In late 1983, Frans de Waard published the first edition of De Nederlandse Cassette Catalogus, listing all known, independently released cassettes in The Netherlands up to that point. No images, no descriptions, just a list. In the following years, three more editions were published and then De Waard ceased producing these booklets. This book contains all four catalogues, along with a 100-page selection of ‘source material, articles from Vinyl, Muziekkrant Oor, De Nieuwe Koekrand, the complete one-off K7 fanzine, along with letters, flyers and label information.This book includes an English introduction to the background of the various catalogue editions, as well as translations of the instructions on how to consult the catalogues. Otherwise, the rest is in Dutch. The front cover is an homage to The International Discography Of The New Wave by Martha DeFoe and B. George, which was itself the direct inspiration for me to compile the first edition.

From 1984 to 2015, Korm Plastics released cassettes, vinyl and CDs. Following a brief hibernation, Korm Plastics relaunched in 2019 as a book publisher. The first book was a re-issue of Frans de Waard’s memoir of working for Staalplaat, This Is Supposed To Be A Record Label, previously published by Timeless Edition in France but unavailable for several years. The success of the second edition led to the publication of new books, which include reprints of fanzines (Vital, De Nederlandse Cassette Catalogus, BOH, Neumusik, Nul Nul, some with CDs), an English translation of a book about punk in the Netherlands (1976-1982), a book about The Legendary Pink Dots’ first ten years, Adam Morris’ fictionalised account of working for Killing Joke and The Orb, a catalogue of ten years of Modelbau (also with a CD), a collection of letters between Coil’s John Balance and Anthony Blokdijk, and Freek Kinkelaar’s musings on music.Korm Plastics founder Frans de Waard teamed up with designer Alfred Boland for this, their latest publication, The Annual. For a long time both had wanted to publish a magazine, which eventually became what they hope will be a regular yearbook with ‘everything you never knew you were interested in’. They invited their authors (present and future) to contribute an article, which led to a wildly diverse selection. From the history of turntablism, a 1985 interview with Roger and Brian Eno, a report on the Groningen punk scene in the late 1970s and early 1980s, Truus de Groot about her formative years, Kubus Kasssettes, vinyl hunting in Trinidad, the Perversita festival in 1989, concerts that ended in riots, Willem de Ridder’s Radiola Improvisation Salon, Ultra in Eindhoven, Gary Scott meeting Florian Fricke, Killing Joke/Joy Division, The Slits, contributions by GW Sok and Harold Schellinx and more. Illustrations by Miss.Printed, short interludes by Freek Kinkelaar and Frits Jonker, plus a comic strip by Bertin.

200pp   May, 2024, Goldsmiths Press - Sonic Series   hardbackThe emergence of the popular music industry in the early twentieth century not only drove a wedge between music production and consumption, it also underscored a wider separation of labor from leisure and of the workplace from the domestic sphere. These were changes characteristic of an industrial society where pleasure was to be sought outside of work, but these categories have grown increasingly porous today. As the working day extends into the home or becomes indistinguishable from leisure time, so the role and meaning of music in everyday life changes too. In arguing that the experience of popular music is partly conditioned by its segregation from work and its restriction to the time and space of leisure—the evening, the weekend, the dancehall—Take This Hammer shows how changes to work as it grows increasingly precarious, part-time, and temporary in recent decades, are related to transformations in popular music. Connecting contemporary changes in work and the economy to tendencies in popular music, Take This Hammer shows how song-form has both reflected developments in contemporary capitalism while also intimating a horizon beyond it. From online streaming and the extension of the working day to gentrification, unemployment and the emergence of trap rap, from ecological crisis and field recording to automation and trends in dance music, by exploring the intersections of work and song in the current era, not only do we gain a new understanding of contemporary musical culture, we also see how music might gesture towards a horizon beyond the alienating experience of work in capitalism itself.

Published by Mousse and Podere Trafonti Texts by Marie Kølbæk Iversen, Adam Khalil, Isabella Rjeille, and Yann Chateigné TytelmanDesign by Maximage   2024English / Italian136 pagesHardcover, 19 x 26 cmISBN 978-88-6749-598-6 Histories of Predation traces Marie Kølbæk Iversen's critical reimagining of subjectivity and cultural history, from Mirror Therapy (2015–16) and Io/I (2015–19) to Histories of Predation (2022–) and the performance project Donnimaar (2017–). Interrogating the demographic and aesthetic homogenization of the mid-nineteenth-century Danish nation-state and the ensuing forced forgetting of divergent identities, the book offers a deep-time view on processes of nation building by probing the geopolitical "mythologics" they hinge on.

Featuring  Tyson Yunkaporta, Isabel Waidner , Jamaica Kincaid, Melissa Broder , Evelyn Araluen, Bruce Pascoe, Octavia Bright, Nora Treatbaby , Nerea Calvillo , Anne Waldman , Alexis Pauline Gumbs , Léuli Eshrāghi, Madeline Cash , Andreas Malm, Rebecca May Johnson In this special edition, double-cover issue of Worms, we bring you not one, but two cover stars. The  indelible Tyson Yunkaporta and the iconic Anne Waldman adorn both sides of Worms 8 which can also be thought of as ‘The Elements Issue’. It was dreamt up in a dreary and grey August in London, while the rest of the world suffered through the hottest days on record. As we witnessed, and continue to witness, such climate catastrophe, we turned to the literature we love to help us understand, to challenge us, and to offer us some comfort.    The issue is split into four sections—earth, fire, air and water—but its roots and webs push beyond what we typically think of as ‘the natural’: tales from the kitchen from Rebecca May Johnson and Slutty Cheff, reflections on gardening and colonialism, writer's block and clogged pipes, how to blow up pipelines with Andreas Malm, grief and writing, recovery and nature with Octavia Bright, social mobility with Isabel Waidner, the wide range of issues raised by the underrepresentation of First Nations people in literature with Evelyn Araluen and much, much more.

paperback, august 2022The first collection dedicated to David Bowie's acting career shows that his film characterisations and performance styles shift and reform as decoratively as his musical personas. Though he was described as the most influential pop artist of the 20th century, whose work became synonymous with mask, mystery, sexual excess and ch-ch-ch-changing genres, Bowie also applied his genius to the craft of acting. Bowie’s considerable filmography is systematically examined in 12 scholarly essays that include tributes to Bowie's performance craft in other media forms. Classic films such as The Prestige and Merry Christmas, Mr. Lawrence, cult hits Labyrinth and The Man Who Fell To Earth, as well as lesser-known roles in The Image, Christiane F. and Broadway hit The Elephant Man are viewed, not simply through the lens of Bowie’s mega-stardom, but as the work of a serious actor with inimitable talent. This compelling analysis celebrates the risk-taking intelligence and bravura of David Bowie: actor, mime, mimic and icon.

We Jazz Records is a label based in Helsinki releasing cutting edge jazz music on vinyl + additional formats.The eleventh issue of We Jazz Magazine, "Oni Puladi" for Carla Bley. 128 pages, 170 x 240 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles presented IN ENGLISH. Carla Bley by Stewart Smith, Gondwana Records by Debra Richards, [Ahmed] by Seymour Wright, Amirtha Kidambi by Ayana Contreras, Ruth Goller by Daryl Worthington, Abdul Wadud by Pierre Crépon / David Neil Lee, François Jeanneau by Bret Sjerven, Mette Henriette by Debra Richards, Nduduzo Makhathini by Rob Garratt, Discaholic column by Mats Gustafsson, We Jazz Festival 2023 photo essay by Julius Töyrylä, album & live reviews, plus more.

Part of a special series curated by Roy Claire Potter on occasion of the upcoming launch of The Wastes, published this June by Bookworks.    Vit Hopley is a prose writer, artist and editor. Published collections of prose: Wednesday Afternoon (2013); Blissful Islands (2018); recent video work: One after the other (becoming fireflies, 2021). Yve Lomax is a visual artist, writer and editor. Recent visual work and publications includes Mad about justice (becoming fireflies, 2022); Political Life (becoming fireflies, 2021); Nearness (2019); Figure, calling ( 2018); Pure Means (2014). Publication Date: 1 March 2024Format: 138mm x 200mmPaperback Extent: 120ppPhotography: 2 b&w;Prices: £15ISBN: 978-1-909570-09-2Here from There is a book shared by Vit Hopley and Yve Lomax. It refuses the division of genre; it defies separation. Philosophy, poetry and the everyday touch, falling together. It dares to challenge the monoculture that has all but wrecked our Earth. It will be a beautiful book to hold and read. It loves and commits to language.

powerHouse Books, 2023 256 pages ISBN13: 9781648230363 A prolific poet, raconteur, activist, and thinker, Allen Ginsberg was also a prolific collector, meticulously saving letters, postcards, draft notes and manuscripts, photographs and snapshots, appearance bills and rally broadsheets, not only featuring him personally, but also his fellow poets, singers, lovers, writers, journey companions, friends, and agitators. Gathered here publicly for the first time is his personal archive of events and experiences documenting his life as a young man, breakaway poet, expansive spirit, curious intellectual traveler, and relentless enthusiast of the provocative and the profane.

Hardback  366 pages  2021The story of two outsiders and obsessives whose collision prompted an evangelistic alliance on the furthest frontiers of underground music.Steve Davis first met Kavus Torabi - guitarist with Gong, Guapo, Cardiacs and Knifeworld - in the mid-2000's at a gig by French underground rock legends Magma. Over the next few years, this unlikely duo's shared affinity for visionary psychedelic music would become the foundation of not only a firm friendship, but also the most infectiously inclusive broadcasting style since the much-mourned death of John Peel.In their weekly radio shows and a one-of-a-kind live DJ roadshow which included a legendary appearance at Glastonbury, Steve and Kavus mapped out a musical landscape of rare enchantment, where the only passport needed was a pair of open ears. No-one, least of all Davis and Torabi themselves, was expecting the 6-time former World Snooker champion and a British-Iranian underground rock musician to become one of the most trusted brands in British alternative music.As Steve and Kavus were starting to get to grips with the challenge of their newfound status, events took a further unexpected turn. Suddenly they found themselves in a band together. And not just any band ... as two thirds of Britain's (if not the world's) leading harmonium, guitar and analogue synth power-trio (with Michael J.York of Coil)The Utopia Strong, the two friends found themselves plunging into a vortex of spontaneous compositional excitement.How Steve and Kavus pulled this off is just one of the many questions MEDICAL GRADE MUSIC will try to answer. Part sonic memoir, part Socratic dialogue, part gonzo mission to the heart of what makes music truly psychedelic this book is the first work of joint autobiography to ever trace the evolution of a life-changing friendship through the discographies of Gentle Giant and Voivod. From the chip-shops of Plumstead to the the wildest shores of Plymouth's nineties thrash scene. it's a funny and fearless buddy movie of the soul, with a soundtrack that will make your eyes bleed.

hardback  white rabbit, 2023Factory Records has become the stuff of legend. The histories of the label have been told from many perspectives, from visual catalogues and memoirs to exhibitions. Yet no in-depth history has ever been told from the perspectives of the women who were integral to Factory’s cultural significance.The untold history of Factory Records is one of women’s work at nearly every turn: recording music, playing live gigs, running the label behind the scenes, managing and promoting bands, designing record sleeves, making films and music videos, pioneering sound technology, DJing, and running one of the most chaotic clubs on the planet, The Haçienda.Told entirely in their voices and featuring contributions from Gillian Gilbert, Gina Birch, Cath Carroll, Penny Henry and over fifty more interviewees, I THOUGHT I HEARD YOU SPEAK is an oral history that reveals the true cultural reach of the label and its staying power in the twenty-first century.

Published: Duke University Press Book Pages: 352 Illustrations: 27  Published: April 2020The contributors to Playing for Keeps examine the ways in which musical improvisation can serve as a method for negotiating violence, trauma, systemic inequality, and the aftermaths of war and colonialism. Outlining the relation of improvisatory practices to local and global power structures, they show how in sites as varied as South Africa, Canada, Egypt, the United States, and the Canary Islands, improvisation provides the means for its participants to address the past and imagine the future. In addition to essays, the volume features a poem by saxophonist Matana Roberts, an interview with pianist Vijay Iyer about his work with U.S. veterans of color, and drawings by artist Randy DuBurke that chart Nina Simone's politicization. Throughout, the contributors illustrate how improvisation functions as a model for political, cultural, and ethical dialogue and action that can foster the creation of alternate modes of being and knowing in the world.Contributors. Randy DuBurke, Rana El Kadi, Kevin Fellezs, Daniel Fischlin, Kate Galloway, Reem Abdul Hadi, Vijay Iyer, Mark Lomanno, Moshe Morad, Eric Porter, Sara Ramshaw, Matana Roberts, Darci Sprengel, Paul Stapleton, Odeh Turjman, Stephanie Vos

Paperback, 79pp, A4 smallest functional unit, 2022smallest functional unit and Graphème is an initiative, founded in 2020 by Mazen Kerbaj, Ute Wassermann, Tony Buck, Magda Mayas, and Racha Gharbieh with the aim of performing and publishing unconventional, hybrid notational formats and graphic scores by international composers.  The second instalment of Graphème presents twelve compositions from another set of varied and distinguished artists. These artists share a passionate interest in finding and expressing a personal language and vision beyond the standard systems of western notation, and represent the wide creative spectrum that makes up innovative new music composition today. The twelve pieces explore notions of the score as a result of interdisciplinary collaboration, architectural systems as inspiration, instrument building as composition, printing and materiality as sources for interpretation and performative practice, as well as investigations of personal vocabulary and shared histories. Many of the scores in this edition are graphically beautiful and intriguing, and hold their own as works of visual art. "The heart of the endeavor in publishing these scores and to have them reach a wide audience, is to see that this music, and these ideas and procedures are performed. Graphème is fundamentally a practical collection of pieces to be played. We hope that performers feel free to work on versions of these compositions and find ways to realise them. We invite you to dive in, explore and experience the ideas and creations of some of our most adventurous, curious, imaginative and inventive composers." - smallest functional unit

Robert Mitchell is an award winning pianist, composer, key player, arranger, bandleader, teacher, poet. 12 albums released and a Steinway Artist.Toured/performed/recorded w:Billy Harper, Courtney Pine, Phil Ranelin, Steve Coleman, Dayme Arocena, Michael Olatuja etc.Piano professor Guildhall School, Leeds Conservatoire, Published by Bucks Music Group Ltd. Leads:Panacea,Epiphany3,TRUE THINK.A book of poems by Robert Mitchell   'Mitchell’s political and poetic eloquence, his words delivered in impeccably enunciated English, is comparable to that of Linton Kwesi Johnson, even though the style of delivery, both musically and vocally, is very different. More than forty years after Johnson’s landmark album “Forces of Victory” and the track “Sonny’s Lettah” has that much really changed? Musically “A Son of Windrush Reflects” is another performance for voice and cello only, with Smart delivering another brilliantly empathic response, making effective use of both plucking and bowing techniques. Both “A Son of Windrush Reflects” and the earlier “The First Note” are featured in Mitchell’s forthcoming second poetry collection “City Of Sanctuary”.' Ian Mann - The Jazzmann

Edited by Sophie Orlando.Texts by Adelaide Bannerman, Cecile Bargues, Sonia Boyce, Jean Fisher, Sophie Orlando, Allison Thompson. published in October 2017   English edition 13 x 23 cm (softcover) 136 pages (color & b/w ill.)Focusing on several major collaborative performance-videos by a figure of the British Black Art movement, this illustrated monograph includes a series of essays which interpret Boyce's interdisciplinary practice in the light of art history, and analyse her interest in black feminism, cultural studies, film studies, art history and critical theory.

ISBN 9781789388619 Paperback 244 x 170 mm 320 pp This first academic collection dedicated to popular music in Leeds - developed from the work of interdisciplinary scholars, drawn from a major public museum exhibition “Sounds of Our City” and built upon contemporary research. Leeds has rich musical histories and heritage, a long tradition of vibrant music venues, nightclubs, dance halls, pubs and other sites of musical entertainment.The city has spawned crooners, folk singers, punks, post- punks, Goths, DJs, popstars, rappers and indie rockers, yet – with a few exceptions - Leeds has not been studied for its scenes in ways that other UK cities have. In ways that the chapters explore, Leeds’ popular music exemplifies and informs understandings of broader cultural and urban changes – both in Britain and across wider global contexts – of the social and historical significance of music as mass media; music and migration; music, racialisation and social equity; industrial decline, de-industrialisation, neoliberalism and the rise of the 24-hour city. Charting moments of stark musical politicisation and de-politicisation, while concomitantly tracing arguments about “heritagising” popular music within discussions about music’s “place” in museums and in the urban economy, this book contributes to debates about why music matters, has mattered, and continues to matter in Leeds, and beyond.

erica lewis (San Francisco, CA) was born in Cincinnati, Ohio. Her books include the precipice of jupiter (2009, with artist Mark Stephen Finein), camera obscura (2010, with artist Mark Stephen Finein), murmur in the inventory (2013); and the first two books of the box set trilogy: daryl hall is my boyfriend (2015) and mary wants to be a superwoman (2017).mahogany is about the passing of time and unimaginable loss, strength, humor, and love mahogany takes its name from the dark wood prized for its durability, workability, and elegant look, and from the Diana Ross movie, whose theme song asks if what lies ahead is what you really want. This book is the third in a trilogy, and like the first two books it is steeped in pop music. Each poem here takes its title from a line of a Diana Ross and The Supremes song, as well as songs from Diana Ross' solo career. Short lines flow down the page like postmodern psalms, connecting dailyness to timelessness, merging the historical and the beloved through reverence for family, music, and the life we actually live. mahogany is a lament for the passing of time and unimaginable loss, and at the same time it models the daily search for joy, and the deep shine that can arise from the darkest times.

Paperback, 70pp, A4 smallest functional unit, 2023   Graphème is a project founded in 2020 by smallest functional unit (Tony Buck, Racha Garbieh, Mazen Kerbaj, Magda Mayas, Ute Wassermann) with the aim of performing and publishing unconventional, hybrid notational formats and graphic scores by international composers. Volume 3 features scores by Merche Blasco, Nicolás Carrasco, William Engelen, Julian Galay, Cat Hope, Charlotte Hug, @verkomponist, Lucie Vitkova, Sabine Vogel, Michael ZerangThe third edition of Graphème: a series of graphic and experimental music scores by composers from a variety of backgrounds and experience. Each composer offers a rigorous conceptual framework and provides an often sensual dialog between composer, performer, sound and space in spirit of collaborative creativity. The pieces here represent imaginative and inventive ways to notate a musical vision, making use of innovative approaches – photographic representation, geometric and cartographic schema and various degrees of indetermination and precision – as well as extending more traditional ideas of notation, to expand on expressive possibilities. Some composers embrace deep and abstract conceptual propositions while others exploit the aesthetic potential of graphic sign making to transfer ideas into a sounding choreography of possibilities, inviting performers and listeners to find connections in unexpected places. Progress in science and technology over the last decades has opened up new choices for expression and interaction, and we indeed find many composers taking up these new challenges with vibrant energy and enthusiasm. Some aspects of technology and new experimental score-making, for example, those that engage with video and interactive media, are beyond the scope of this publication. We have, however, found artists who have taken these ideas and influences as a point of departure, responding to this increasingly rational, mathematical and scientific world by using notions of data collection, the ever increasing precision of measurement and use structures derived from geometry and mathematics in innovative ways.