{"title":"Sound \u0026 Music","description":"","products":[{"product_id":"a-side-are-your-dreams-at-night-1985-sizes-too-big-by-graham-holliday","title":"A-SIDE: ARE YOUR DREAMS AT NIGHT 1985 SIZES TOO BIG? by Graham Holliday","description":"\u003cp style=\"white-space: pre-wrap;\"\u003e130 x 180mm, 140pages, Perfect bound, Hand stamped cover, Includes a risograph printed bookmark, 2019 (second printing, open edition, 2022)\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003eNew project from our own Matthew Walkerdine: The Grass is Green in the Fields for You. A small press publisher investigating the unsung corners of music culture, its participants and subculture fandom. Releases shun exaggerated self-opinion instead favouring collaboration, community and conversation.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003eIn the early 1980's, in the small town of Rugby in the centre of England, three teenagers began melding early blues with feedback, one-chord drones, booming drums, smashing cymbals, gospel, Turkish Saz and two-note melodies. Natty Brooker, Pete Kember and Jason Pierce were Spacemen 3. On 3 August, 1985, they played a gig in the backroom of the Black Lion pub on St. Giles Street in the nearby town of Northampton. All these years laters, it is still the best gig I’ve ever seen. It is also the gig that led directly to the band’s first-ever recording deal.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003eAs a teenager growing up in Rugby in the '80s I saw Spacemen 3 play in many pub backrooms. They were, and remain, an incredible band and over the years, their reputation has spread far beyond those sticky floored, fag ash filled, grubby backrooms. Sometime in the early part of the 21st century, in a house in the south of France, I rediscovered a shoebox filled with photos, posters, tickets, flyers and cassettes from the mid-'80s and I tipped the lot out onto the floor. In among the ephemera were the photographs and cassette recording from that gig on 3 August 1985, the earliest Spacemen 3 gig for which there was a recording and photographs. And I wondered: where were all the people who were at the gig that night? And did they remember it too?\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"The Grass is Green in the Fields for You","offers":[{"title":"Default Title","offer_id":41878627025126,"sku":"","price":10.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/MW_TGIGITFFY_ASIDE_01_GPWEB.jpg?v=1673714400"},{"product_id":"punk-is-dad-by-jamie-johns","title":"PUNK IS DAD by Jamie Johns","description":"\u003cp style=\"white-space: pre-wrap;\"\u003e210mm x 120mm, 16pp, black and white digital printing throughout, staple bound, hand stamped cover, includes a double sided poster, open edition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003eTGIGITFFY is proud to present Punk is Dad by Jamie Johns; an engaging, powerful and important text now released in an open edition. Originally released in 2011 as a beautifully produced edition of 35 by Oso Press of Los Angeles, USA we're now able to deliver a near-facsimile edition with a wider distribution.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cem\u003eOriginal and appropriated images and texts that convey gendered dialogues in punk and noise-related media. Fold-out of Dorothy single cover. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003eTo quote a dear friend and collaborator\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"It is embarrassing to talk about PUNK IS DAD because Jamie's presentation is so succinct you end up using twice as many words as her only to clomp and lurch around its perfection. I will just say that this zine is sharply vindicating for people who love punk but also think about its contradictions, its recuperation, and its deep possibility so undermined by the alienating force of male punk attitude. And if you haven't really thought about these things so much, but you love punk, it will turn your body to a skeleton. ”\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"The Grass is Green in the Fields for You","offers":[{"title":"Default Title","offer_id":41878627057894,"sku":"","price":4.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/MW_TGIGITFFY_PID_01_GPWEB.jpg?v=1673714266"},{"product_id":"the-dirty-year-by-matthias-andersson","title":"THE DIRTY YEAR by Matthias Andersson","description":"\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e150 x 160mm, 12 pages, Black and white throughout, Soft cover, Saddle stitched, 2019.\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eOriginally published as the introduction to Fördämning #11 in February of 2017, The Dirty Year tells of a period of collecting, obsession and good old fashioned luck. The text operates much like a fanzine itself giving hints towards areas of investigation whilst providing a humorous account of chasing a dream. FFO Saturday visits to record shops, the elusive release and the joy of discovery.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"The Grass is Green in the Fields for You","offers":[{"title":"Default Title","offer_id":41878627090662,"sku":"","price":3.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/MW_TGIGITFFY_TDY_01_GPWEB.jpg?v=1673714207"},{"product_id":"fix-the-mirrors-by-ethan-swan","title":"FIX THE MIRRORS by Ethan Swan","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e130mm x 195mm, 228pp, perfect bound, hand stamped cover, oversize A6 risograph printed tip-in flyer, open edition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cem\u003e‘Dude, you wrote an essay!’ he told me, ‘how do you expect us to sell it in one sentence if you can’t even describe it in one page?’ I was horrified, embarrassed, immediately offered to write a new one and send it. ‘No,’ he explained, ‘you’re being taught a lesson. Do better with the next release.’ I was too surprised to be angry. I also didn’t learn my lesson, and they didn’t carry the next record we put out either. The lesson I did learn, maybe not for a long time, is that I only really care about the records that take pages to describe.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThe Grass is Green in the Fields for You is overjoyed to present a project which has been in the making—and mind—for some time: Fix The Mirrors by Ethan Swan. This collection, which starts itself in the year of 2000, collects writings on music and DIY activity from Swan’s back-catalogue. Musically it is broad, we begin with Meltdown moving to Shudder To Think; singular considerations on tracks by Tracey Thorn, Unrest and Jane’s Addiction. Further focuses on Saturday Looks Good to Me, Roy Harper, Panax, Slick Rick. There are documentary works and interviews covering Felix Kubin, The Homosexuals, Graham Lambkin \u0026amp; Spencer C. Yeah, Cass McCombs, and Bridget Cross. An expansive amount of ground is covered in this single collection, and this isn't the start of the wealth Swan has created. The writing is immediate, thoughtful, touching and honest—just like Ethan. Meticulously crafted, the painstaking layout is accompanied by photographs by Lisa Anne Auerbach documenting 1980’s Chicago punk shows—it seemed perfectly fitting to include them. It would not be an exaggeration to state that The Grass is Green in the Fields for You was born out of a love for projects like this and this publication is our proudest moment yet.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e- - - - -\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e“I think the article about 222 Bowery, or the Morrissey zine, or even my parts in Silk Flowers songs are really just a way of sharing things that I feel happy to have learned.”\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e— from a gmail ‘interview’ July 2010\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eEthan Swan is, to paraphrase from his own introduction to this book, a person that would take pages to describe and while this is no way an attempt to do so I wanted to present a snapshot of some of our experiences with him.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThe first time we met Ethan Swan was in November 2009, when his band Silk Flowers came to play in Manchester. The show almost didn’t happen; we were tired of setting up shows, kind of jaded and stressed out in general and thinking about doing something different with our spare time \/energy\/ money. It’s not hyperbole to say that the fact we’re still doing the same things now (ten years later and the case against withstanding) is in no small part due to that night and that meeting.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eEthan had asked us to arrange a birthday cake for Peter (Schuette, Silk Flowers)’s birthday and ended the evening meticulously washing dishes which apparently his technique had been refined while ‘ageing’ some china for a Nikhil Chopra show at the New Museum.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eEnthusiasm is contagious, true community emboldens its members, music heals, someone believing in or understanding what you do validates your attempts. These are just a few of the thoughts from that meeting and they are sustenance. We loved their music and were inspired by meeting them.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eHis ideas are presented with generosity and almost complete absence of ego (to the extent that his most-recent project, a series of oral histories and collected ephemera on Black Dice, Brontez Purnell and David Wojnarowicz and Ben Neill’s ITSOFOMO, does away with the authorial voice altogether) and it is a pleasure to spend time with them.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eEthan’s belief in (and commitment to) people and his generosity in sharing information (which is STILL wielded as capital, as power even in radical or DIY communities) is remarkable and impressive and if this book presents a notion of the ‘fan’ it reveals its author to be a fan of people and their potential in a deep and true way. — RL Perry\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"The Grass is Green in the Fields for You","offers":[{"title":"Default Title","offer_id":41878627123430,"sku":"","price":13.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/MW_TGIGITFFY_FTM_01_GPWEB.jpg?v=1673714509"},{"product_id":"entrances-uncovered-street-signs-you-never-saw-by-matthew-walkerdine","title":"ENTRANCES UNCOVERED \/ STREET SIGNS YOU NEVER SAW by Matthew Walkerdine","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e195mm x 250mm, 16page outer booklet, 8 page inner booklet, 1-4 colour risograph throughout, saddle stitched, edition of 150, 2019\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eNew collages from Glasgow based designer Matthew Walkerdine. Considering iconography, age, repetition and production. Recognition is a large part of Matthew’s practice and this one bounces from a previous work exhibited at Bury Art Museums but zooms the lens right out. Produced immediately alongside some tips and hints on writing from Mark E Smith with a second booklet stapled within. The first ‘editioned’ publication from The Grass is Green… we hear it's not that last. Cover type by Manuel Fernandez Rodriguez, insert by Mark E Smith, badges by Nigel Robinson and Peter Willis.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"The Grass is Green in the Fields for You","offers":[{"title":"Default Title","offer_id":41878627156198,"sku":"","price":8.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/MW_TGIGITFFY_MES_01_GPWEB.jpg?v=1673714729"},{"product_id":"from-the-office-of-the-grass-is-green-in-the-fields-for-you-2019reader-by-various-artists","title":"FROM THE OFFICE OF THE GRASS IS GREEN IN THE FIELDS FOR YOU 2019—READER by Various Artists","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e108mm x 175mm, 254 pages, black and white digitally printed interior, full colour printed and gloss finished covers, perfect bound, 2019.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThe purpose of this publication is to draw a close to the activities surrounding The Grass is Green in the Fields for You (TGIGITFFY) through 2019 and serve as a companion and resource for you, the reader, from us, the contributors. Maybe this is your first time coming across the publisher and you’ve just been motivated by a glance at the book’s content, maybe you have a couple of titles, maybe you have them all, most importantly, you’re here and may this ‘reader’ help you understand some of the thinking behind the first 16 releases on the imprint.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e'It matters who’s material this is and some of this material is not ours, we do not have a claim on it.'\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eMuch of the content is not originally produced by its contributors. This notion of reproduction is relevant when understanding and exploring the relationship of music and culture. We often see cover versions, fan forums and collections. Let’s view these differently: as transformations, communities and archives. This publication holds facsimiles determined by the personal interests of each contributor, and their varying relationships to the given material. However, these references are for you to consider how they may well linger past an initial reading and radiate into your consciousness in weeks\/months\/years to come.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eFeaturing contributions from Milano Chow, Esther Draycott, Manuel Fernandez Rodriguez, Jessica Higgins, Graham Holliday, Jamie Johns, Natalie Judge \u0026amp; Stephen Pietrzykowski, Nicholas Lynch, Ethan Swan and Matthew Walkerdine.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"The Grass is Green in the Fields for You","offers":[{"title":"Default Title","offer_id":41878627188966,"sku":"","price":10.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/MW_TGIGITFFY_READER_01_GPWEB.jpg?v=1673713857"},{"product_id":"inside-a-gleaming-feeling-by-craig-pollard","title":"INSIDE A GLEAMING FEELING by Craig Pollard","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e120mm x 180mm, 148pp, perfect bound, black and white digital printing, 20 monochrome tip-in images on 80gsm fluorescent paper, fluorescent stickers affixed to covers, open edition.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA collection of conference papers, lectures and excerpts on music, art making and the internet by Newcastle based practitioner Craig Pollard.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eInside a Gleaming Feeling\u003c\/em\u003e is a slender collection of texts commodious in scope, constantly inhabiting the paradoxes and contradictions at which it points its compass, or - in the case of the metamodernist metaphor cited in the chapter \u003cem\u003efor a while now, I’ve at least had a sense that whatever it is I am living is not something that is entirely resolved by the usual categories I have inherited - \u003c\/em\u003ethe pendulum oscillating between “innumerable poles”. Not with an exhausted drag from one portal, gate, debate, stage, screen or field to the next, but a delicate gathering force in dialogue with the present and its permutations. The texts gathered here enact an intersectional feminist praxis, a commitment to show all sides of this potent dodecahedron called ~culture. Craig’s is a goal not of placing this apart from that in binaried opposition, but tracing the threads and their interlopers, the ways in which they fold, crack and foreground “fissures of possibility”. Read its title \u003cem\u003eInside a Gleaming Feeling\u003c\/em\u003e as its “feeling structure”, a phrase which by the author’s own confession made its first attempt at utterance as a line which never made it into a song, could not be smoothly patterned in, but poses a fitting fly poster to read this book with. To gleam is to “shine brightly, especially with reflected light” and so the question leans: how is it even possible to be \u003cem\u003einside\u003c\/em\u003e a reflection, fleeting brief and shiny? This contradictive something at the tip of the tongue is the positive inarticulation of the hook or the hashtag, bobbing its head to the rhythm of “paradox as constitutive to contemporary experience.”\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eCraig Pollard is a music maker and artist based in Newcastle, UK. He is also an academic and part time lecturer, having completed a practice-led PhD about the politics of contemporary music making and creative practice in 2018. He makes music and performs under the name Competition and intermittently hosts music and art events as one half of Wild Pop.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"The Grass is Green in the Fields for You","offers":[{"title":"Default Title","offer_id":41878627221734,"sku":"","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/MW_TGIGITFFY_CP_01_GPWEB.jpg?v=1673714980"},{"product_id":"language-scraps-02-language-scraps-02-mark-e-smiths-handwriting-and-the-typography-of-the-fall-by-paul-wilson","title":"LANGUAGE SCRAPS 02: MARK E. SMITH’S HANDWRITING AND THE TYPOGRAPHY OF THE FALL by Paul Wilson","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e120 x 180mm, 36 pages, black and white and risograph printed throughout, saddle stitched, second edition, 2023\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eIn this essay Paul Wilson views The Fall through a typographic lens and explores their visual identity as propelled and produced by Mark E. Smith.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e“Mark E. Smith’s handwriting became part of The Fall’s visual identity: a typographic signifier of and for The Fall. His attitude towards the development and articulation of a visual identity for The Fall, and in particular the use of his handwriting, reflects his position towards The Fall’s sonic identity. Further, his ambivalence towards contemporary technologies (of sound recording, communication and graphic design), together with his fascination with the idea of creative unwinding (or as he often calls it ‘unlearning’) continually relocates The Fall’s aesthetic tending towards an idealized primitivism.”\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThis essay was first published in Mark E. Smith and The Fall: Art, Music and Politics (2010) published by Routledge. Edited, updated and represented between March and May of 2021.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"The Grass is Green in the Fields for You","offers":[{"title":"Default Title","offer_id":41878627254502,"sku":"","price":6.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/files\/PW_LS_01_B.jpg?v=1709907904"},{"product_id":"pit-by-lisa-anne-auerbach","title":"PIT by Lisa Anne Auerbach","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e180mm x 265mm, 80pages, black risograph and digital printing, various paper stocks, pink gloss foil cover title, perfect bound, first edition of 300\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cem\u003eThe mosh pit was the first male space I cracked open, blinding everyone with my flash and shoving my camera in their faces. I didn’t ask permission, I just did it. All five foot four and one hundred twenty pounds of me armed with a Nikon F3 in one hand and a Vivitar 283 in the other. \u003c\/em\u003e\u003cstrong\u003e—Lisa Anne Auerbach\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eLisa was the same age as the students she now teaches when taking these photographs, embodying a free, imaginative and yet-to-be-tainted-by-the-professional approach we seem to leave behind through age. The concept of bounding around a show with camera in hand, free and open to what comes—an amateurism!—is something I try so hard to catch day to day, only to fail and miss the mark. These images celebrate the wild energy of being young, the diversity and spirit of punk. Add each snapshot together and it’ll barely be a minute captured.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThe images in PIT aren't necessarily difficult to imagine, lightning fast, all sweaty forms clambering together, claustrophobic and in a frenzy—the mosh pit exactly as we know it. Through Lisa’s approach of pile-in-and-shoot, we’re left with what settles between the leaps and the blows. You feel the breathless gasp, a two second smile and a glimpse into the eyes of another.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eYour heart stops and there is a rush of blood to the head as the familiarity of a hook lands and you’re thrown into a swell of people, I imagine the moment you bounce backward and notice Lisa. You smile. Others strike their poses; some remain expressionless, held like statues; some don’t notice her camera in that heartbeat, their body contorts and flails. What is held between these pages are not just these expressions but a representation of youth, fashion, enthusiasm and spirit that only a simple idea could capture.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003ePIT by Lisa Anne Auerbach collects photographs taken at Cabaret Metro and Cubby Bear in Chicago, Illinois between March and June 1985. The publication begins with an introduction by Lisa Anne Auerbach and ends with a conversation between Lisa and Ethan Swan. Eternal and ongoing thanks to Ethan for introducing me to these images when assembling Fix The Mirrors, and to Lisa for continuing to have courage and the faith in the amateur idea.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"The Grass is Green in the Fields for You","offers":[{"title":"Default Title","offer_id":41878627287270,"sku":"","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/MW_TGIGITFFY_PIT_01_GPWEB.jpg?v=1673713607"},{"product_id":"distort-52","title":"DISTORT #52","description":"\u003cp style=\"white-space: pre-wrap;\"\u003eA5, 12 pages, Black \u0026amp; white digitally printed, Saddle stitch, Softcover, 2018\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003eEssential punk zine featuring “Interviews with Comrade Xero, Pious Faults, Sex Drive, Lena Molnar, Andrew Mclennan.”\u003c\/p\u003e\n\u003cp\u003ePublished by\u003c\/p\u003e","brand":"Distort Magazine","offers":[{"title":"Default Title","offer_id":41886121885926,"sku":"","price":4.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/073_D_ecbc3eb5-6690-4e57-a4e1-572bb112b36b.jpg?v=1634664361"},{"product_id":"distort-sydney-4","title":"DISTORT SYDNEY #4","description":"\u003cp style=\"white-space: pre-wrap;\"\u003eA5, 24 Pages, Black \u0026amp; white digitally printed, Saddle stitch, Softcover, 2018\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003eEssential punk zine featuring “interviews with Orion, Royal Headache, Crime Spree, Nasho, Fatalitas, BB \u0026amp; The Blips.”\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003ePublished by\u003c\/p\u003e","brand":"Distort Magazine","offers":[{"title":"Default Title","offer_id":41886121918694,"sku":"","price":4.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/076_D_83cf84f3-a640-4ddd-a60b-38a27c8f70fd.jpg?v=1634664347"},{"product_id":"distort-51","title":"DISTORT #51","description":"\u003cp style=\"white-space: pre-wrap;\"\u003eA5, 20 pages, Black \u0026amp; white digitally printed, Saddle stitch, Softcover, 2018\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003eA Melbourne special with an interview with Jim McCullough\u003c\/p\u003e\n\u003cp\u003ePublished by\u003c\/p\u003e","brand":"Distort Magazine","offers":[{"title":"Default Title","offer_id":41886121951462,"sku":"","price":4.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/070_D.jpg?v=1634664338"},{"product_id":"double-lives-in-art-and-pop-music-by-jrg-heiser","title":"DOUBLE LIVES IN ART AND POP MUSIC by Jörg Heiser","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e15 x 23 cm, 350 pages, Colour printed, Perfect bound, Softcover, 2019\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eWhy did Andy Warhol decide to enter the music business by producing the Velvet Underground, and what did the band expect to gain in return? What made Yoko Ono use the skills she developed in the artistic avant-garde in pop music, and what in turn drew John Lennon to visual art? Why, in 1980s West Germany, did Joseph Beuys record a pop single and artists such as Walter Dahn, Albert and Markus Oehlen, and Michaela Melián form bands? What role does utopia play in the pop music and art of Brian Eno, Laurie Anderson, and Fatima Al Qadiri? And, vice versa, did dystopias of transgressive imagery and noise lead the artist group COUM Transmissions to make music as Throbbing Gristle?\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eIn \u003cem\u003eDouble Lives in Art and Pop Music\u003c\/em\u003e, Jörg Heiser argues that context shifting between art and pop music is an attempt to find solutions for contradictions faced in one field of cultural production. Ever since Duchamp’s readymade und Hugo Ball’s sound poetry, the definition of art has widened and dissolved to a point where nearly anything geared toward an art audience can be considered an artwork. Today it has become convention to praise art as a way of questioning conventions, not least in regard to conventional borders between disciplines, media, and genres. However, heroic claims of dissolving borders have become a way of kicking at doors that are already wide open—in a political and economic environment defined by neoliberal deregulation and flexibilization geared toward new markets, and permeating every social and cultural sphere.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eIt has thus become increasingly important to discuss the relationship between different fields of cultural production. This book does just that, looking closely at the careers of artists and pop musicians who work in both fields professionally. Historically, these figures provoked cognitive dissonance, but the seeming acceptance and effortlessness today of current border crossings can be deceptive, since they might be serving vested economic or ideological interests. Exploring the intertwined histories of pop and art from the 1960s to the present, Heiser shows that those leading double lives in art and pop music may often be best able to detect these vested interests while pointing toward radical alternatives.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Sternberg Press","offers":[{"title":"Default Title","offer_id":41886127718630,"sku":"","price":23.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_8075.jpg?v=1634664525"},{"product_id":"black-case-volume-i-and-ii-return-from-exile","title":"BLACK CASE VOLUME I AND II: RETURN FROM EXILE by Joseph Jarman","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e165 x 205mm, 142 pages, Single colour printing, Perfect bound, Softcover, 2019\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e‘Joseph Jarman (1937 – 2019) was a saxophonist and multi-instrumentalist best known as a founding member of trailblazing avant-garde jazz group Art Ensemble of Chicago. Jarman was responsible for the Art Ensemble’s signature face paint and elaborate costumes as well as the pioneering theatrical and multimedia elements of their shamanistic performances, which could include dance, comedy, performance art, surreal pranks, and—notably—the recitation of Jarman’s poetry.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eIn 1977, Art Ensemble of Chicago Publishing Co. published Jarman’s \u003cem\u003eBlack Case Volume I and II: Return From Exile\u003c\/em\u003e, a collection of writing conceived across America and Europe between 1960 and 1975. Comprised largely of Jarman’s flowing, fiery free verse—influenced by Amus Mor, Henry Dumas, Thulani Davis, and Amiri Baraka—the book also features a manifesto for “GREAT BLACK MUSIC,” notated songs, concert program notes, Jarman’s photos, and impressions of a play by Muhal Richard Abrams, the founder of the Association for the Advancement of Creative Musicians of which Jarman was also an original member. Jarman writes poetry of personal revolutionary intent, aimed at routing his audience’s consciousness towards growth and communication. He speaks with compassionate urgency of the struggles of growing up on Chicago’s South Side, of racist police brutality and profound urban alienation, and of the responsibility he feels as a creative artist to nurture beauty and community through the heliocentric music that he considers the healing force of the universe. A practicing Buddhist and proponent of Aikido since a 1958 awakening saved him from the traumatic mental isolation of his time dropped by the US army into southeast Asia, Jarman sings praise for the self-awareness realization possible through the martial arts. With cosmic breath as its leitmotif, his poetry both encourages and embodies a complete relinquishing of ego. While some of the poems contained within \u003cem\u003eBlack Case \u003c\/em\u003ehave already been immortalized via performances on classic records by Jarman and Art Ensemble of Chicago, its republication in print form breathes new life into a forgotten document of the Black Arts Movement.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e“Joseph Jarman, a musician of rare poetic gifts, was also a remarkable poet. \u003cem\u003eBlack Case\u003c\/em\u003e, a lost treasure of the Black Arts Movement, combines protest against injustice with heart-breaking introspection and fierce commitment to the Great Black Music tradition to which Jarman contributed with gentle yet mighty force.”\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e—Adam Shatz\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e“Joseph’s recitation of ‘Non-Cognitive Aspects of the City’ (from \u003cem\u003eBlack Case\u003c\/em\u003e) moved me to set the words of this poem for Baritone Voice and Orchestra and became part of the Art Ensemble of Chicago’s standard repertoire. Joseph had a bold and passionate creative spirit. I feel privileged to have shared the stage with him.”\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e—Roscoe Mitchell\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e“‘Though in reality all the words are music themselves’ is the reality to which all poetry aspires, whether in verse or prose, theory or story, criticism or craft. Joseph Jarman always knew that for black musicians, which is to say black speakers, exile is our public holiday. We live through that. We live through that. Black Case is all and everything in this regard. ‘Whats to say,’ he says, is that ‘we sing because\/we love you\/because we\/love you\/because\/we love\/you.’ We are loved beyond judgment by the music, he says, and we say thanks.”\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e—Fred Moten’\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Blank Forms","offers":[{"title":"Default Title","offer_id":41886137516262,"sku":"","price":16.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/01_D_9c32cc49-8fd8-4bc3-bfdb-be6001305790.jpg?v=1634664714"},{"product_id":"autumns-sun-by-loren-connors","title":"AUTUMN’S SUN by Loren Connors","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e130 x 190mm, 82 pages, Black \u0026amp; white printing, Perfect bound, Softcover, 2019\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eOne of the world’s most singular guitarists, Loren Connors is among few living musicians whose prolific body of work can be said to be wholly justified in its plenitude. On more than 100 records across almost four decades, Connors has wrung distinct shades of ephemeral blues from his guitar, its sound ever-shifting while remaining unmistakably his own. From his early, splintered take on the Delta bottleneck style through his song-based albums with Suzanne Langille and on to the painterly abstraction that defines his current work, Connors has earned the admiration of many, leading to collaborations with the likes of John Fahey, Jim O’Rourke, Keiji Haino, and Kim Gordon.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eIn the mid-80s, Connors took a partial break from music and focused instead on the art of haiku, for which he received the Lafcadio Hearn Award in 1987. With his wife Suzanne Langille he also co-wrote an article on blues and haiku, “The Dancing Ear,” published in the Haiku Society of America’s journal. It was during this period that Connors penned the material that appears in \u003cem\u003eAutumn’s Sun\u003c\/em\u003e, a chapbook first published by Thurston Moore and Byron Coley’s Glass Eye in 1999. The text features diary excerpts from 1987, lyrically fragmented observations interspersed with haiku-like poems that paint an idyllic impression of the passing seasons in his home of New Haven, Connecticut. With synesthetic perception, Connors gazes from tranquil domestic streets. Sycamore, elm, and catalpa trees are activated by the breeze and made to rustle in unison with their natural and artificial surroundings, including the howling dogs from which Connors derived his ‘Mazzacane’ moniker. As summer fades to winter, Connors portrays death as an undramatic certitude, the flux of his own maturation reflected in musings on his son’s. Like his music, \u003cem\u003eAutumn’s Sun \u003c\/em\u003eis tender without being sentimental, conjuring those rare, delicate moments when time stands still.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThis edition includes “The Dancing Ear” and an introduction by Lawrence Kumpf.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Blank Forms","offers":[{"title":"Default Title","offer_id":41886137549030,"sku":"","price":17.5,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/09_D_21f37a8d-6ceb-4330-a7e1-718f6b2b2218.jpg?v=1634664823"},{"product_id":"blank-forms-05-aspirations-of-madness-by-various-artists","title":"BLANK FORMS 05: ASPIRATIONS OF MADNESS by Various Artists","description":"\u003cp\u003e155 x 205mm, 242 pages, Colour printing, Perfect bound, Softcover, 2020\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEdited by Lawrence Kumpf with Joe Bucciero. Contributors and featured artists include Masayuki Takayanagi, Louise Landes Levi, Joseph Jarman, Catherine Christer Hennix, Charles Stein, Henry Orlov, Maryanne Amacher, Alan Cummings, Bill Dietz, Peter Kastakis, Art Lange, Leo Svirsky, Satoru Obara, and Tomoyuki Chida.\u003c\/p\u003e\n\u003cp\u003eAspirations of Madness, Blank Forms’ fifth collection of archival, unpublished, or newly translated texts, takes its title from a series of interviews with Japanese free jazz pioneer Masayuki Takayangi that were published in Japanese in 1975–76 and are published here in English for the first time. The interviews provide a rare look at Takayanagi’s eccentric practice and personality, both long under-recognized by audiences outside (and often, inside) of Japan. In this respect, the interviews speak to the goals of Blank Forms’ publication enterprise, that is, to expand upon our work in performance programming, record production, and archival preservation, and to foster new dialogues on vanguard art and music from the past 50-plus years.\u003c\/p\u003e\n\u003cp\u003eThe postwar Japanese history that Takayanagi describes also surfaces in this publication’s opening piece, a poetictribute by the writer and artist Louise Landes Levi to one of Takayanagi’s contemporaries, the poet Kazuko Shiraishi. Aspirations of Madness includes a second Levi poem as well, “A Deep River,” written while at La Monte Young and Marian Zazeela’s Dream House in 2003, while Charles Curtis was rehearsing Just Charles and Cello in the Romantic Chord, a composition by Young that Blank Forms plans to present in Spring 2020. Complementing this tradition of Japanese free improvisation and poetry is the republication of a 1977 interview with Joseph Jarman, the great composer, poet, and multi-instrumentalist. The interview took place a few months after the publication of Jarman’s book Black Case Volume I \u0026amp; II: Return from Exile, a collection of writings from 1960 to 1977 that Blank Forms had the honor of publishing in a new edition in Fall 2019.\u003c\/p\u003e\n\u003cp\u003eWe also feature Charles Stein’s introduction to Being = Space x Action, a crucial supplement to another recent Blank Forms publication, Poësy Matters and Other Matters by Catherine Christer Hennix. In its specificity and rarity of focus, Stein’s text offers valuable information on a vibrant artistic network of the recent past, as well as an extended look at the evolution of Hennix’s complex practice. Further along, Aspirations of Madness features an excerpt from The Tree of Music, a cross-cultural treatise by the Russian musicologist Genrich “Henry” Orlov, the English translation of which has never been published before. The Tree of Music is a sweeping philosophical study of global music and cultures with universalist and spiritualist ambitions, excerpts of which are here selected and introduced by the composer and pianist Leo Svirsky. Aspirations of Madness closes with one of Maryanne Amacher’s final pieces of writing, “The Agreement,” from 2009. The text takes the form of a letter between Amacher and the Open Ended Group, with whom she had planned to collaborate on her final, unfinished project, Lagrange: A Four Part Mini Series.\u003c\/p\u003e\n\u003cp\u003eAspirations of Madness considers the work of Masayuki Takayanagi, the poet Louise Landes Levi, musician and writer Joseph Jarman, polymath Catherine Christer Hennix and her one-time student the poet Charles Stein, Russian musicologist Henry Orlov, and Maryanne Amacher—brilliant and overlooked artists whose work Blank Forms will continue to champion in a variety of contexts. Aspirations of Madness features additional contributions by Alan Cummings, Bill Dietz, Peter Kastakis, Art Lange, Leo Svirsky, Satoru Obara, and Tomoyuki Chida, and is edited by Lawrence Kumpf with Joe Bucciero.\u003c\/p\u003e\n\u003cp\u003e~ ~ ~ Has some glue remnants on the back cover :( ~ ~ ~ \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"Blank Forms","offers":[{"title":"Default Title","offer_id":41886137614566,"sku":"","price":9.6,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/018_D_6dd4cc43-20ad-462e-93f4-b17883da813f.jpg?v=1634664797"},{"product_id":"2020-9-16-47owp2lsu0uoi8ya5zdkdowj2hu9at","title":"20 YEARS A PUNK by Dave Emmerson","description":"\u003cp class=\"\"\u003eA4 sheet folded twice, Full colour digitally printed, Unbound, 2020\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003e“A treaties on the problems of punk and a call to action”\u003c\/p\u003e\n\u003cp class=\"\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e\n\u003cp class=\"\"\u003e \u003c\/p\u003e","brand":"Visions","offers":[{"title":"Default Title","offer_id":41886137876710,"sku":"","price":1.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/2B2726A6-11EA-4211-936F-CBCF98968C78.jpg?v=1634664741"},{"product_id":"and-this-day-the-fall-by-david-powell-amp-inge-marleen","title":"AND THIS DAY (THE FALL) by David Powell and Inge Marleen","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA4, 24 pages, Riso printed in black, loose leaf, Ed. of 150, 2020.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003ePublication by David Powell \u0026amp; Inge Marleen, text by Andrew Renton: “Who are the translators?” Continuity and the resistance to interpretation in ‘And This Day’.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003ePublished by\u003c\/p\u003e","brand":"David Powell and Inge Marleen","offers":[{"title":"Default Title","offer_id":41886137909478,"sku":"","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/26_2048_f147f8ad-1742-4408-921a-f08de85b2eb0.jpg?v=1634664846"},{"product_id":"gtmw2yai08nle1w9wmihwmh2xj3ngc","title":"DIRTY EAR REPORT #1","description":"\u003cp class=\"\"\u003e18,5 x 24 cm, 72 pages, Offset printed, Staple bound with glued-on card cover, 2016\u003c\/p\u003e\n\u003cp class=\"\"\u003eDirty Ear Report #01 documents a unique gathering of leading sound artists and theorists working in the fields of radio art, field recording practices, noise, real-time work, voice and site specific sound. The first in the series of the Dirty Ear Forum, an experimental forum for sonic research held at Errant Bodies Project Space in Berlin, the Report collects together essays, interviews, proposals and manifestos from the participants, highlighting listening as the basis for a new cultural activism. In particular, questions of sound as a social material are brought forward, leading to reflections on what it means to hear the other.\u003cbr\u003eOccurring in different locations and settings, it is based on the coming together of a selected group of practitioners to share and exchange research on sound and listening, and to collectively work through a range of sonic concepts. Each Forum is developed through collective decision making in terms of how to focus the process, and how to publically manifest the work, as a type of concluding action. At the center of the Forum is a desire to bring together individual viewpoints and practices into a shared activity, embracing sound as a conceptual and material platform that may provide creative opportunities for collaborative and pluralistic expressions.\u003cbr\u003eIn particular, the project aims to pose sound as a material that allows us to rethink modes of collective work. It considers how sound evades our ability to physically hold onto it, how it moves through an environment and often passes over boundaries, and how the invisibility of sound often eludes description or capture. These dynamic and rather dirty qualities of sound are central to the Forum, and to enabling a sound art attuned to a diversity of situations, and that seeks out the multiplicity of being together.\u003c\/p\u003e\n\u003cp class=\"\"\u003eContributions by Zeynep Bulut, Budhaditya Chattopadhyay, Ole Frahm, Anja Kanngieser, Brandon LaBelle, Anna Raimondo, Tao G. Vrhovec Sambolec, Åsa Stjerna\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Errant Bodies","offers":[{"title":"Default Title","offer_id":41886138630374,"sku":"","price":14.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/0391112.jpg?v=1634664872"},{"product_id":"gh3kvvnq5ll7em5iwoszrjt5v5mzgs","title":"DIRTY EAR REPORT #2","description":"\u003cp class=\"\"\u003e18,5 x 24 cm, 64 pages, Offset printed, Staple bound with glued-on card cover, 2016\u003c\/p\u003e\n\u003cp class=\"\"\u003e“Dirty Ear Report #02 documents a collective workshop by leading sound artists and theorists working in the fields of experimental dramaturgy, electronic music and noise, voice studies, sound installation and social acoustics. The second in the series of the Dirty Ear Forum, an experimental forum for sonic research held at Bergen Academy of Art and Design in Norway, the Report brings together essays, text pieces, documents and scores from the participants, arguing for sound as the basis for a new discursive paradigm. In particular, questions of noise and otherness, sonic materiality and a politics of possibility are considered, posing sound as a force of multiplicity.”\u003c\/p\u003e\n\u003cp class=\"\"\u003eContributions by Ricarda Denzer, Claudia Firth, Lucia Farinati, Brandon LaBelle, Ana Pais, Tao G. Vrhovec Sambolec, Alexandre St-Onge, James Webb.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by \u003c\/p\u003e","brand":"Errant Bodies","offers":[{"title":"Default Title","offer_id":41886138695910,"sku":"","price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/0461112.jpg?v=1634664844"},{"product_id":"kxdfs2gvgavxn8vic0unf59e5kzp7b","title":"DIRTY EAR REPORT #3","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e18.5 x 24, 68 pages, Offset printed, Staple bound with glued-on card cover, 2020\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e“Representing the sixth in the series of the Dirty Ear Forum held in Lisbon in 2016, the Report brings together essays, text pieces, and documents from the participants. In particular, questions of affect and urban experience are considered, posing sound as a vehicle for generating performative cartographies. \u003cbr\u003eDirty Ear Forum is an experimental forum for sonic research. Occurring in different locations and settings, it is based on the coming together of a selected group of practitioners and thinkers to exchange research on sound and listening, and to collectively work through a range of common concerns. At the center of the Forum is a desire to gather individual viewpoints and practices into a shared activity, embracing sound as a conceptual and material platform that provides creative opportunities for collaborative expressions.”\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eContributions by Maria Andueza, Rui Costa, Deborah Kapchan, Brandon LaBelle, Ana Pais, Tao G. Vrhovec Sambolec.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Errant Bodies","offers":[{"title":"Default Title","offer_id":41886138728678,"sku":"","price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/0531112.jpg?v=1634664788"},{"product_id":"doug-by-janice-kerbel","title":"DOUG by Janice Kerbel","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e135 x 215mm, 20 pages, black and white printed, saddle stitched, 2014\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eAn accompaniment to the new work DOUG by Janice Kerbel.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA newly commissioned work by the London based artist Janice Kerbel. ‘DOUG’ is a musical composition for unaccompanied voice that chronicles a continuous stream of nine catastrophic events endured by a single individual. ‘DOUG’ was presented as a one-off performance in the magnificent Jeffrey Room at the Mitchell Library.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eKerbel is known for her carefully constructed and highly detailed works that fuse the real and imaginary. Her work ranges from radio plays and print-based works to performances and proposals of imagined events.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"The Common Guild","offers":[{"title":"Default Title","offer_id":41886139416806,"sku":"","price":4.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_53061203.jpg?v=1634664828"},{"product_id":"broken-music-by-various-artists","title":"BROKEN MUSIC by Various Artists","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e26 x 21cm, 280 pages, Black \u0026amp; white offset printed, Perfect bound, Softcover, Includes flexi disc, Ed. of 2500, 2019\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e“Broken Music is an essential compendium for records created by visual artists. The publication was edited by Ursula Block and Michael Glasmeier and originally published in 1989 by DAAD. \u003cem\u003eBroken Music \u003c\/em\u003efocuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eIt also includes essays by both editors as well as Theodor W. Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Knizak’s “Broken Music.” The centerpiece of the publication is a nearly 200-page bibliography of artists’ records.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eWorks chosen for the publication revolved around four criteria: (1) record covers created as original work by visual artists; (2) record or sound-producing objects (multiples\/editions\/sculptures); (3) books and publications that contain a record or recorded-media object; and (4) records or recorded media that have sound by visual artists.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eArtists documented in the volume include Vito Acconci, albrecht\/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner.”\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":41886141612262,"sku":"","price":26.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/5jpg0220.jpg?v=1634665006"},{"product_id":"dance-policy-issue-4","title":"DANCE POLICY #4","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA5, 58 pages, Digitally printed, Perfect bound, Softcover, 2021\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e“In our fourth volume we feature the photography of @madz_snapz_ and @courteneyfrisby. Issue 04’s DJ in focus is Charlie Dark, we talk about vulnerability, Stockholm syndrome, and Charlie’s current thoughts on DJing and music. A selection of interviews\/articles on Mamba Negra Collective from Brazil by @Kareina, and the broken activities of graffiti and rave by @Hannahmaybaldwin”\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003ePublished by\u003c\/p\u003e","brand":"Dance Policy","offers":[{"title":"Default Title","offer_id":41886145806566,"sku":"","price":6.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_2298jpg0609024.jpg?v=1634665120"},{"product_id":"common-tones-selected-interviews-with-artists-and-musicians-19952020-by-alan-licht","title":"COMMON TONES: SELECTED INTERVIEWS WITH ARTISTS AND MUSICIANS 1995–2020 by Alan Licht","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e125 x 180 x 40mm, 596 pages, black and white printing, perfect bound softcover, 2021\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eInterviews by Alan Licht with Vito Acconci, ANOHNI, Cory Arcangel, Matthew Barney, Glenn Branca, Rhys Chatham, Tony Conrad, the Dream Syndicate’s Karl Precoda, Richard Foreman, Henry Flynt, Milford Graves, Adris Hoyos, Ken Jacobs, Jutta Koether, Christian Marclay, Phill Niblock, Alessandra Novaga, Tony Oursler, Lou Reed, Kelly Reichardt, The Sea and Cake, Suicide, Michael Snow, Greg Tate, Tom Verlaine, Rudy Wurlitzer, and Yo La Tengo’s Georgia Hubley and Ira Kaplan. Introduction by Jay Sanders.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eFor the past thirty years, Alan Licht has been a performer, programmer, and chronicler of New York’s art and music scenes. His dry wit, deep erudition, and unique perspective—informed by decades of experience as a touring and recording guitarist in the worlds of experimental music and underground rock—have distinguished him as the go-to writer for profiles of adventurous artists across genres. A precocious scholar and improvisor, by the time he graduated from Vassar College in 1990 Licht had already authored important articles on minimalist composers La Monte Young, Tony Conrad, and Charlemagne Palestine, and recorded with luminaries such as Rashied Ali and Thurston Moore. In 1999 he became a regular contributor to the British experimental music magazine the \u003cem\u003eWire\u003c\/em\u003e while continuing to publish in a wide array of periodicals, ranging from the artworld glossies to underground fanzines. \u003cem\u003eCommon Tones \u003c\/em\u003egathers a selection of never-before-published interviews, many conducted during the writing of Licht’s groundbreaking profiles, alongside extended versions of his celebrated conversations with artists, previously untranscribed public and private exchanges, and new dialogues held on the occasion of this collection. Even Lou Reed, a notoriously difficult interviewee, was impressed.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eAlan Licht is a writer, musician, and curator based in New York City. He is equally known for his guitar work in the underground rock bands Run On and Love Child and in the experimental groups the Blue Humans and Text of Light. He has released eight solo guitar albums and more than a dozen duo and trio records of improvised music. Licht is a contributing music editor at \u003cem\u003eBOMB\u003c\/em\u003e magazine and his essays and reviews have appeared in \u003cem\u003eArtforum\u003c\/em\u003e, \u003cem\u003eParkett\u003c\/em\u003e, the\u003cem\u003e Wire,\u003c\/em\u003e the\u003cem\u003e Believer,\u003c\/em\u003e \u003cem\u003eSight \u0026amp; Sound\u003c\/em\u003e, and many other publications. He is the author of \u003cem\u003eAn Emotional Memoir of Martha Quinn\u003c\/em\u003e, an extended personal essay about coming of age as a rock fan and musician; \u003cem\u003eSound Art: Beyond Music, Between Categories\u003c\/em\u003e, the first full-length study of sound installations and sound sculpture to appear in English; and \u003cem\u003eSound Art Revisited\u003c\/em\u003e, an updated version of the latter, published last year; and he is a co-author of \u003cem\u003eWill Oldham on Bonnie ‘Prince’ Billy\u003c\/em\u003e, a collection of interviews with Will Oldham, and \u003cem\u003eTitle TK 2010–2014\u003c\/em\u003e, a compilation of concert transcriptions, with Cory Arcangel and Howie Chen.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"Blank Forms","offers":[{"title":"Default Title","offer_id":41886146461926,"sku":"","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_9698003.jpg?v=1634665111"},{"product_id":"blank-forms-07-the-cowboys-dreams-of-home","title":"BLANK FORMS 07: THE COWBOY’S DREAMS OF HOME","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e155 x 205mm, 202 pages, Colour printing, Perfect bound, Softcover, 2021\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eEdited by Lawrence Kumpf and Joe Bucciero with contributions from Angel Bat Dawid, Joe Bucciero, Charles Curtis, René Daumal, Thulani Davis, Anthony Elms, Ciarán Finlayson, Jessica Hagedorn, Judith Hamann, Sarah Hennies, Louise Landes Levi, Alan Licht, and Tashi Wada.  \u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cem\u003eThe Cowboy’s Dreams of Home\u003c\/em\u003e, the seventh Blank Forms anthology, takes its name from a psychedelic Wild West reverie of Texan singer-songwriter and visual artist Terry Allen. This volume privileges new texts including a retrospective interview with Allen conducted by ICA Philadelphia chief curator Anthony Elms; a conversation between multidisciplinary writers—and longtime friends—Thulani Davis and Jessica Hagedorn on the occasion of Davis’s latest poetry collection, \u003cem\u003eNothing But The Music\u003c\/em\u003e, recently published by Blank Forms Editions; a recent discussion between composer Sarah Hennies and cellist Judith Hamann about their recent collaboration, which is included on Hamann’s \u003cem\u003eMusic for Cello and Humming\u003c\/em\u003e, released by Blank Forms Editions last fall; and a conversation with composer-performers Tashi Wada and Charles Curtis on the heels of a recent compilation of Curtis’s work, \u003cem\u003ePerformances \u0026amp; Recordings 1998–2018\u003c\/em\u003e, produced by Wada. Each of these interviews sheds light on the particularities of the artists’ careers and methods in terms both formal and casual, practical and theoretical. \u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eIn addition to these dialogues, this book features new critical reflections on three artists whose work Blank Forms has presented: the legendary jazz percussionist and healer Milford Graves, by Ciarán Finlayson; English multimedia artist Graham Lambkin and his beguiling 2011 album \u003cem\u003eAmateur Doubles\u003c\/em\u003e, by Alan Licht; and the UK-based experimental music trio Still House Plants, by Joe Bucciero. These articles mine historical, social, and theoretical contexts, filling gaps in the existing literature on the given artist-subjects. New and archival poems and writing about poetry complement these interviews and essays, including rare texts by Davis, Hagedorn, and René Daumal—the latter translated by Louise Landes Levi—and a suite of Auto-Mythological writings commissioned from Chicago-based composer and musician Angel Bat Dawid. \u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"Blank Forms","offers":[{"title":"Default Title","offer_id":41886146527462,"sku":"","price":16.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_9744005.jpg?v=1634665202"},{"product_id":"fuck-you-and-your-underground-by-ethan-swan","title":"FUCK YOU AND YOUR UNDERGROUND  by Ethan Swan","description":"\u003cp\u003e17.5 x 10.5cm, 16 pages, full colour digital printing throughout, hand bound, 2013.\u003c\/p\u003e\n\u003cp\u003eThe second zine withing a week to drop here at Good Press from one of our favourites, Ethan Swan. Now an LA based writer, curator, artist and musician, this man does no wrong in our eyes. Here he takes a treasured subject; punk rock, and exposes it, pairing pictures from adverts with their sountracks. The images are in mono colours which look great and the design is aptly suited.\u003c\/p\u003e\n\u003cp\u003ePublished by\u003c\/p\u003e","brand":"Ethan Swan","offers":[{"title":"Default Title","offer_id":41886258299110,"sku":"","price":5.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/93_D.jpg?v=1634667525"},{"product_id":"feel-vox-crisp-by-david-powell-amp-inge-marleen","title":"FEEL VOX CRISP by David Powell and Inge Marleen","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA4, 24 pages, risograph printed, unbound, 2020\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e‘‘Feel Vox Crisp’ is our third Fall zine. MES had the curious and wonderful habit of adjusting the settings of amps and keyboards during live concerts. The drawings in this new zine echo this experimental approach to live mixing through colour separations and repetition. With a brilliant essay by Andrew Renton: ‘On not hearing yourself speak: Mark E Smith at the controls’. ISBN 9789492486059.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003ePublished by\u003c\/p\u003e","brand":"David Powell and Inge Marleen","offers":[{"title":"Default Title","offer_id":41886269669606,"sku":"","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_0806.jpg?v=1634668134"},{"product_id":"perforated-eardrum-by-clara-heathcock-and-patrick-wray","title":"PERFORATED EARDRUM by Clara Heathcock and Patrick Wray","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA4, 40 pages, full colour digital printing throughout, perfect bound, 2018.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e‘Written by Clara Heathcock, art by Patrick Wray.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eHi, I'm Clara, I'm a music critic and my eardrum exploded. I was told I'd make a full recovery, but as part of my treatment I wasn't allowed to listen to music for two months.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003ePerforated Eardrum, originally comissioned as a series of autobiographical essays for The 405, tells the story of the time I lost the ability to listen to anything for pleasure. About what I craved to hear and why, and what I could only realise about the way I have always tried to make sense of my life through music when it was gone.’\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"Honey Bee Books","offers":[{"title":"Default Title","offer_id":41886270390502,"sku":"","price":6.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_8367.jpg?v=1634668171"},{"product_id":"mutter-by-kit-poulson","title":"MUTTER by Kit Poulson","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003ePublished by\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e170mm x 240mm, 96 pages, black and white offset printing, perfect bound with silver cover, 2018\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e‘Imagine an object sitting on the table. It is oblong, and roughly book sized; it weighs about the same as a book. It would certainly sit easily on a shelf. However, it is not a book, it is constructed from silver plastic and has a line of small knobs and a rudimentary button keyboard. Along one side are a series of sockets for audio leads.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA little silver box – The Roland TB303 Bass Line Analogue\u003cbr\u003eSynthesizer from 1982.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA device designed as a somewhat elaborate mimic of the bass guitar. Initially the only instructions were a seventy-page manual, Japanese with no translations. The aim was to allow ‘serious’ musicians to create accompaniments to their guitar-based demos, before recording them with a real band.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eIn this guise it was a failure and soon 303s turned up in secondhand shops at knock-down prices. Here they were acquired by tech-hungry people, attracted by the look of the device and unfettered from any assumptions about what it should do. Pressing buttons and twisting knobs as if the device were an instrument, rather than a laborious data-input system, they used it to produce flowing streams of bubbling, popping, pulsing sounds.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA book like a synthesizer, a synthesizer like a book. – from \u003cem\u003eMutter\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eKit Poulson was library residency artist during 2016\/17 through a collaborative commission platform initiated by Book Works with Chelsea College of Arts Library (University of the Arts London) and Chelsea Space. \u003cem\u003eMutter\u003c\/em\u003e was the first of Book Works’ new Library Residencies Programme which presents a series of residencies and commissions under the title \u003cem\u003eYou Must Locate A Fantasy\u003c\/em\u003e for artists to work with libraries, special collections and archives across the UK. Other residency artists include Sophie Collins at the Glasgow Women’s Library, and Simon Grennan and Christopher Sperandio at Chetham’s Library, Manchester.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eOrganised in response to a moment where libraries face uncertain futures yet hold the archives for potential futures, this project include: the exhibition \u003cem\u003eKit Poulson: Mutter\u003c\/em\u003e at Chelsea Space, workshops, talks and other events at Chelsea College of Arts (University of the Arts London), this publication, supported by the Henry Moore Foundation, and a launch event and workshop at Spike Island and University of the West of England, as outcomes to the library residency.’\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Book Works","offers":[{"title":"Default Title","offer_id":41886276223206,"sku":"","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/01_D_4deb0340-7666-4566-a05d-f2cf1055d3c1.jpg?v=1634668286"},{"product_id":"qsrk30kilyb6egmpr5na1ofu2fz7z1","title":"INTERMEDIARY SPACES by Eliane Radigue \u0026 Julia Eckhardt","description":"\u003cp\u003e170 x 240mm, 210 pages, Colour printing, Perfect bound, Softcover, 2nd Edition, 2024\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn the long interview that forms the body of this publication, Éliane Radigue talks about her work, her reflections and underlying research, as well as her historical context. The publication also contains a commented list of works and Radigue's programmatic text on The Mysterious Power of the Infinitesimal.\u003c\/p\u003e\n\u003cp\u003eText in English \u0026amp; French\u003c\/p\u003e\n\u003cp\u003ePublished by \u003c\/p\u003e","brand":"Q-02","offers":[{"title":"Default Title","offer_id":41886278123750,"sku":"","price":24.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/files\/IMG_9540069.jpg?v=1712156734"},{"product_id":"music-as-seismographic-sound-ania-mauruschat","title":"MUSIC AS SEISMOGRAPHIC SOUND... by Ania Mauruschat","description":"\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e17 x 24cm, 80 pages, Single colour printed, Perfect bound, Softcover, 2019\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e“A proposal for a radio project on the diffusion of world music in thedigital age, focusing on the concept of “seismographic sound”.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eThe publication \u003cem\u003eMusic as Seismographic Sound \/ Tracking Down the Idea of Cultural Translation\u003c\/em\u003e is a written radio pitch by Ania Mauruschat, closely following musicians in bi- or multi-lingual cultural contexts. Ania Mauruschat is a radio journalist who has produced several features on sound art, with the German radio station Bayerischer Rundfunk, and the Swiss national radio station SRF.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eThe written pitch comes in the form of an appendix of source materials, including excerpts from interviews with selected musicians.\u003cbr\u003e\u003cbr\u003e“Music is the fastest traveling medium. As some scholars like to argue, it even might have a seismographic potential. Thus, the Swiss ethnomusicologist Thomas Burkhalter speaks of \"seismographic sounds\" regarding the rather new phenomenon of global digital \"world music 2.0\". This musical phenomenon developed predominantly in the urban centres of the \"Global South\"—São Paulo, La Paz, Lagos, Cape Town, Jakarta, Beirut or Manila—, long before it drew the attention of journalists and researchers from the \"Global North\" in the early 2000s. [...]\u003cbr\u003eTo scrutinize and better understand this situation of in-betweenness, the radio feature will focus exemplary on two very distinct and yet similar case studies of seismographic sound generating hubs: firstly, the label Outhere Records, which is based in Munich, Germany and serves as a platform especially for the young Pan-African scene of world music 2.0; and secondly, the label Aakuluk Music in Iqaluit, Nunavut, the northernmost territory of Canada, which is devoted to developing the young musical scene in the Arctic to facilitate the search for identity and independence of the Inuit musicians in their postcolonial reality of community building.”\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Mount Analogue","offers":[{"title":"Default Title","offer_id":41886278156518,"sku":"","price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/0601112.jpg?v=1634668359"},{"product_id":"nothing-but-the-music-by-thulani-davis","title":"NOTHING BUT THE MUSIC by Thulani Davis","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e127 x 195mm, 64 pages, Black \u0026amp; white printing, Perfect bound, Softcover, 2020\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThe sounds of late ’70s and ’80s east coast avant-garde jazz, soul, and punk rock are well documented, but in \u003cem\u003eNothing but the Music\u003c\/em\u003e Thulani Davis gives us something beyond, delivering a collection of synesthetic, transportive documentary poems that breathe anecdotal and impressionistic life into a sonic-social history about which most can only speculate. Davis’ verse takes free flight with its muses, scatting and leaping off the page and the shoulders of the musicians, nightclubs, and choreographers she chronicles in these poems. Her odes both to recorded music and its sacred spaces of spirited encounter are at once a paean to ephemeral flashes of embodied experience and a work of preservation. Davis remembers to remember the raw feelings, smoke, dawn drunks, and impulsive energy of her moment, without forgetting its inscription into a broader political urgency. Written between 1974 and 1992, these poems are the most anthologized pieces of Davis’ work, having appeared in numerous collections of writing on black music, here finally assembled for the first time. \u003cem\u003eNothing but the Music\u003c\/em\u003e is further proof of Davis’ place as a crucial figure, alongside poets Jayne Cortez, Sonia Sanchez, and Ntozake Shange, in the cultural landscape surrounding the Black Arts Movement.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eFeatured musicians and dancers include Cecil Taylor, the Art Ensemble of Chicago, Bad Brains, Henry Threadgill, Thelonious Monk, The Revolutionary Ensemble, The Commodores, MFSB, Dianne McIntyre, Ishmael Houston-Jones, and many more in performances at historic venues such as The Five Spot, The Village Vanguard, The Apollo, Storyville, and Club Harlem.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eWith a foreword by Jessica Hagedorn and an introduction by Tobi Haslett.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThulani Davis (b. 1949) is an interdisciplinary artist and scholar whose work includes works of poetry, theater, journalism, history, and film. Her engagement with African American life, culture, and history is distinguished by poetic economy, passionate musicality, and an investigative concern for justice. While a student at Barnard College, the Virginia native was “schooled” for her first spoken word performance by Gylan Kain and Felipe Luciano of the Original Last Poets, jumpstarting a life of performance that would have her put words to music by Cecil Taylor, Joseph Jarman, Juju, Arthur Blythe, Miya Masaoka, David Murray, Henry Threadgill, Tania León, and others. Living in San Francisco in the ‘70s, she joined the Third World Artists Collective, collaborated with Ntozake Shange, and worked for the \u003cem\u003eSan Francisco Sun-Reporter\u003c\/em\u003e, reporting on stories such as the Soledad Brothers trial and the Angela Davis case before returning to New York and continuing to incite radical political thought as a reporter and critic for the \u003cem\u003eVillage Voice\u003c\/em\u003e for over a decade. This experience as a journalist blazes through her historical fiction and her other writing, breathing anecdotal life into the experiences of actors of American history who have remained unnamed as a result of bondage and other unjust erasures. Davis has collaborated with her cousin, composer Anthony Davis, writing the libretti for the operas \u003cem\u003eX, The Life and Times of Malcolm X\u003c\/em\u003e and \u003cem\u003eAmistad\u003c\/em\u003e, and wrote the scripts for the films \u003cem\u003ePaid in Full\u003c\/em\u003e and \u003cem\u003eMaker of Saints\u003c\/em\u003e, as well as several award-winning PBS documentaries. In 1993, her writing for Aretha Franklin’s \u003cem\u003eQueen of Soul – The Atlantic Recordings\u003c\/em\u003e made her the first woman to win a Grammy for liner notes, and her bibliography additionally includes \u003cem\u003eMy Confederate Kinfolk\u003c\/em\u003e, novels \u003cem\u003e1959\u003c\/em\u003e and \u003cem\u003eMaker of Saints\u003c\/em\u003e, and several works of poetry. She is an ordained Buddhist priest in the Jodo Shinshu sect, founded the Brooklyn Buddhist Association with her husband Joseph Jarman, and is currently an Assistant Professor in the Department of Afro-American Studies and a Nellie Y. McKay Fellow at the University of Wisconsin. Davis continues to explore the relationship between music and language as well as the ways we define being American and deal with race with her forthcoming book \u003cem\u003eThe Emancipation Circuit: Black Activism Forging a Culture of Freedom \u003c\/em\u003e(Duke University Press) and poetry collection \u003cem\u003eNothing but the Music: Documentaries from Nightclubs, Lofts, Dance Halls \u0026amp; A Tailor’s Shop in Dakar\u003c\/em\u003e (Blank Forms Editions).\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003ePoet, novelist, playwright, and performer Jessica Hagedorn was born and raised in the Philippines and came to the United States in her early teens. She is the editor of numerous anthologies and author of several books including \u003cem\u003eDogeaters\u003c\/em\u003e, winner of the American Book Award and a finalist for the National Book Award. In the seventies and early eighties, she collaborated with Thulani Davis on multimedia performance pieces presented at downtown venues such as The Public Theater and The Kitchen.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eCritic and essayist Tobi Haslett has written about art, film, and literature for \u003cem\u003en+1\u003c\/em\u003e, the \u003cem\u003eNew Yorker\u003c\/em\u003e, \u003cem\u003eArtforum\u003c\/em\u003e, the \u003cem\u003eVillage Voic\u003c\/em\u003ee, and elsewhere.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Blank Forms","offers":[{"title":"Default Title","offer_id":41886279434470,"sku":"","price":16.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_54231209.jpg?v=1634668523"},{"product_id":"my-chrie-jane-a-jane-birkin-fanzine-issue-2-by-raechel-leigh-carter","title":"MY CHÉRIE JANE: A JANE BIRKIN FANZINE ISSUE 2 by Raechel Leigh Carter","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA4, 52 pages, full colour printing, perfect bound, 2020\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eMy Chérie Jane is a small press fan magazine about the actress, singer, writer, film maker Jane Birkin. This is issue two in a series, each issue focusing on different projects or aspects of Jane’s career. The content is all written by me, Raechel Leigh Carter, and the book is illustrated primarily with memorabilia from my own personal collection, although I have also taken the opportunity to pay to use a photo agency image which I do not have in my collection.\u003cbr\u003e\u003cbr\u003eI am an enormous fan of Jane Birkin and even had a Jane Birkin covers band called Baby Birkin back in the 1990s. I have been researching and writing about Jane for eight years. I have wanted to get my writings published for some time and this seemed to be the best way to achieve my dream.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThis second issue focuses on two films and a television play (missing, believed wiped):\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e- Dark Places (British Film, 1972)\u003cbr\u003e- Bruciati da cocente passione aka Burnt By A Scalding Passion (Italian film, 1976)\u003cbr\u003e- The Finishing Touch (Armchair Mystery Theatre TV play, 1965 - missing, believed wiped)\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThere are also updates on Trop petit mon ami and Carving a Statue from issue one (still available here on Etsy if you want to buy a copy!), a series of (I believe) previously unpublished photographs of Jane, an article on unrealised film projects (including a John Barry production called The Jam), an article from a British magazine called Loving (12 September 1970) and a Swedish paper doll.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThe zine is written in the English language and I have personally translated text from French (and Italian!) into English.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Tinynoggin","offers":[{"title":"Default Title","offer_id":41886279467238,"sku":"","price":10.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_54401209.jpg?v=1634668436"},{"product_id":"jxgpjlwt5lhv559sg12ez5h46cg1dz","title":"MULTIVOICES: A SCRIPT BY RESEARCHERS by Jonathan Orlek","description":"\u003cp class=\"\"\u003eA4, 36 pages, Risograph printed, Saddle stitch, Softcover, Ed. of 200 \u003c\/p\u003e\n\u003cp class=\"\"\u003e“Researchers working across art, architecture, ethnography and creative writing discuss how multiple voices are activated and hosted in their work.\u003c\/p\u003e\n\u003cp class=\"\"\u003eEdited by Jon Orlek and designed by Jon Cannon, each copy is unique and contains a performance by Vulpes Vulpes.\u003c\/p\u003e\n\u003cp class=\"\"\u003eContributions range from autobiographical experiences to artistic performances. In many of the texts, creative methods negotiate and encounter new, hybrid voices, which escape easy definition. Includes texts and dialogue by Andrew Wilson, Ben Cornish, Brave New Alps, Claire Booth, Cathryn Ladd, Cristina Cerulli, Goran Vodicka, Jon Cannon, Julia Udall, Katherine Quinn, Lester Drake, Lydia Catterall, Matthew Cheeseman, Paula McCloskey and Toby Lloyd.”\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Spirit Duplicator","offers":[{"title":"Default Title","offer_id":41886280483046,"sku":"","price":8.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/D984A759-1C4A-4AD1-9DE2-5AD2F05568E0.jpg?v=1634668731"},{"product_id":"master-of-voice-by-lisette-smiths","title":"MASTER OF VOICE by Lisette Smiths","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e205x140mm, 344 pages, Black and white throughout, Perfect bound, 2020\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003ePublished with \u003cmeta charset=\"utf-8\"\u003eSandberg Instituut\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThe (non)human voice has always been part of modern art, notably within performance art, sound art, and conceptual art. However, Master of Voice temporary master program at the Gerrit Rietveld Academy, Amsterdam, mutated from this history, examining the voice as a unique “discipline.” The graduate program’s focus was on the (non)human voice as a means to an end or an end in itself within artistic practice. A special orientation of the curriculum, co-developed with a team of artists with a longstanding interest in the (non)human voice, is the voice in relation to technology and gender. This book captures a two-year-long period of research—of thinking, talking, sharing, learning, making, acting, and creating by students and teachers, artists, and other practitioners—to find possible answers and approaches to the question of the voice and its prominent role in our postindustrial society.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Sternberg Press","offers":[{"title":"Default Title","offer_id":41886281302246,"sku":"","price":14.5,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_8095045.jpg?v=1642682805"},{"product_id":"near-by-by-richy-carey","title":"NEAR BY by Richy Carey","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e20.5 x 15cm, 80 pages, Digitally printed, Perfect bound, Softcover, 2018\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003etracing the lines between sound, text and image across four works:\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eMemo to Spring with Sarah Rose.\u003cbr\u003eNOW, The Scottish National Galleries of Modern Art, Edinburgh, Oct ’17 – Feb ’18.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eSpecial Works School with Bambitchell (Sharlene Bamboat and Alexis Mitchell).\u003cbr\u003eGallery TPW, Toronto, Jan – Feb ’18 + Berlinale, Berlin, Feb ’18.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eWondering Soul with Alexander Storey Gordon.\u003cbr\u003eRadiophrenia, Centre for Contemporary Arts, Glasgow, Nov ’17.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eSonorous Objects with Mark Bleakley and Lauren Gault.\u003cbr\u003eOngoing.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eTeased out from a series of letters between Richy and the artists, written during and following collaborating on these works, these letters focused on the processes of making, and the translation and flux between sound, image, object and text. The authorship of these letters was then composed into a single voice, or utterance, through an editing process with author and collaborator Martin Cathcart Froden. These processes, along with the production of the object, happened in conversation with Ainslie Roddick.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003ePublished by\u003c\/p\u003e","brand":"Richy Carey","offers":[{"title":"Default Title","offer_id":41886282645734,"sku":"","price":8.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/30jpg0223.jpg?v=1634668677"},{"product_id":"new-york-rave-flyers-volume-2-1990-1995","title":"NEW YORK RAVE FLYERS VOLUME 2 1990-1995","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e21 × 13.5 cm, 76 pages, Full color offset printed, Perfect bound, Softcover, Open edition, 2020\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e“A collection of New York Rave Flyers from 1990 to 1995.”\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"Colpa Press","offers":[{"title":"Default Title","offer_id":41886283628774,"sku":"","price":15.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/13jpg0309.jpg?v=1634668768"},{"product_id":"london-rave-flyers-1990-1996","title":"LONDON RAVE FLYERS 1990-1996","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e135 x 210 mm, 88 pages, Full colour printed, Perfect bound, Softcover, Open Edition, 2021\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA collection of U.K. Rave Flyers from 1990 to 1996. Courtesy of Matt Acornley.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Colpa Press","offers":[{"title":"Default Title","offer_id":41886283661542,"sku":"","price":15.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/5jpg0309.jpg?v=1634668725"},{"product_id":"petit-oiseau-by-jatinder-singh-durhailay-and-suren-seneviratne","title":"PETIT OISEAU by Jatinder Singh Durhailay and Suren Seneviratne","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e170 x 250mm, 24 pages, full colour printing, newpsrint paper stock, saddle stitched, Including a CD, 2019\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eEdited by Johanna Tagada Hoffbeck, designed by 75W Studio. Including an essay by Harr-Joht Kaur Takhar and the participation of Sarah Gissinger.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e“Sounds are swollen, expanded and layered, steadily unfolding through time. However, these smooth resonances are also disrupted through Jatinder’s attempts to imitate the synthesiser by plucking the smaller strings of the dilruba. Though an unusual method to adopt, plucking demonstrates Jatinder’s concern to create intimate dialogues between both instruments. This is also matched by Suren, who at points attempts to mimic the dilruba using the synthesiser’s palette. Such exchanges, occurring at a sonic level, are made visible in this publication through measured textual and visual offerings. The choice to accompany their debut album with a design-led publication highlights how Petit Oiseau isn’t merely a musical project, but an artistic one too.“ Harr-Joht Kaur Takhar\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eAfter their 2012 inaugural performance at Tate Modern The Tanks, the duo Jatinder Singh Durhailay and Suren Seneviratne returns to its fruitful collaboration with a new experimental and sonic musical endeavour titled Petit Oiseau. The duo has in 2019 performed in venues including the V\u0026amp;A Museum and The Design Museum London. The project brings together rare classical Indian string instruments played by Durhailay known as the Dilruba and the Taus, unusually combined with Seneviratne’s interests in alternate tunings and numerology through custom patches built on a E- MU Command Station digital synthesiser.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"Poetic Pastel Press","offers":[{"title":"Default Title","offer_id":41886286512358,"sku":"","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_8950jpg0429.jpg?v=1634668874"},{"product_id":"out-of-existence-score-book-by-harry-josephine-giles","title":"OUT OF EXISTENCE - SCORE BOOK by Harry Josephine Giles","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA4, 12 pages, Black \u0026amp; white printing, saddle stitched, 2021\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\"we uncovered this artefact whilst rebuilding the old farmhouse at Strath----.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eunearth a big trans fossilised moment in text-score format, in this new graphic\/text score work from Harry Josephine Giles.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003ebeautifully made, hand-numbered, limited edition of 50 A4 score book of Harry Josephine Giles' newly commissioned work, 'Out of Existence', all printed on 160gsm (fully recycled) stock. Learn the music, and explore your own routes through it!\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eOVER \/ AT is a new concert series and trans music-making world, being slowly woken from its sleep by composer Rufus Isabel Elliot. We are focusing on the voice – how we speak, sing, hum, shout, and howl. We aim to make work by\/with\/for trans, non-binary, and other gender minority folks.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"OVER \/ AT","offers":[{"title":"Default Title","offer_id":41886286774502,"sku":"","price":5.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_0944jpg0507.jpg?v=1634668892"},{"product_id":"marfa-sounding-by-various-artists","title":"MARFA SOUNDING by Various Artists","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e14 x 21.5cm, 200 pages, Full colour printed, Perfect bound, Softcover, 2021\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e“A program of performances, sound installations, projections, and conversations, to explore the relationship between sound, movement, and the social and geographic specifics of Marfa, Texas, at the intersection of music, minimalism, and the political.This book is an extension of conversations begun at Marfa Sounding, a three-year exploration into the acoustic processes of a specific place, which began as a 2015 curatorial residency with Fieldwork Marfa, an international program run by Beaux-Arts Nantes Saint-Nazaire, France; the University of Houston School of Art; and HEAD, Geneva. Focusing on \"place-shifting\" in music, particularly as it relates to early experiments in Minimalism and artists whose practices run from the 1960s into the present, Marfa Sounding hosted writers from many different backgrounds—composers, sound theorists, art critics, dance historians, filmmakers, educators, students, curators, and archivists—who treat performance as a point of departure for thinking through the intersection of music, minimalism, and the political. Marfa Sounding treated sound as a frame for understanding how art integrates with, invades, and is effectively produced by its context. The spaces of Marfa also became frames for sound as individual and collective experience, where people come together at a specific place and time, in a site that enfolds them.”\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eEdited by Jennifer Burris and Ida Soulard.Texts by Alvin Lucier and Éliane Radigue with Charles Curtis; James Fei; Jennifer Burris; Erik DeLuca; Ida Soulard; Maria Chávez; Anna Halprin with Phillip Greenlief, Rashaun Mitchell, Silas Riener, Nina Martin, and Stephen Petronio; Janice Ross; Andrew Abrahams in conversation with Cate Cole Schrim; Wendy Vogel; Claudia La Rocco; Tarek Atoui with Amma Ateria, Jad Atoui, and Robert Aiki Aubrey Lowe; Ian Lewis; Amma Ateria in conversation with Caitlin Murray; Jad Atoui in conversation with Claire Amiot; Robert Aiki Aubrey Lowe in conversation with Anthony Elms; Sabrina Tarasoff.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Mousse Publishing","offers":[{"title":"Default Title","offer_id":41886286807270,"sku":"","price":19.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/31jpg0512.jpg?v=1634668893"},{"product_id":"grounds-for-possible-music-on-gender-voice-language-amp-identity-by-various-artists","title":"GROUNDS FOR POSSIBLE MUSIC: ON GENDER, VOICE, LANGUAGE and IDENTITY by Various Artists","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e26.5 x 21.5, 144 pages, Black \u0026amp; white printing, Perfect bound, Softcover, 2018,\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e“How do we get to imagine the music we make? Where and how is it grounded? What is the relationship between the art and its maker, and what and who does music represent?\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eGender, voice, language, and identity are four important notions for musical creation, for the shaping of a canon, and for the interactions in the field. All four notions are strongly contextual and carry an inherent sense of paradigm and otherness. Other and self are defined via orientation and history, expressed via voice, and confirmed in language.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eIn this publication, these four core notions serve as a set of lenses permitting different perspectives on one another. However much the field of the sounding arts might pretend to be tangential to such affections, they provide important grounds for musical creation.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eSome twenty artists have created a variety of outputs - as different in form, strategies, approach, and language, as they are rooted in a variety of sub-fields within the sounding arts. With contributions by AGF aka Antye Greie, Andrea Parkins, Aurélie Lierman, Bonnie Jones, Cathy Lane, Electric Indigo aka Susanne Kirchmayr, Felicity Ford, Heimo Lattner, Jaume Ferrete Vázquez, Judith Laub, Julia Eckhardt, Marc Matter, Marijs Boulogne, Marion Wasserbauer, Myriam Van Imschoot, pali meursault, Peter Westenberg, Richard Scott, Romy Rüegger, Susan McClary, Suzanne Thorpe.”\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eEdited by Julia Eckhardt\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by Umland \u0026amp;\u003c\/p\u003e","brand":"Errant Bodies","offers":[{"title":"Default Title","offer_id":41886287266022,"sku":"","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/30jpg0526.jpg?v=1634668916"},{"product_id":"free-jazz-manifesto-by-my-cat-is-an-alien-amp-philippe-robert","title":"FREE JAZZ MANIFESTO by My Cat Is An Alien and Philippe Robert","description":"\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e10o x 155mm, 180 pages, Black and white printing, Perfect bound, Softcover, 2021\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eFree Jazz Manifesto is not simply a list of 169 recommended records, but a poetic vision, a parallel universe based on a personal aesthetics of perception and an infinite love for the most creative, incendiary, spiritual music. If Sun Ra, Ornette Coleman or Anthony Braxton are well present, many unknown musicians make a place in this list of essential curiosities: Ahmed Abdullah, The Baden-Baden Free Jazz Orchestra, Black Unity Trio, Byron \u0026amp; Gerald, Cairo Free Jazz Ensemble, CCMC, Ric Colbeck, Jerome Cooper, Michael Cosmic, Phill Musra, Leo Cuypers, GL Unit, Griot Galaxy, Stephen Horenstein, INTERface, Interspecies, Clint Jackson III, Milo Fine Free Jazz Ensemble, Muun Music, Robert F. Pozar, Abdullah Sami, Synthesis, Motoharu Yoshizawa...\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Lenka Lente","offers":[{"title":"Default Title","offer_id":41886288478438,"sku":"","price":13.5,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/21014_92812bfc-0445-4a0c-89a4-694ec520693a.jpg?v=1634669063"},{"product_id":"foreground-music-a-life-in-fifteen-gigs-by-graham-duff","title":"FOREGROUND MUSIC: A LIFE IN FIFTEEN GIGS by Graham Duff","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e194 x 137mm, 364 pages, Offset printed, Perfect bound, 2019\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eForeground Music is the result of a lifetime’s passion for gig-going by one of British television’s most individual writers.  From a Cliff Richard gospel concert at the age of 10, to his first rock show aged 14, where The Jam play so loudly he blacks out, to a Joy Division gig which erupts into a full-scale riot.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eVivid, insightful and very funny, each chapter covers a different gig, including Primal Scream headlining Glastonbury at the height of Screamadelica, and the troubled reformation of The Velvet Underground. Taking in the first UK headline gig by The Strokes in a room above a pub, and the final arena tour by David Bowie.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eAlong the way Duff experiences pub-crawls with Mark E. Smith of The Fall, convinces Paul Weller to undertake his first acting role and attempts to interview Genesis P. Orridge of Throbbing Gristle whilst tripping on LSD.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eForeground Music captures the power of life-changing gigs, whilst tracing the evolution of 40 years of musical movements and subcultures. But more than that, it’s an honest, touching and witty story of friendship, love, creativity and mortality, and a testimony to music’s ability to inspire and heal.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Strange Attractor Press","offers":[{"title":"Default Title","offer_id":41886294081766,"sku":"","price":17.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_3459093.jpg?v=1634669233"},{"product_id":"liturgy-by-flora-yin-wong","title":"LITURGY by Flora Yin-Wong","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e110 x 180 mm, 120 pages, Black \u0026amp; white printing, Perfect bound, Softcover, 2021\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cem\u003eLiturgy\u003c\/em\u003e is a journey into the uncanny realm of the senses that dives into histories of perception and intuition. The artist Flora Yin-Wong deploys a variety of images and texts to explore issues related to cosmic principles, conspiracies, and parallel universes. The result is a constellatory work filled with religion, dreams, and fragmented memories and knowledge that also gestures at the artist’s own history. The book’s chapters—Rituals \u0026amp; Fire; Omens; Hexagrams \/ Oracles; Curses; Gods \u0026amp; Creatures; Places Doors to Hell \/ Ghost Cities; Paradoxes; Sound Phenomena; Reality—function like a secret dossier inflected with flights of fantasy, speaking to systems of faith and language and its corruptions.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eDivining inspiration from meditation, oracles, curses, hexagrams, Cantonese traditions, and superstitions, \u003cem\u003eLiturgy \u003c\/em\u003einterweaves textual and visual collage to create a multi-layered tonality. Reflected here is the multidisciplinary artist’s interest in the web between fiction, memory, rituals, and incantation, as well as her approach to sound.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eFlora Yin-Wong is a London–born, Chinese-Malaysian writer, producer, and DJ who has released material on the labels Modern Love and PAN. Her sonic work uses traditional instruments, software processing, and text-based storytelling, and has been performed at venues including ISSUE Project Room (New York), the Victoria \u0026amp; Albert Museum (London), Volksbühne Theater (Berlin), and Berghain (Berlin).\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":41886296342758,"sku":"","price":12.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_2448024.jpg?v=1634669329"},{"product_id":"on-listening-edited-by-angus-carlyle-amp-cathy-lane","title":"ON LISTENING by Angus Carlyle and Cathy Lane (Eds.)","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e142 x \u003cmeta charset=\"utf-8\"\u003e234mm, 200 pages, Black \u0026amp; white printing, Perfect bound, Softcover, 2021\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cem\u003eOn Listening\u003c\/em\u003e is a unique collection of forty multi-disciplinary perspectives drawn from anthropology, bioacoustics, geography, literature, community activism, sociology, religion, philosophy, art history, conflict mediation and the sonic arts including music, ethnomusicology and field recording. These specially commissioned contributions explore the many ways in which skilled listening can mediate new relationships with our physical environment and the people and other species that we share it with.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eFrom the Introduction: \u003cem\u003e“Listening has become an increasingly popular subject of study. It features in conferences, in academic journals, in doctoral research projects. However, reflexive listening is an applied practice that exceeds the boundaries of academic institutions to take its place in a number of everyday settings. This book aims to connect the scholarly and the experiential and extend the contemporary discourse on listening.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eContributions by: Niall Atkinson, Kenneth Avery, Jean de Dieu Basabose, Moushumi Bhowmik \u0026amp; Sukanta Majumdar, Seth Ayyaz Bhunnoo, Ansuman Biswas, Barry Blesser \u0026amp; Linda Salter, Ross Brown, Daniela Cascella, Jessica Cawley, Michael Chanan, Rupert Cox, Peter Cusack, John Eacott, Michael Gallagher, David Hendy, Penny McCall Howard, Jérôme Joy, Volkmar Klien, Meri Kytö, Brandon LaBelle, Lisbeth A. Lipari, Francisco López, Sarha Moore, Polly Nash, Gianni Pavan, David Rothenberg, Steve Rowell, Dawn Scarfe, Diana Corley Schnapp, Daniel Smith, Peter Szendy, Jean-Paul Thibaud, Davide Tidoni, David Toop, Nicola Triscott, Ultra-red, Salomé Voegelin, Andrew Whitehouse, Mark Peter Wright.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"Uniform Books","offers":[{"title":"Default Title","offer_id":41886296375526,"sku":"","price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_2464040.jpg?v=1634669240"},{"product_id":"incantation-wendy-by-frances-scott","title":"INCANTATION, WENDY by Frances Scott","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e14 x 21.4cm, 104 pages, full colour printing, soft cover, 2021\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThis book is an incantation for \u003cem\u003eWendy\u003c\/em\u003e (2022), a film fan letter from artist Frances Scott to composer Wendy Carlos. Written contributions from Beth Bramich, Stine Hebert, Juliet Jacques, Tom Richards, Chu-Li Shewring and Dave Tompkins are accompanied by hand-drawn music scores, film stills and script notes produced during Scott’s research, and her moving-image work \u003cem\u003eValentina\u003c\/em\u003e (2020), a rehearsal to camera with performer Valentina Formenti. \u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cem\u003eIncantation, Wendy \u003c\/em\u003eprecedes the film \u003cem\u003eWendy \u003c\/em\u003eand meditates on Carlos as ‘The Original Synth’, moving across channels that speak of the unbounded voice in collaboration, synthesis and transition; through vocoders, archives, re-readings, light pulses, solar flares and cyclical returns; and in concert with horses, moons and a sun, eclipsing as it rises above the horizon.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Bobo Books","offers":[{"title":"Default Title","offer_id":41886296506598,"sku":"","price":17.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_2620043.jpg?v=1634669256"},{"product_id":"hypnotised-a-journey-through-trance-music-1990-2005","title":"HYPNOTISED: A JOURNEY THROUGH TRANCE MUSIC (1990 - 2005)","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e135 x 205mm, 332 pages, Silver \u0026amp; black printing throughout, Perfect bound, Softcover, 2021\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eTrance has been the flagship for electronic music across the globe during the nineties and early zeroes. The sound’s trademark optimistic and euphoric aspects has brought some of the most compelling musical pieces of its time, and undoubtedly had a significant influence on future electronic music to come. Yet, its historical significance has been highly overlooked.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eHypnotised is the first encyclopedia to cover the global trance movement during its most prolific years. The 322-page book spans a near-complete discography of supposedly essential albums, labels and releases, alongside exclusive photos and in-depth interviews with influential artists and label owners.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Mary Go Wild","offers":[{"title":"Default Title","offer_id":41886296932582,"sku":"","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_4419013.jpg?v=1634669509"},{"product_id":"rymy-jak-dymy-by-honza-zamojski","title":"RYMY JAK DYMY by Honza Zamojski","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e 220 x 160 mm, 144 ages, black and white printed, soft cover, cloth tape, book dust jacket, text in Polish, edition of 300, 2011.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e'“Rhymes like dimes” from MF Doom’s song in Honza Zamojski’s free translation changes into “rymy jak dymy”, with the resounding word “intro”, which in this particular case may mean not only “introduction” but also “introspection”. The third and final part of a trilogy, the third grey book is the first and last at the same time. After “We Came From Beyond”, a collective show and publication that was not so much a project catalogue but a work in its own right made under the curatorial supervision of the artist, the time was ripe for “Jak jsem potkal ?ábla”. Work on this book offered an opportunity to probe into family history and the sweeping background of Czech history. The aim of the finale is introspection. The book has two sides, A and B, and a “hidden track”; each of the chambers was marked off by a pause allowing the accumulation of energy necessary for yet another effort. The empty pages are equivalent to the silence of a cassette; these are not margins but an integral part of the project. Emptiness allows information to sink in and imparts the whole with a special rhythm of the beat. Cut \u0026amp; paste, sampling, loops and scratches are means to foster the progress of the narration and make the whole approach a dynamic, urban meditation.'\u003c\/p\u003e","brand":"Morava Books","offers":[{"title":"Default Title","offer_id":41886364827878,"sku":"","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/059_D_4835dd56-1848-4108-a9e9-696bd1eed799.jpg?v=1634671345"}],"url":"https:\/\/goodpress.co.uk\/collections\/sound-music.oembed?page=24","provider":"Good Press — good books \u0026 more","version":"1.0","type":"link"}