The much-revered avant-garde guitarist John Fahey (1939–2001) incorporated influences ranging from folk, blues, and bluegrass to classical music, musique concrete, and noise in his primarily acoustic guitar-based compositions. Considered a legend by many, Fahey released upward of three dozen LPs in his lifetime. Relatively late in life, Fahey extended his so-called American Primitive approach beyond music, and into the creation of a substantial body of paintings created in makeshift studios in and around Salem, Oregon. Painting on found poster board and discarded spiral notebook paper, working with tempera, acrylic, spray paint, and magic marker, Fahey’s intuitive approach echoes the action painters and abstract expressionists. The same alluring and tranquilizing aesthetics that defines much of Fahey’s musical output are equally present in his paintings. The first publication focusing on his visual output, John Fahey: Paintings, edited in collaboration with Audio Visual Arts (AVA), is illustrated with 92 plates and is accompanied by essays from Keith Connolly, founding member of No-Neck Blues Band, and the critic Bob Nickas.
John Fahey - Paintings Book
Epiphanies: Life-changing Encounters With Music is a new anthology of essays drawn from The Wire’s monthly Epiphanies column, which has been running in the magazine since issue 167 (January 1998). The book includes more than 50 essays in which a wide range of musicians, authors and critics detail their personal experiences of music’s transformative powers.
Contributors include Little Annie, Jerry Dammers, Geeta Dayal, Paul Gilroy, Michael Gira, Kenneth Goldsmith, Jonny Greenwood, David Grubbs, Adam Harper, Stewart Lee, Lydia Lunch, Momus, Ian Penman, Genesis Breyer P-Orridge, Nina Power, Simon Reynolds, Sukhdev Sandhu, Robert Wyatt and more. Subjects covered range from Sun Ra to Kate Bush; Fugazi to Ligeti; South Africa’s World Cup vuvuzelas to Hungarian prog rock; noisy street protests to the deathly silence inside an anechoic chamber.
The book has been edited by The Wire‘s Editor-in-Chief & Publisher Tony Herrington and designed by the magazine’s Art Director Ben Weaver, with illustrations by Sculpture’s Reuben Sutherland.
Epiphanies - Life Changing Encounters With Music Book
SFO Super Shuttle VS Hollywood Town Car; Byron Coley & Thurston Moore: Bull Tongue column; Rej T Broth: A Field in England; Michael Hurley: The Accountant; Chris D: Alain & Romy; Alan Bishop: Another Victory for the World's Greatest Game; Leah Singer: Louis Armstrong House; Tom Givan: Best Sellers; Marie Frankland: Big Berghain; Scott Foust: The Big Bluff; Tara Young: David Bowie live at Fort Apache; Tosh Berman: David Bowie & Scott Walker Punched; Mats Gustafsson: Polly Bradfield Solo Violin Improvisations; Matt Krefting: Call Me Lucky; Todd Abramson: Candlewood Suites, Jersey City; Kendra Smith: Chirgilchi Collectible; Ariella Stok: Ornette Coleman's Funeral; Trevor Block: Compilation Albums; Samara Lubelski: Keith Connolly interview; Bruce Russel: Guy DeBord Panegyric; Barbara Manning-Vargas: Die Art Fuer Immer und Ewig; Brigid Pearson: DOOB3D; Sharon Cheslow: Dust on the Nettles; Tesco Vee: Fanzines, Bomdage, Death Threats & the FBI; Suzy Rust: Five-and-a-half Tragic Cleaning Ladies; Ray Farrell: John Fogerty; Beans McCuttone: Romain Gary The Talent Scout; Jessi Leigh Swenson: Get in the Car, You Herbs; Naomi Yang: Girls About Town; Richard Meltzer: Greater and Grander; Brian Turner: Alexander Haacke interview; Chris Stigliano: Hawkwindlive Birmingham; Bree: Hermitage; Andrea Feldman: Ilitch & Ruth; Phil McMullen: In Gowan Ring The Serpent & the Dove; Dylan Nyoukis: Joe Jones Solar Music at Sierksdore; Todd Abramson: Two Paragraphs about Bob Lawton; Charles Plymell: Mirian Linna Down Today; Tony Rettman: Ross Lomas City Baby; John Sinclair: Steve Mackay; Bree: Medicaid; Joe Carducci: Alexander Medvedkin and Chris Marker; Ashley Meeks: Melancholia; Irene Dogmatic: Claire Messud The Last Life; Hisham Mayet: Musical Genres Researched in 2015; Michael Layne Heath: Night Final: a Short Story; Nick Mitchell: No Form; Georganne Deen: Lewis Nordan Wolf Whistle; Lili Dwight: November Sundays; Christina Carter: Novitate Phenom; Alex Behr: Observations on a Miscarriage; Emma Young: On Side A; Gregg Turner: Open Mike; Tom Greenwood: Open Space Preserve; Tom Lax: Pass the Ronco I Think I'm Popeil; Suzy Rust: Rags October 1970; Tom Lax: Regurgitations of a Ruminant; David Greenbereger: The Rise to Power of the Letter U; Eddie Flowers, Pamela Beach-Plymell, Georganne Deen & Ira Kaplan: Rock-a-Rama short format reviews; Orchid Spangiafora: Rocket from the Tombs live at Johnny Brenda's; Andy Schwartz: Otis Rush & Albert King; John Sinclair: Rollins/Monk More Than You Know; Emily Hubley: Room; Karen Consytance: Selbe Gehort Musik; Rej T Broth: Nina Simone at Montreux; Owen Maercks: Some Notes on the Guitar; Donna Lethal: Spell M-A-N; Joanne Robertson: Lucy Stein interview; Erika Elizabeth: The Suburban Homes; Sharon Cheslow: Eva Svankmajerova; Maria Kozic: Svengoolie; Marc Masters: Carter Thornton Mapping the Ghost; Hisham Mayet: Trinidad; Gerard Cosloy: Wendy's SF; Lisa Marie Jarlborn: What Do Women Want; Angela Jaeger: What's Your Sign?; Nigel Cross: Wilde Flowers; Bree: Writing Books of Poetry.
BULL TONGUE REVIEW No. 5 MAG
A Quarterly Journal of Post-Rock Cultural Pluralism, edited by Byron Coley. Issue no. 4. In this issue: Alex Behr: Junior High Reviews; Tosh Berman: Tom Phillips IRMA the Opera; Alan Bishop: Pink Floyd Animals: Trevor Block: Rowdy Roddy Piper; Karla Borecky: Antonin Artaud: Pour en finir avec le jugement de dieu; Bree: Kōbō Abe Woman of the Dunes; Benoit Chaput: Plume Latraverse; Sharon Cheslow: Stand-up Comedy; Byron Coley: Column; Karen Constance: Igor Wakhevitch Hathor; Nigel Cross: Jeff Cloves; Chris D: Humanity of Femme Fatales; Georganne Deen: Chinatown L.A. + Cathy Ward; Lili Dwight: Farscape; Erika Elizabeth: Mark Sten All Ages; Ray Farrell: Charles Bukowski; Andrea Feldman: Mix Tape Memories; Eddie Flowers: Review Column; Scott Foust: Jewel Robbery; Tom Givan: Matthew Stokoe; David Greenberger: Danny Kaye; Tom Greenwood: Quiet Music Festival; Mats Gustafsson: Sperm/Samsa Trio; Michael Layne Heath: Andrew Matheson Sick on You; Tim Hinely: George Foster's 1977 Season; Michael Hurley: Jackpine Jamboree; Lisa Marie Jarlborn: Bob Dylan 'Sad Eyed Lady'; Danielle Jelley-Rettman: Trenton Punk Rock Flea Market; Ira Kaplan: Steve Miller Band; Maria Kozic: Curing a Migraine with Two Movies; Matt Krefting: Ndegeocello/Sawyer/Krimsky Trio; Tom Lax: Review Column + reviews; Heather Leigh: Hot Gossip; Ted Lee: Illustrations; Donna Lethal: YouTube Reviews; Alan Licht: Peter Stampfel live; Owen Maercks: How I Listen; Marc Masters: Bromp Treb Stickless; Hisham Mayet: Tommy Jay Tall Tales of Trauma; Phil McMullen: The Amazing Picture You; Richard Meltzer: Better; Phil Milstein: Bull Tongue 1-3; Nick Mitchell: Nine Invisibles Pureheadspace; Thurston Moore: Column; Bill Nace: Farscape; Dylan Nyoukis: Red Brut Rebirth; Gary Panter: Funny Animals Portfolio; Brigid Pearson: Avocado; Charles Plymell: Deborah Davis The Trip; Tony Rettman: Rode Grey; Joanne Robertson: Sean Nicholas Savage Other Death; Bruce Russell: Second Hand Records; Suzy Rust: Book Signing for Thelma Blumberg + Woolaroc; Savage Pencil: Cameron Jamie; Andy Schwartz: Mark Ribowsky Dreams to Remember; John Sinclair: The Way You Look Tonight; Leah Singer: Gary Panter interview; Orchid Spangiafora: Allen Ravenstine Pharoah's Bee; Chris Stigliano: Mother #2 & 3; Brian Turner: Liimanarina + Ornerys; Gregg Turner: The Present; Tesco Vee: Collecting & the Voices Within; Valerie Webber: Your Ideal Love Mate; Tara Young: Mötley Crüe live.
BULL TONGUE REVIEW No. 4 MAG
Post-Rock Cultural Pluralism, edited by Byron Coley.
Issue no. 3. 68 pages.
In this issue:
- The third issue of the Bull Tongue Review, a quarterly journal of post-rock cultural pluralism.
- Contributors include Alan Bishop, Sharon Cheslow, Mats Gustafsson, Michael Hurley, Ira Kaplan, Matt Krefting, Samara Lubelski, Marc Masters, Hisham Mayet, Richard Meltzer, Dylan Nyoukis, Savage Pencil, Brian Turner, and many more, plus "Bull Tongue" column by Byron Coley & Thurston Moore.
- Illustrated by Gary Panter & Ted Lee.
BULL TONGUE REVIEW No. 3 MAG
A Quarterly Journal of Post-Rock Cultural Pluralism. In this issue: Todd Abramson, Steve Albini, Alan Bishop, Bree, Rej T. Broth, Joe Carducci, Benoit Chaput, Sharon Cheslow, Byron Coley, Karen Constance, Nigel Cross, Chris D, Georganne Deen, Lili Dwight, Erika Elizabeth, Ray Farrell, Andrea Feldman, Eddie Flowers, Tom Givan, Tom Greenwood, Mats Gustafsson, Lisa Marie Jarlborn, Ira Kaplan, Maria Kozic, Matt Krefting, Tom Lax, Ted Lee, Heather Leigh, Donna Lethal, Owen Maercks, Marc Masters, Hisham Mayet, Phil McMullen, Richard Meltzer, Thurston Moore, Dylan Nyoukis, Gary Panter, Brigid Pearson, Charles Plymell, Tony Rettman, Joanne Robertson, Bruce Russell, Suzy Rust, Savage Pencil, John Sinclair, Chris Stigliano, Brian Turner, Tesco Vee, Naomi Yang. 80 pages, black & white 8.5" x 11".
BULL TONGUE REVIEW No. 2 MAG
A Quarterly Journal of Post-Rock Cultural Pluralism. In this issue: Todd Abramson, Steve Albini, Alan Bishop, Bree, Rej T. Broth, Joe Carducci, Lisa Carver, Benoit Chaput, Sharon Cheslow, Byron Coley, Karen Constance, Nigel Cross, Chris D, Irene Dogmatic, Lili Dwight, Ray Farrell, Andrea Feldman, Tom Givan Tom Greenwood, Mats Gustafsson, Angela Jaeger, Elaine Kahn, Ira Kaplan, Maria Kozic, Matt Krefting, Ted Lee, Donna Lethal, Owen Maercks, Marc Masters, Hisham Mayet, Richard Meltzer, Thurston Moore, Dylan Nyoukis, Gary Panter, Tony Rettman, Bruce Russell, Suzy Rust, Andy Schwartz, Chris Stigliano, Brian Turner, Naomi Yang Ω. 50 pages, black & white 8.5" x 11".
BULL TONGUE REVIEW No. 1 MAG
This is the first comprehensive overview of the life and work of the pioneering British concrete and sound poet Bob Cobbing (1920–2002). Boooookaddresses all aspects of Cobbing’s rich career, with new essays detailing his key roles in London Film-makers’ Co-op, Better Books, abAna, as well as his involvement in the Destruction in Art Symposium, Fylkingen, and his publishing imprint Writers Forum.
Edited by William Cobbing and Rosie Cooper – and illustrated with numerous reproductions of artworks, documents, posters, poems and film stills from the Bob Cobbing family collection – Boooook features contributions by Adrian Clarke, William Cobbing, Rosie Cooper, Arnaud Desjardin, Sanne Krogh Groth, Will Holder, Gustav Metzger, Marc Matter & Tris Vonna-Michell, David Toop, Steve Willey, Andrew Wilson and Maxa Zoller.
Edited by William Cobbing and Rosie Cooper17 x 24cm, 208 p., soft cover with flaps, full colour
Boooook: The Life and Work of Bob Cobbing Book
In this first installment of acclaimed music writer David Toop's interdisciplinary and sweeping overview of free improvisation, Into the Maelstrom: Music, Improvisation and the Dream of Freedom: Before 1970 introduces the philosophy and practice of improvisation (both musical and otherwise) within the historical context of the post-World War II era. Neither strictly chronological, or exclusively a history, Into the Maelstrom investigates a wide range of improvisational tendencies: from surrealist automatism to stream-of-consciousness in literature and vocalization; from the free music of Percy Grainger to the free improvising groups emerging out of the early 1960s (Group Ongaku, Nuova Consonanza, MEV, AMM, the Spontaneous Music Ensemble); and from free jazz to the strands of free improvisation that sought to distance itself from jazz. In exploring the diverse ways in which spontaneity became a core value in the early twentieth century as well as free improvisation's connection to both 1960s rock (The Beatles, Cream, Pink Floyd) and the era of post-Cagean indeterminacy in composition, Toop provides a definitive and all-encompassing exploration of free improvisation up to 1970, ending with the late 1960s international developments of free music from Roscoe Mitchell in Chicago, Peter Brötzmann in Berlin and Han Bennink and Misha Mengelberg in Amsterdam.
David Toop Into the Maelstrom: Music, Improvisation and the Dream of Freedom before 1970
What is experimental music today? This book offers an up to date survey of this field for anyone with an interest, from seasoned practitioners to curious readers. This book takes the stance that experimental music is not a limited historical event, but is a proliferation of approaches to sound that reveals much about present-day experience. An experimental work is not identifiable by its sound alone, but by the nature of the questions it poses and its openness to the sounding event. Experimentation is a way of working. It pushes past that which is known to discover what lies beyond it, finding new knowledge, forms, and relationships, or accepting a state of uncertainty. For each of these composers and sound artists, craft is developed and transformed in response to the questions they bring to their work. Scientific, perceptual, or social phenomena become catalysts in the operation of the work. These practices are not presented according to a chronology, a set of techniques, or social groupings. Instead, they are organized according to the content areas that are their subjects, including resonance, harmony, objects, shapes, perception, language, interaction, sites, and histories. Musical materials may be subject, among other treatments, to systemization, observation, examination, magnification, fragmentation, translation, or destabilization. These restless and exploratory modes of engagement have continued to develop over recent decades, expanding the scope of both musical practice and listening
We have needed a reformulation of what experimental music now means, i.e., what has become since Michael Nyman took stock of it in 1974and this book beautifully fulfills that requirement. Jennie Gottschalk takes a fresh and independent look at experimental music of the last forty years, finding both points of continuation from the previous era and many novel and heartening developments. It is also an adventure story with surprising twists and a panoramic cast of characters, like a novel in which works and ideas are the central figures, seemingly with a collective life of their own. --Michael Pisaro, Composer and Faculty Member, Composition and Experimental Sound Practices, California Institute of the Arts, USAReading Experimental Music Since 1970 it is impossible not to be dazzled first by the range and imagination of experimental music and sound art that is being made today, and second by the way in which Jennie Gottschalk has described and catalogued so much of it, so lucidly. Impeccably and authoritatively researched, by a writer who is both a practitioner and an astute observer, it deserves to be the go-to reference for years to come. --Tim Rutherford-Johnson, author of 'Music After The Fall: Modern Composition and Culture Since 1989', UKThis book is a unique achievement. Without catering to current fashions or well-worn academic assumptions, it transcends the limits of both journalism and traditional musicology to be both comprehensive and insightful. Reading it has helped me to ask new questions about a history that I thought I knew quite well. --David Dunn, Assistant Professor of Music, University of California Santa Cruz, USA
About the Author
Jennie Gottschalk (born 1978 in Stanford, CA) is a composer based in Boston. She holds a bachelor's degree in composition from The Boston Conservatory (2001), and a masters degree and doctorate from Northwestern University (2008). Teachers have included Larry Bell, Yakov Gubanov, Jay Alan Yim, Augusta Read Thomas, and Aaron Cassidy. Recent performances in Los Angeles (Dog Star Orchestra) and Chicago (Northwestern University Symphony Orchestra and Contemporary Music Ensemble). Her dissertation and current work explore connections between American pragmatist thought and experimental music. Current projects include a string quartet, a childrens book, an experimental music blog (soundexpanse.com), and a residency at the Conway School of Landscape Design. For additional resources related to this book, please visit the authors website at soundexpanse.com.
Jennie Gottschalk - Experimental Music Since 1970 Book
Beautifully presented hard cover book on 60 independent labels in free jazz and improvisation published by Rune Grammofon.
Born out of necessity and a love of the music and the records, the aim of this book is to offer a guide to a selection of independent labels and their releases of free jazz, improvisation and generally jazz outside of the mainstream between 1965 and 1985, with 1965 being the year when ESP-Disk' started out as the first independent label dedicated to the music covered in this book, and 1985 being the year that the CD slowly started to take over as the main sound carrier. However, we have stretched the frames a little bit on a few occasions. 60 labels are presented, each with an introduction and a discography, either complete or by the author´s personal choice. There are also 64 sleeve illustrations, including some extremely rare ones, as well as forewords by Swedish sax player and composer Mats Gustafsson and Rune Grammofon founder Rune Kristoffersen. Finally, there is a conversation between Kristoffersen and music writer Rob Young.
Author Johannes Rød is working freelance as an art historian and conservator and has written several books on visual art. He is also an avid record collector since the late sixties. The book has 128 pages with layout and design is by Kim Hiorthøy, and it comes in a beautiful hardback Geltex cover.
J. Rød: Free Jazz And Improvisation On Vinyl 1965-1985 (book)
Pierre Schaeffer’s In Search of a Concrete Music (À la recherche d’une musique concrète) has long been considered a classic text in electroacoustic music and sound recording. Now Schaeffer’s pioneering work—at once a journal of his experiments in sound composition and a treatise on the raison d’être of “concrete music”—is available for the first time in English translation. Schaeffer’s theories have had a profound influence on composers working with technology. However, they extend beyond the confines of the studio and are applicable to many areas of contemporary musical thought, such as defining an ‘instrument’ and classifying sounds. Schaeffer has also become increasingly relevant to DJs and hip-hop producers as well as sound-based media artists. This unique book is essential for anyone interested in contemporary musicology or media history.
Pierre Schaeffer - In Search of a Concrete Music Book
Cesura//Acceso is a journal about music and politics. Publishing a mix of commissions and open submissions, the journal asks what it could mean to practice politics through music or think music through politics. Featuring contributions from musicians, writers, artists, theorists, and poets, Cesura//Acceso explores, unfolds and encourages interconnected spaces of experimental thought and practice in politics, music and poetics.
Contributors: Sean Bonney, Anne Boyer, Seymour Wright, Stevphen Shukaitis, Howard Slater, Dhanveer Singh Brar, Commune Editions, Alberto Savinio, Kev Nickells, Anthony Iles & Eve Lear, Johanna Isaacson, Matteo Pasquinelli, Martin Glaberman, Emma Robertson, Michael Pickering & Marek Korczynski, Lawrence Abu Hamdan, Simon Yuill, Iain Boal.
Cesura//Acceso – Issue 1
Originally published in France in 2002, Jacqueline Caux’s Presque Rien avec Luc Ferrari is the first book to offer a comprehensive and insightful look into the work and career of one the most pioneering music composers of the second half of the 20th century. Errant Bodies Press is pleased to release the English edition translated by Jérôme Hansen.
True to the genre-defying career of Luc Ferrari, who passed away in 2005 at the age of 76, the book skilfully assembles original interviews conducted by the author with previously unpublished texts in which the composer reflects on some of his key works. The interviews are also interspersed with fourteen short "imaginary autobiographies", written from 1971 to 1997, and ranging from semi-factual accounts to more poetic, fictional, or even science-fictional pieces.
In her illuminating introduction, Jacqueline Caux starts by recounting some of the main achievements of this most libertarian, anti-dogmatic of artists, before identifying three constants throughout Ferrari’s tumultuous career: his passionate attention to the sounds of everyday life, his compositional use of chance and his emphasis on themes of intimacy and sensuality. In the first and more substantial chapter (History), musicologist François Delalande, composer Daniel Terrugi and musicologist Evelyne Gayou join the author to take Ferrari through his musical life, starting with his early years studying piano at the Conservatoire de Paris, where his teachers included Arthur Honegger and Olivier Messiaen. Tracing back his first encounter with fellow musique concrète pioneers Pierre Schaeffer and Pierre Henry, with which he would found the influential Groupe de Recherche Musicale (GRM), Ferrari offers a personal and richly evocative account of one of the most effervescent periods in modern music, culminating in the 1958 Brussels World’s Fair and the official recognition of a new generation of experimental composers: Varèse, Cage, Xenakis, Stockhausen. Another major shift in his career occurs with his discovery of the use of unprocessed everyday sounds, leading to what is perhaps his most famous work, Presque Rien (1969). This compositional strategy, for which he coined the characteristically understated term "anecdotal music", allowed him to bring the social into the musical vocabulary – a radical artistic move appropriate for these politically radical times. Chapter Two to Five successively address Ferrari’s involvement in a variety of mediums, from instrumental composition and music theater, to radio art and even installation art. In the final chapter (Concepts), Jacqueline Caux asks the composer to elaborate on some of the key concepts that have guided his work: anecdotal, autobiography, chance, heterogeneity, heterozygote, freedom, narration, tautology, etc. The book concludes with the complete list of his works as well as discography.
Luc Ferrari - Almost Nothing with Luc Ferrari