Other contributors provided career histories/interviews with cult filmmakers and actors such as Radley Metzger, Larry Cohen, Jack Hill, William Rotsler, David Carradine, Sid Haig, Karen Black, and Timothy Carey.

Regular features included "Record Reviews" by Art Black, "Spare Parts" (covering fanzines and comics) by Dale Ashmun, and "Never To Be Forgotten", an obituary column.

[2][3] Michael J. Weldon began writing about film in 1979 while working at the Cleveland record store The Drome, which had some connection with Pere Ubu lead singer David Thomas and other who published a punk rock zine called Cle.

Other contributors provided career histories/interviews with cult filmmakers and actors such as Radley Metzger, Larry Cohen, Jack Hill, William Rotsler, David Carradine, Sid Haig, Karen Black, and Timothy Carey.

Regular features included "Record Reviews" by Art Black, "Spare Parts" (covering fanzines and comics) by Dale Ashmun, and "Never To Be Forgotten", an obituary column by Weldon that covered the deaths of writers, directors, television and film actors, rock stars, comic book artists, lawyers, and anybody else that Weldon felt was related to the overall Psychotronic universe.

Citing increasingly expensive printing costs and dubious business practices from distributors as his main source of concern, he noted that, "It was a struggle to self-publish in the 80s and 90s but now it's nearly impossible.

Springing from the same post-war junk pile that birthed the band The Cramps, Weldon's aesthetic is that of the unapologetic connoisseur of the sublime aspects of trash culture.

The psychotronic movie's disregard for mimesis, its sociopathic understanding of human interaction, its indifferent acting, and its laughable sets were a kind of ritualized mediocrity.

The video reviews range from forgotten classics to garage-made shorts, the obits note the passing of cult faves, interviews take on the likes of Clive Barker and James Coburn, and letters present an ongoing scholarly dialogue.