant pieces that envelope in their sentimentality:

Last night,
with the December rain,
the memory of Felipe
entered our house, one of my grandfathers
the one from the eternal garden.

I dreamed of him
thirty years younger,
smiling, his face pockmarked,
and his long lizard’s tail.
And in the dream
he told me of his exploits during the reign of Cardenas,
of his arrival at the border,
the construction of the Tijuana dam,
his job as a barman,
his first wife, his adopted son, and
the interminable shots of tequila.

A blue
Leakage flooded this morning,
And I don’t know how to explain to my daughters
That they too are part of my grandfather.

During a recent literary festival in Los Angeles, I had the pleasure of seeing Castillo Udiarte read his work. He presented a reprisal of his performative poem “The Magician of the Mirrors’ Final Show”. While Seidman accompanied him on stage providing a translation of the words that asked people from all walks of life to “step right up step right up” to witness the show, Phoneme Media’s editor David Shook walked around holding up a mirror in front of each audience member. The mirror was held awkwardly and intimately close to your face – forcing you to really examine and sit with yourself. At the conclusion of the poem the mirror was smashed. The magic trick here could be many things, but in that moment everyone’s reflection was taken into that same mirror and subsequently destroyed. It did not matter if you were a publisher from Mexico City, a community college professor from the Valley, a store clerk, or anything between. Everyone was captured in that same mirror.

That is the power of the work. It solicits everyone equally. Allowing everyone a moment to be felt. To feel heard. To feel beautiful.


Smooth-Talking Dog is available December 13, 2016 through Phoneme Media.



Book Review

Radio: Wireless Poem in Thirteen Messages & Uncollected Poems

by on August 23, 2016

diseno-de-tapa-kyn-taniya-print1Radio: Wireless Poem in Thirteen Messages & Uncollected Poems by Kyn Taniya

There is something to be said about the importance of translation in regards to literature. I would not have been able to experience the work of so many writers that I love and admire if it were not for the endeavor of translators. Sometimes, the translation is coupled with a work being re-issued after many years, shining light on authors that may not have had much exposure outside their language. Allowing the work to breathe new life and hopefully widen the reach of their powerful words. When I am handed a book of translation it is quite frequently an exciting moment. The gravity of the process that it took in order for the book to reach my hands does not fall lightly on me. This was especially true with the book Radio: Wireless Poem In Thirteen Messages & Uncollected Poems by Kyn Tania.


Originally published in Mexico in 1924, where it now considered a cult classic of the estridentista avant-garde movement, Radio has now been translated after 92 years for a new audience to experience. The first thing that strikes about this bi-lingual collection is the sheer modernity of the work. The poems in this short collection feel like they could have easily been composed today as they were in the early 1920’s.


Poems discussing wireless technology and celestial objects, making reference to radio waves, could be seamlessly interchanged to discussions of cell phones and Wi-Fi signals. An example of this is in the poem “Midnight Frolic”:



Listen to the conversation of words

in the atmosphere.


There is an insupportable confusion of terrestrial voices

and of strange voices



The feeling of connection in these poems – that is hopeful in many ways – still bleed so beautifully into the feelings of unease that has only grown exponentially as technology has grown. Today the voices we hear are schizophrenic and never ending (unless you are lucky enough to pass through a data dead zone which is becoming more and more infrequent). The idea of broadcasting yourself out in the world is still such a novel idea today, one that I grapple with on frequent occasion. Because it is still so new, the rules and etiquette are ever changing, what may be socially acceptable one day may be strange another day. You just have to listen to the right voices.


The concepts and feelings in regards to technology are coupled with social unrest, political instability on a global level, and loss of loved ones to make poems whose words are cutting, sincere, and contemplative. In the poem “… IU IIIUUU IU …” (of which there is a great recording online of the poet reading it) we are presented with broadcasts of problems and occurrences around the world: Deaths in Chicago, unrest in Bagdad, sports heroes, and more all for sale to consumers at low prices. So quick and accessible it would be a shame not to take it all in.


When I read these poems I was given the realization of how much the world has really not changed. There have been advancements in technology that have pushed us closer together, closer to the stars, yet closer to oblivion; however the sentiment, the soul of what concerns us as human beings is still very much the same. The poems that live within this collection are fresh, and vibrant. Just as alive as when they were written.


Radio by Kyn Tania is available through Cardboard House Press

Book Review

The Hermit

by on August 2, 2016

lucy-ivesThe Hermit by Lucy Ives


Solitude. The first thought that this concept strikes within me is one of solemn and despondent feelings. Of hopelessness, the sheer and unbearable weight of being alone in the world, existing in a place, real or metaphorical, where you are left to your own devices. However, within this place that real introspection can occur. Where one can begin to process life’s eventualities, the brief moments that make up the whole, and the successes and failures that makes life worthwhile. It is exactly these things that Lucy Ives is exploring in her recent poetry book “The Hermit”.

At first glance this book is quite sparse. Blank space is at a premium in this text with many sections encompassing only a paragraph, sentence, phrase or other musing. This is not to the books detriment though. The emptiness of it all forces one to be more tuned in to the feeling of isolation, but more so to the language that is being used here. Language that captures quite powerfully the feelings or ideas Ives had set out to explore. Words are examined with precision, ideas are tackled with ease, and the reader is forced to examine language in modes that may twist your mind theoretically. Ives use of language is at times quite lyrical, thoughtful, poetic, introspective, philosophical or all of these at once. Small moments in life, moments that may otherwise go unnoticed are given the chance to shine in the limelight of existence.

The book is hard to pin down because it is ultimately so many things at once. It is a book about process: the process of writing, writing poetry and prose, how art comes into that process, and all the things it can encompasses. But it is also a book about emotions, either miniscule in their initial impact or devastating in those moments of inception, that dig into you so deeply that they become a part of who you are. The idea of these moments and emotions cycle back and we are presented with how Ives takes these emotions and turns them into something beautiful. So we now cycle back to the idea of process, but not as course one takes in order to create, but as a means to make sense of the world, to heal, to cope with the weight of it all.

It is within this realm of process, that the book that Lucy Ives has written becomes something remarkable, personal, and quite human. Ives breaks down fragments of her existence into the pages of this book and lays them out bare. The reader is given a glimpse into a world that otherwise is sealed; and by the end of the book you may not understand a single thing, or you may now be privy to many things, however this exploration will no doubt open doors inside your own soul to allow the band of thoughts and memories, and emotions to play their song and hopefully make you dance, at least a little.

“What if a person will always be a few steps from life, whetever that is, and what if this person will feel dissatisfied, imperfect on account of this distance? What will we say to them? Do they become a character typical of their time? And, if such a person cannot become such a character, what is the use of them?”

The Hermit is available now through The Song Cave


Ghost Makers

by on February 11, 2015

On Saturday January 31st, an intimate and attentive audience had the opportunity to witness a public reading of the first of six installments of Chiwan Choi’s new novel Ghost Makers. The reading, which can also be construed as more of a performance, was captivating. What Choi, a prolific poet and storyteller, has presented thus far proves to be just as powerful as anything we’ve come to expect of him in the past. For those who missed it, the story follows a narrator who is flawed yet good-hearted, trying to make his way in the world. There were some flashbacks to a few key moments in the narrator’s childhood, such as a night in the snow where the child discovers his dog laying dead, only to lay with his friend for the rest of the wintery night.

The initial offering spans three different countries and a number of years. The story, which is filled with beautifully poetic language, has an autobiographical air to it, giving the audience the feeling of peering into Choi’s soul – but who’s to say which moments are fact, and which are fiction? A scene between the narrator and his lover was especially poignant with its analysis of the troubles we often find ourselves in relationships and the beauty of the moments that just seem to work. The narrator is knocking on the door to his lover’s place. He gets no response and heads over to her bedroom window only to find her sound asleep. Slipping through the window he sets down two subway meal deals he had just purchased for the pair. Rather than wait for her to wake up, he goes back out the window and heads over to a bar. After about five drinks she calls him asking where he had been. The discussion leads him back to her place where he discovered she ate his sandwich. The conversation quickly evolves into talks of a wind-up elephant he once bought her. Even though he was drunk and she ate his prized sandwich, the level of care and intimacy the two shared made the situation feel comforting and right, like one of those few moments in life where you know that you are with someone who understands you, even if the rest of the time is a complete mess.

This project, which is in collaborative with Katz’s Deli, will continue through the entirety of 2015. Throughout the year Choi will spend one month working on the novel, and then presenting his progress by giving a reading at a different publicly accessible location until its completion. In addition to the performance aspect of reading a novel in progress, there is also the Buddhist-like quality of the “performance” as well. After every reading, Choi will destroy the chapter he had labored over tirelessly once he has finished sharing it. Per his contract with Katz’s Deli (which was also read prior to the start of the event), he must destroy the work in a different way each time. The inaugural chapter was destroyed via burning the typed pages in a barbeque. After the reading, audience members are asked to respond to the prompt “what do you remember” at a video, audio, or typewriter station. It is these anonymous documentations that will ultimately be published at the conclusion of the year. The next reading will occur at yet to be announced time and place sometime in the month of March. While every section makes for a larger part of a whole, the sheer nature of its inception will surely allow for each piece to work as a vignette as well.