AbandonInk Zine Store – Distribution – Publisher – Merch

We are abandon ink. The second Indonesia zines store which located in Bandung, West Java. We distribute zines from some of zinister all over Indonesia and worldwide. The store distribution has a free and commercial way. Out of the distribution business, abandon ink opened a creative space for some creative movement such as workshop, sharing session and exhibition. Beside of it, abandon ink create an audio zines project as a distribution media with an audio form, as an effort to document and archive every single artwork that being worked by abandon ink. After 6 mouth from its inauguration, abandon ink concern to self-publishing media from various art form as like literature, music, photography, design and another pop culture.


We as Abandon Ink were born from an initiation to create a space that can be a bridge between a zine festival and zinester who want to continue to interact. We want to make the place we build a space for interaction between zinester and other zinester or other people without having to wait for the zine festival to gather. Therefore, the mission of the place that we have built is to create a collective space that can accommodate all creative activities related to zines and all their passion.

We started the idea of making this space in February 2019. Not long ago, without thinking much of unnecessary things that could hamper the course of this idea. We started rushing to open a small zine shop located on Jl. Sumbawa No.28 Bandung on March 7, 2019, at the same time we officially named it Abandon Ink zine store.

After the shop that we built opened, the zinester’s enthusiasm was enormous for what we were doing. Their response was very good to welcome this small space, and they felt like they felt the rain during the long dry season. Therefore, as a form of our gratitude for all the joy we are getting, we are creating a series of events for a day of celebration on March 24, 2019. First, in the afternoon we received guests from Provoke Magazine who brought their Repro children to our shop. We introduce them to the zine and all its history and forms. This is also part of our mission to introduce young people to self-publishing activities. Then, in the evening we made a small celebration which was attended by several zinester from the flower city such as Amenkcoy, Vina Mnlgs, Resatio, Abim, Wardan and Irma. This event was named Tiup Lilin Zine, a celebratory event that not only met to interact, we also made a series of zine reading events read by zinesters both who came at the time and who recorded them remotely. In short, in blowing the zine’s candles we hope and insert prayers for the zine’s future glory.

As we have said above, we want to be a space for every creative activity for zinesters with all their passion. Therefore, we open our space for various activities that support them, starting from making audiozines (making a sound documentation that produces works that are not identified in any types), holding exhibitions, workshops, discussions, and also facilitating performances – performances.

After designing several plans, our agenda began with an audiozine project, which was originally only a zine reading or you could say, an audiobook. Our first audio zine project started on April 21, 2019 by inviting two people to record their works in the audiozine format. The first person to record was, Tegar Pratama, who played Awi Goong and gave some growls which became his freestyle. After that, the second person to record his work in audiozine format was Aldi Valcon who performed a Sitar in a freestyle manner. That day was also the day where the early works of our shop documentation were born.

The audiozine works that we thought of began to be heard in the ears of our friends. Then, they became interested in making audiozines with various manufacturing formats in practice. First, on May 1, 2019 our friend Fauzi Wiriadisastra came to our shop to play his own musical instrument, a trumpet made of paralon pipes and building hoses. After that, May 31 Gracia Tobing and her entourage ganged up on us with a group of artists who wanted to record an audiozine, and it became a multi-disciplinary art performance involving several elements, such as music, poetry and chemigrams. At that time, we were presented with a combined work that could be mutilated into an independent work and could be enjoyed separately. Then, our friend Teta Alim from America also got interested in recording this audiozine. On June 17, 2019, she read out his zine entitled Durian Zine and sent us the audio format to be used as an audiozine recording. Then, it’s not just ordinary collectives who come to us to record audiozines. An instrumental band from Bandung named GAUNG also came on July 22, 2019 to record a 90-minute work “OXYMORON” after previously observing it in our shop for approximately 5 days. This work ended up being the last audiozine work recorded on Abandon Ink before we finally took a hiatus for a while.


We also hold discussions, in order to become a space for the exchange of ideas between generations from various different environments. The first discussion was our collaboration event with Bandung zinefest on June 22 and 29, 2019 entitled Klab Zine 4 (Introduce Your Media). This event invites zinesters to introduce their zines to other zinesters and the general public who come to the event. After that, we also held a music discussion that was escorted by a well-known musical zine such as Wasted Rockers. The event was held on July 5, 2019 with the initiators of the discussion Dede, Gembi, Amenkcoy and Idhar Resmadi. At the event, we didn’t just discuss the history of musical zines and its activities. However, we also discussed the zine movement and its general impact in the early 2000s.

The discussion in the Abandon ink room also began to attract the attention of zinesters or other collectives to share their experiences in our room. On September 5, we had two zinester from Bali, namely Juli Sastrawan and Dewi Rots as representatives of the Rak Baca Denkol to share about the zine’s work on the island of the gods. They also brought along several zines from Bali such as MIXER GRINDER, KUCING KEDER, UPROCK83 and ZINEDIKAT PESTA KEBON. They also shared stories about their zines, such as the Pemantjar zine created by Juli and Alerta by Dewi. Shortly after that, we were overwhelmed for two consecutive days because some friends wanted to hold a discussion and share experiences in our shop. On September 8, 2019, we had two writers of Khongguan the series who wanted to release their zine and share experiences regarding mental health issues that were at the center of attention at that time. Then the next day, we had our friend Resatio, who had just returned from Australia for a while to share about his experience following the zine festival there. He also brought with him some of the zines he got in Australia.

Besides having made discussions to strengthen our knowledge in theory, we also created a means to strengthen our expertise and shrewdness in zine making, namely by holding several workshops. The workshops we have created may not be as many as discussions and exhibitions. There were only two workshops conducted in our shop. First, a zine kebut a day workshop conducted by SAEED on April 13, 2019. This workshop can be called a crash workshop. This is because all zine-making processes, from drafting to zine printing, are only done in one day. Second, namely the zine photography workshop which we entrusted to Shandy Usenk as a facilitator on September 5 and 12 2019. The workshop aims to provide a new perspective on photography zine makers on technical possibilities and new perspectives that give fresh colors to their work.

Apart from audiozines, discussions and workshops, the close relationship between zines and fine arts has also led us to take part in holding artzine exhibitions that can take the form of illustrations, comics and other fine arts. Therefore, we invited our friend Ica Hairembulan from Jakarta to make an exhibition at our place on July 27, 2019. The exhibition, which displays all the illustrations in her latest zine, is an exhibition to return home to the works that Hairembulan created. Because all the stories and childhood memories that Ica experienced are in Bandung. Then, the second exhibition was held at a distance from the previous exhibition. This exhibition was held on September 29, 2019. This exhibition is an exhibition of the works of Array a.k.a Heri H. Suhandi (matamerahcomix) with Boredooms. Unfortunately, this event which decorated our floor with comics is our last exhibition at the end of 2019. This event is also the last exhibition to be held before we are temporarily vacuumed.

We as Abandon Ink were very happy and enjoy every event and activity we have done for 7 months at our shop which is located on Jl. Sumbawa No.28. However, for one reason or another we could not continue our activities at the shop, and we were forced to move places. Even so, in the last seconds of our move. We created a zine launch that was published by us as Abandon Ink. The zine belongs to Navida Suryadilaga, a zinester from Bandung who made a poetry zine using sheets of mica plastic that look like X-rays. Therefore, as a form of celebration for the launch of the zine as well as our farewell from our old shop, we held a poetry reading show by Navida Suryadilaga on October 4, 2019. That night was the last night we set foot in the old shop.

For us or maybe for many people, missing a place to have fun and celebrate things is a deep sadness. However, the enthusiasm that our zinester friends have left with us will never be forgotten. That spirit will continue to be our fuel to continue Abandon Ink with all its activities. Hopefully, things are getting better and we will soon find a new place to have fun.

Written by Tegar Pratama,  2021


Kimung, a historian, academician, music practitioner, and even a journalist, has a very essential zine collection experience. He gathers zines, whether knowingly or unwittingly, to sustain his numerous writing efforts for the various books he is working on, such as Ujung Berung Rebels, Bandung Bawah Tanah, and many other works that have a single source in the form of zines. This demonstrates how Kimung’s hobby of collecting zines becomes an activity that does not end or simply becomes a hoarder of old documents. He gathered them for the reason, understanding that the zines he gathered would serve as a record of the times.

Kimung’s collection of zines, on the other hand, does not end with what he has made. He has also amassed a large collection of works that will aid in the writing of history, which he does as desired. As a result, after the death of Ivan Scumbag in 2005-2006, Kimung started to gather information about the Bandung Bawah Tanah. Kimung did more than just collect zines from the Ujung Berung scene. He also collected zines from outside the Bandung metal scene in other cities or even other countries that focused on metal phenomena that occurred in Bandung.

The relationship between Kimung and the zine as a medium is very close. Particularly Kimung’s involvement with the metal scene’s zine movement. Starting with participating in the development of the REVOGRAM zine, to being able to form a trade relationship, to reframing the face of metal music that had been tarnished by the mass media with its zine Minor Bacaan Kecil.

Kimung first became acquainted with zines in the early 1990s as a result of his hobby of ordering physical releases and products that he enjoys, such as Punk, Hardcore, and Metal. Ordering physical releases wasn’t as easy back then as it is now. Kimung has to go through a process of correspondence with the physical release store VSP (Valentine Sound Production) in Malaysia or directly contact foreign labels in America, Europe and beyond to get the music he likes, such as Earache Records, Nuclear Blast Records, Lost N Found Records, etc. In that process, the physical release or merchandise he orders usually has a zine included in the contents of the merchandise package. This activity also introduced Kimung to the function of zines as a media. He always collects zines from correspondence activities. Then, in 1994, Kimung discovered a SWIRL print magazine created by the skateboarding community at the time. The content of SWIRL itself piqued Kimung’s interest. The explanation for this is that the first issue of SWIRL contains a wealth of knowledge about the worlds of skateboarding, music, and others. In the presentation of urban matters, there was undoubtedly a moment that was both inspiring and refreshing at the time. As a result, with his romanticism, SWIRL magazine is one of Kimung’s important collections.

Kimung and his friends in Ujung Berung Rebels were motivated to produce a zine that embodied the music he plays after the introduction of SWIRL and the music zines he had previously received. Then, in 1995, he began to create his own media, REVOGRAM, with other Ujung Berung mates. This zine covers a wide range of musical events in the Ujung Berung metal scene. When Kimung and his friends from Ujung Berung Rebels started REVOGRAM, they also started a collective called Extreme Music Grinding. They came up with the idea that the metal music scene needs to be influenced by three significant ecosystems. First, they formed their own festival, which evolved into Bandung Berisik. Second, they created their own media, which eventually evolved into the REVOGRAM zine. Finally, form your own recording team called the Homeless crew.

There is no excuse for a Kimung not to hold the REVOGRAM zine, given its enormous movement and purpose. This is also a watershed moment in his understanding of the importance of preserving these zines. This zine was compiled as research material for books related to the metal music scene in Ujung Berung, in addition to being a personal archive as a marker of what he has done in life.

Kimung’s journey of gathering and making zines didn’t last long in the beginning. This was due to his hectic musical practices with Sonic Torment and Burgerkill at the time. Kimung’s writing process was more focused on the field of music. Kimung then wrote more about current histories after joining the History department in 1996. While Kimung did not collect zines for a while, friends who are members of Ujung Berung Rebels still hold the zine quite neatly. The zine is held in several rooms where Ujung Berung Rebels mates meet, including Addy Gembel’s house, Ivan Scumbag’s (RIP) house, Sule Restless, Agus Yoewono Sacrilegious, Yayan, and other Ujung Berung mates.

Kimung returned to making a zine named Minor Bacaan Kecil in 2002 after being vacuumed in the concrete literacy campaign from 1996 to 2002. When making and collecting zines, this also reminded Kimung of past romanticism. Then, in 2006, when he was planning to write a book about Ivan Scumbag called My Self Scumbag Beyond Life and Death, he accelerated the zine compilation process once more. Kimung positioned himself as a researcher at the time by collecting zines that centered on the world of Bandung Bawah Tanah. As a consequence, from 2006 to the present, Kimung has often placed himself as a researcher compiling zines, which necessitates his neutrality in order to write objective historical essays. Despite collecting many zines, Kimung’s attention from 2006 was on writing the history he worked on in the book Bandung Bawah Tanah, rather than archiving zines as documentation and archives. Kimung is also thankful that he has friends who are committed to the zine storage process, making it easier for him to acquire the zine he needs for his study.

With this system of collecting what he needs, the process of collecting zines that he is living is very essential. Kimung collected zines made around Ujung Berung Rebels and published from the Ujung Berung Rebels scene, such as REVOGRAM, Ujung Berung Update, Loud and Freaks, Crypt of the Abyss, The Ending Sun, New Noise, Pointless newsletter, Minor Bacaan Kecil, Total Lokal, and zines outside Ujung Berung Rebels which focus on Ujung Berung Rebels, such as the 13 zines written by Arian13 and Ucok who are members of it, when he wrote about Ujung Berung Rebels from 2008 until its release in 2013. This type of work is still being done in his other projects, which focus on the central theme of Bandung Bawah Tanah.

According to Kimung, the zine library’s role in this regard is also critical. Given that zines are not widely known among the general public. The zine library will eventually become a zine information center, making it easier for researchers like him to find the zines they require, as well as the general public who wants to learn about the information contained in the zines themselves.


Everyone who collects something usually has the best item that he considers to be extremely valuable and has his own romance. Similarly, Kimung has zine releases that he thinks are acceptable. Because Kimung is a researcher and must remain objective, he mentioned some good releases based on his era’s turmoil.

According to Kimung, the first acceptable zine is REVOGRAM. Because the existence of REVOGRAM has triggered a collaborative network between three cities: Bandung with the Extreme Noise Grinding community, Malang with the Total Suffer Community, and Surabaya with the HR production room. The network of these three cities eventually formed Total Noise Merchandising, the first metal trading joint venture. It also confirms the media’s true function. Whereas the media does not only convey information, it must also be capable of establishing a network that fosters a vibrant music ecosystem.

Minor Bacaan Kecil is the second zine. Despite Kimung’s presence in the Minor Bacaan Kecil, the zine struggled to the fullest during the AACC tragedy in 2008. At the time, Minor Bacaan Kecil served as a form of resistance to the mainstream media, which had labeled metal music as the sole culprit in the AACC tragedy. Kimung believes that the only way to combat the media is to be or become media. Since the media in his circle at the time was Minor Bacaan Kecil, Minor’s role was maximized to being a media that opposed the mainstream media’s view, which was very cornering.

Kimung and his friends discuss the underground music ecosystem and the creative economy in Minor Bacaan Kecil. The explanation for this is that one year before the AACC incident, in 2007, Ujung Berung had become the roots or main room of the creative economy. Then, through Minor, Kimung and his friends attempted to transform Bandung into a creative city. This has proven to be successful, as evidenced by media opinion, which has led to the fact that metal music and its ecosystem are the roots of Bandung’s creative economy as the source of their news.

The third zine is Total Lokal made by Pey from the Adik Kaka Foundation. This zine discusses a lot of discourses raised by Minor as well.

Ucok Homicide’s Membakar Batas is the fourth zine. This zine contains a great deal of ideological content and movements. This ideological zine has also emerged as a new face of the evolution of zines, which previously focused on music and its ecosystem, to include zines that focus on ideological, political, and practical movements. The existence of ideological zines like this is also extremely important to Kimung. Because this will have an impact on the evolution of zines in the next era.

Extreme Moshpit is the last zine Kimung considers to be among the top five. Extreme Moshpit has evolved into a webzine that collects extreme music and is gradually becoming a very comprehensive medium for extreme music with all of its movements. This media is also very serious about managing its activities, as evidenced by its ability to cover Wacken Open Air and the recent creation of an award for extreme music in Indonesia.

Written by Tegar Pratama,  2021


Mufti Pryanka a.k.a. Amenkcoy is an artist and lecturer whose everyday existence is dominated by visual and musical elements. Amenk isn’t a physical zine collector. He has, however, gathered a lot of information from the zines that have come and gone in his daily life. Amenk’s collection is not made up of fused sheets and ink that can be seen with the naked eye; rather, His collection is made up of memories, both visual and discursive, that are stored in his mind and serve as an invisible reference for him.
Since high school, Amenk has been interested in zine. He has no idea how he came to know about the zine in the first place. However, he recalls that the zines circulating around him at the time, around 1996/1997, were local zines loaded with music, and their content was largely music that was popular at the time, such as metal and other loud music, due to his musical association. It’s hardly surprising that this happened, given that zines first arrived in Indonesia in the 1990s, preceded by the punk and other loud music culture. Amenk didn’t comprehend at the time that zines were a channel of information that contained a wide range of topics; he thought of them more as flyers that came and went, and they didn’t particularly thrill him. In fact, it wasn’t until college that Amenk understood the flyers he was passing around were called zines, and he became acquainted with zines firsthand. He was intimately acquainted with zines throughout college because there were many local debates and friendships that were re-launched at the time. He’s also not someone who was very interested in the events of the time.
Then, in 2001/2002, while still in college, Amenk was introduced to a DIY comic movement, sometimes known as underground comics, by his friends. It also introduces Amenk to photocopied DIY sketch comics, which are similar to zines in spirit. The content of the underground comics is extremely unusual for comics in general. If you use the phrase amenk, especially comics that are “orowodol” and “sangeunah beuteung” or in Sundanese terminology that are widely used, namely “kumaha aing”. The content contained in underground comics can be quite free and irregular. In underground comics, the discussions or dialogues can be highly diverse, ranging from dialogues that are still intelligible to dialogues that contain undirected debate. Things that seem impossible can happen in the underground comic process, according to Amenk. Although the material of underground comics can be described as unusual, underground comics are produced in the same photocopied book format as zines. Underground comics have also become one of Amenk’s sources of information and things to look for.
Until, at some point, this underground comic phenomenon at UPI became a trend or another season. The movement spread through guerrilla tactics, beginning with cooperative partnerships for production and screen-printed and stitched comic covers. At the time, college students made it on their own and using guerrilla tactics. Even though they did it on their own, including Amenk, they didn’t realize it was a DIY (Do It Yourself) spirit as the Punk kids did; what Amenk and his buddies were doing at the time was simply having fun. Drawings, pictures, sketches, stencils, and all visual things that allow it to exist and be poured forth make me joyful. There were numerous groups involved in this underground comics movement; in fact, several groups can exist in one generation. The large number of groups that engage here fosters a competitive attitude among them, with each group striving to outperform the others. This is done because Amenk and his buddies feel that comic books serve as both a messenger and a means for introducing characters to new generations.

Around the same time, in 2002, Amenk was introduced to Daging Tumbuh, a Yogyakarta-based group of underground comics that is presently working on its own. Both in the content of underground comics and in the investigation of their form, they work very intensely and tightly. This collection is one of the most essential and has become a role model for visual zines, inspiring Amenk to investigate the nature of “comic” media in such forms as how to speak, layout design, and layout, among others. Daging Tumbuh’s underground comics were quite refreshing for Amenk at the time, as he was fed many very unique things to fulfill his hunger for the possibilities that could be made in underground comics. This collective also engages in a variety of interdisciplinary collaborations, such as creating supplementary comics in the form of compilation tapes, patches, pins, and posters, among other things.
Alternative images, such as the underground comic Daging Tumbuh and the catalogs of the small shows he toured, were roughly inspired by Amenk’s work in developing his own zine, SLEBORZ. Amenk is inspired to create something similar by these images. Simple references from exhibition catalogs, local underground comics, and the internet’s involvement in the creation of his SLEBORZ fanzine became crucial. SLEBORZ is his first solo zine, titled after a phrase meaning something reckless or slebor coined by his buddy Darto, an ITB graduate who served as curator for his second solo exhibition in May 2011, to define his works and methods of operation. Amenk’s thoughts and expressions appear to be somewhere between aware and unconscious.
After many years of being crushed by his busy work as a corporate graphic designer, the second show was a turning point and a tool to help him become sane. In that year, Amenk felt that his works should be consumed in little doses, in the form of zines, stickers, and other small objects. As a result, Amenk’s work became well-known to a large number of individuals.
The Bandung Zine Fest committee then went through a lot of trial and error in the process of putting on the festival in 2013. They took the initiative to invite Amenk to cooperate with them as a visual artist. Even if it is something unusual for them to do.
Amenk’s involvement as a visual artist added a fresh dimension to the 2013 Bandung Zine Fest. Remember, there were relatively few visual zinester at the zine fest at the time. This is due to the distinctions between the circles or stalls created by graphic zines and punk zines.

Amenk’s participation in the zine fest scene was also well-received by zines at the time, who found it refreshing to learn about visual zines that weren’t solely about music, politics, and ideological issues. It also raises awareness among zinesters that visual artists have a place in the zine community.
Amenk, on the other hand, had reservations about selling his zines. At least for himself, he believes the movement he creates in his visual zine may be a folder or an era marker. This zine serves as a means for him to introduce the audience to what he has done as well as a documentation of his creative process with a clear timetable.
Amenk’s initiative proved effective a few years later. Following that, several visual artist collectives or individuals joined in opening booths at the 2016 Bandung Zine Fest, and the growth of visual zines became a worldwide phenomenon. The zine, which had previously appeared so far away, had suddenly become quite close, and everyone seemed to be celebrating.
Amenk has also done some observing of zines in the past. He reflected on how he initially came upon the zine. Because the dialogue is not based, it is an exclusive medium. For example, socio-political debates and ideologies. This occurred as a result of the propagation of ideology by various members of the scene in open debate spaces, which were frequently hosted in alternative locations like ULTIMUS and IF Venue.
Amenk, on the other hand, keeps his distance from these items because he isn’t fond of them. Politically and ideologically charged zines, he claims, differ from visual sketch comic zines in terms of the way they are spoken and the expressions they utilize. Pop and punk music, for example, are actually quite distinct while sharing the same musical essence and even ideology.
Amenk’s passion for literacy is manifested in his visual representations of it. This has an impact on his thoughts on every zine genre now in existence. Amenk is always on the lookout for visual components in these various zine genres; for example, if he comes across a politically charged punk zine, the first thing he searches for are the pictures.
For Amenk, zines, particularly visual zines, are an escape or second alternative for expressing themselves. When Amenk enters the region of a well-established and popular company, for example, people have already reached a normative agreement on something. In the realm of zine creativity, however, Amenk will discover his own forest and be stranded in the midst of nowhere, where he can be as creative and ‘jeprut’ as possible. In fact, in the world of zines, there is essentially no hierarchy of seniority. Amenk did not recognize this during his lectures, but it was long after that Amenk and he realized that this movement was significant because it may open up possibilities for things that are not common or taboo.
Written by Tegar Pratama,  2021


Audio Zine – Live & Recorded
Tiup Lilin Zine, Tegar Pratama, Aldivalcon, Fauzi Wiriadisastra, Teta Alim dan Hairembulan


audio zine : sesi bincang bincang bersama @hairembulan; pameran dan peluncuran zine MATAHARI & BULAN (Aku adalah Keduanya) @abandonink zine store sabtu,27 juli 2019

Digitezed Abandonink 2021
Audio Zine by Amyrhiby
Taken from the book : Tersajakanlan : Panjang Umur Puisi, by Pardesela

Digitezed Abandonink 2021
Audio Zine by Theoresia Rumthe.
Taken from the book : Percakapan Paling Panjang Perihal Pulang Pergi ( Theoresia Rumthe & Weslly Johannes )


Audio Zine – Live Recorded – Klab Zine 4 Bandung Zine Fest

Audio Zine Klab Zine 4 Bandung Zine Fest  Zine Presentation by Andinda Shafira -No Negative  Self Talk – @abandonink 22 June 2019 Jln. Sumbawa 28 Bandung

Audio Zine Klab Zine 4 Bandung Zine Fest – Audio Zine – Zine Presentation by Devon&Reza – @abandonink 22 June 2019 Jln. Sumbawa 28 Bandung

Audio Zine Klab Zine 4 Bandung Zine Fest –  Zine Presentation by Yan – @abandonink 22 June 2019 Jln. Sumbawa 28 Bandung

Audio Zine Klab Zine 4 Bandung Zine Fest –  Zine Presentation by Lutfi – @abandonink 22 June 2019 Jln. Sumbawa 28 Bandung

Audio Zine Klab Zine 4 Bandung Zine Fest –  Zine Presentation by aboutsaeed – @abandonink 22 June 2019 Jln. Sumbawa 28 Bandung

Audio Zine Klab Zine 4 Bandung Zine Fest –  Zine Presentation by Lagam – @abandonink 22 June 2019 Jln. Sumbawa 28 Bandung

Audio Zine Klab Zine 4 Bandung Zine Fest –  Zine Presentation by Asrul – @abandonink 22 June 2019 Jln. Sumbawa 28 Bandung

Audio Zine Klab Zine 4 Bandung Zine Fest –  Zine Presentation by Svvarnabhumi Press – @abandonink 22 June 2019 Jln. Sumbawa 28 Bandung

Audio Zine Klab Zine 4 Bandung Zine Fest –  Zine Presentation by M. Tegar P – @abandonink 22 June 2019 Jln. Sumbawa 28 Bandung

Audio Zine Klab Zine 4 Bandung Zine Fest –  Zine Presentation by MONOLOG – @abandonink 29 June 2019 Jln. Sumbawa 28 Bandung

Audio Zine Klab Zine 4 Bandung Zine Fest –  Zine Presentation by MEDIAZINE – @abandonink 29 June 2019 Jln. Sumbawa 28 Bandung

Audio Zine Klab Zine 4 Bandung Zine Fest –  Zine Presentation by ATUR FREKUENSI – @abandonink 29 June 2019 Jln. Sumbawa 28 Bandung

Zine Never Die : WastedRockers Berbicara : Upaya Melestarikan Bawah Tanah di Era 2000-an Direkam secara langsung di @abandonInk zine store tgl 5 juli 2019. Diramaikan oleh @wastedrockers Dede&Gembi, Mufti Priyanka dan Idhar Resmadi.