A new edition as part of the Faber Greatest Hits – books that have taken writing about music in new and exciting directions for the twenty-first century. Musician and artist Cosey Fanni Tutti has continually challenged boundaries and conventions for four decades. As a founding member of the hugely influential avant-garde band Throbbing Gristle, as one half of electronic pioneers Chris and Cosey, and as an artist channelling her experience in pornographic modelling and striptease, her work on the margins has come to reshape the mainstream. Shocking, wise and life-affirming, Art Sex Music is the fascinating memoir of an inspirational woman.

Lush and frothy, incisive and witty, Shola von Reinhold's decadent queer literary debut immerses readers in the pursuit of aesthetics and beauty, while interrogating the removal and obscurement of Black figures from history. Solitary Mathilda has long been enamored with the 'Bright Young Things' of the 20s, and throughout her life, her attempts at reinvention have mirrored their extravagance and artfulness. After discovering a photograph of the forgotten Black modernist poet Hermia Druitt, who ran in the same circles as the Bright Young Things that she adores, Mathilda becomes transfixed and resolves to learn as much as she can about the mysterious figure. Her search brings her to a peculiar artists' residency in Dun, a small European town Hermia was known to have lived in during the 30s. The artists' residency throws her deeper into a lattice of secrets and secret societies that takes hold of her aesthetic imagination, but will she be able to break the thrall of her Transfixions? From champagne theft and Black Modernisms, to art sabotage, alchemy and lotus-eating proto-luxury communist cults, Mathilda's journey through modes of aesthetic expression guides her to truth and the convoluted ways it is made and obscured.

“You wouldn’t have had hardcore had it not been for bleep. If you took bleep out of the equation, Britsh dance music would be completely different.” - Mark Archer, Altern8 “Bleep provided the building blocks of the UK sound that followed – the emotions, the edge, the darkness and the sub-bass. Later generations have taken these elements and done something new, but the fundamentals are still there.” - Neil Landstrumm “Since bleep, there’s always been a heavy bassline thing coming from Sheffield and Leeds. Look at what’s come later, with bassline, the Niche sound and Toddla T. From one generation to the next, it’s always been about bass.” - Luca LozanoThe previously untold story of British dance music’s first sub-bass revolution, tracing the origins, development, impact and influence of bleep techno, and the subsequent musical styles it inspired, on UK club culture. Originally published in 2019, it has now been revised, updated and expanded. Errors have been corrected, some chapters have been expanded, analysis has been added and further footnotes have been included to include even more information and citations. There’s also now an additional ‘Afterword’ chapter that reflects on the story, the author’s journey as a researcher, and changing perspectives around UK dance music history.

'A groundbreaking work . . . Federici has become a crucial figure for . . . a new generation of feminists' Rachel Kushner, author of The Mars Room 'Rewarding . . . allows us to better understand the intimate relationship between modern patriarchy, the rise of the nation state and the transition from feudalism to capitalism' GuardianA cult classic since its publication in the early years of this century, Caliban and the Witch is Silvia Federici's history of the body in the transition to capitalism. Moving from the peasant revolts of the late Middle Ages through the European witch-hunts, the rise of scientific rationalism and the colonisation of the Americas, it gives a panoramic account of the often horrific violence with which the unruly human material of pre-capitalist societies was transformed into a set of predictable and controllable mechanisms. It Is a study of indigenous traditions crushed, of the enclosure of women's reproductive powers within the nuclear family, and of how our modern world was forged in blood.

Silvia Federici argues that, no less than the witch hunts in sixteenth and seventeenth century, the new war on women is a structural element of the new forms of capitalist accumulation. These processes are founded on the destruction of people's most basic means of reproduction. Like at the dawn of capitalism, what we discover behind today's violence against women are processes of enclosure, land dispossession, and the remoulding of women's reproductive activities and subjectivity. As well as an investigation into the causes of this new violence, the book is also a feminist call to arms.

Paperback608 pagesPublished September 4th 2001  The first major account of the history of reggae, black music journalist Lloyd Bradley describes its origins and development in Jamaica, from ska to rock-steady to dub and then to reggae itself, a local music which conquered the world. There are many extraordinary stories about characters like Prince Buster, King Tubby and Bob Marley. But this is more than a book of music history: it relates the story of reggae to the whole history of Jamaica, from colonial island to troubled independence, and Jamaicans, from Kingston to London.

"Myself, Delia and Margery - a trinity of the sacred and profane, sinners and saints of a kind. Three defiant women with our individual, unconventional attitude to life. Untameable spirits, progressive thinkers living within the inherent societal constraints of our times."In 2018, boundary-breaking visual and sonic artist Cosey Fanni Tutti received a commission to write the soundtrack to a film about Delia Derbyshire, the pioneering electronic composer who influenced the likes of Aphex Twin and the Chemical Brothers. While researching Delia's life, Cosey became immersed in Derbyshire's story and uncovered some fascinating parallels with her own life. At the same time Cosey began reading about Margery Kempe, the 15th century mystic visionary who wrote the first English language autobiography.Re-sisters is the story of three women consumed by their passion for life, a passion they expressed through music, art and lifestyle; they were undaunted by the consequences they faced in pursuit of enriching their lives, and fiercely challenged the societal and cultural norms of their time.

“Alex Wheatle is an inspirer. He sheds light in dark places . . . He is a vital writer” LEMN SISSAY Abandoned as a baby to the British care system, Alex Wheatle grows up with no knowledge of his Jamaican parentage or family history. Later, he is inexorably drawn to reggae, his lifeline through disrupted teenage years and the challenges of living as a young Black man in 1980s Britain. “Alex Wheatle is the real deal; he writes with heart and authenticity, books that make you laugh and worry and cry and hold your breath” KIT DE WAAL Alex’s youth was portrayed in Oscar Award-winning director Steve McQueen’s “Small Axe” series (2020). In Sufferah, he tells his own story urgently, vividly and unsentimentally. His award-winning fiction – and this memoir – are a call to never give up hope. Sufferah reminds us that words can be our sustenance, and music our heartbeat. “Alex Wheatle writes from a place of honesty and passion” STEVE McQUEEN, director of Small AxeIn this breathtaking memoir, acclaimed writer Alex Wheatle shows how music became his salvation through a childhood marred by abuse and his imprisonment as a young man protesting against systemic racism and police brutality. Abandoned as a baby to the British care system, Alex grows up with no knowledge of his Jamaican parentage or family history. Later, he is inexorably drawn to reggae, his lifeline through disrupted teenage years, the challenges of living as a young Black man in 1980s Britain and his imprisonment for protesting against systemic racism and police brutality.Alex’s youth was portrayed in Oscar Award-winning director Steve McQueen’s Small Axe series. In Sufferah, he tells his own story, urgently, vividly and unsentimentally. His award-winning fiction – and this memoir – are a call to never give up hope. They remind us that words can be our sustenance, and music our heartbeat.

François J. Bonnet is a Franco-Swiss composer and electroacoustic musician based in Paris. In addition to being Director of INA GRM, Bonnet is also a writer and theoretician. As a musician, Bonnet often works under the project name Kassel Jaeger. He has been collaborating with artists such as Oren Ambarchi, Giuseppe Ielasi, Stephan Mathieu, Stephen O'Malley, Jim O'Rourke, Akira Rabelais or James Rushford Graphic design : Bartolomé Sanson. English edition11 x 16 cm (softcover)56 pages This is not a study. It is a manifesto for a peculiar conviction: that music remains to be discovered, that it is still hidden. That, nonetheless, it does sometimes appear, but most often incompletely and unevenly. And that what we have hitherto referred to as “music” is in fact only a preliminary, a prodrome. That all musics produced up until now have been nothing but simulacra, rituals to call music forth. This may sound crazy, and indeed unwelcome. But the sole concern of the following text will be to make this statement legible, understandable, and perhaps even to some extent acceptable. Its hope is that, setting out from a few intuitions, the possibility of a music to come can be formulated. That this obscure becoming will emerge, one trait at a time; that the shape of this music to come will reveal itself, gradually, by way of a cluster of assumptions, the reading of a multiple history, and the examination of damaging paradigms that have taken music far from itself. That the subjectivity of a writing, with all of its beliefs, its errors, its biases, its injustices and its shaky certainties, may yet manage to cast a singular and inspiring light upon the idea of music—this, ultimately, is the ambition of the lines to come.

Reprinted for the first time in over twenty years, Kevin Killian’s first book of poetry is an audacious, operatic dive into the darkest recesses of the AIDS crisis. In 1991, Killian reported he was “frozen, unable to think of a way to write about AIDS crisis”. A year later, his friend Kathy Acker suggested the “films of Dario Argento as a prism through which to take apart horror of living and dying in AIDS era”. The result is Argento Series, framing Killian’s real-life experience of losing his friends and lovers to the disease through the camera lens of Italian horror filmmaker, Dario Argento. Here, AIDS is cast as the horror film monster, wreaking cold, unfeeling chaos and destruction wherever it finds itself. Blending a chilling, impersonal observation of death with Killian's typical high camp, tenderness and O'Hara-like wit, the poems use unflinching honesty and gallows humour to devastating effect. In Argento Series, Killian finds expression for a crisis, and moment in history, that changed everything, forever. --- Kevin Killian (1952-2019) was a San Francisco-based poet, novelist, playwright, and art writer. Recent books include Fascination: Memoirs and the poetry collections Tony Greene Era and Tweaky Village. He is the coauthor of Poet Be Like God: Jack Spicer and the San Francisco Renaissance, the first biography of the important US poet. With Dodie Bellamy, he coedited Writers Who Love Too Much: New Narrative Writing, 1977–1997. He died in 2019.

‘John Wieners has been described as both ‘the greatest poet of emotion’ (by Robert Creeley) and ‘the poet laureate of gay liberation’ (within the Gay Liberation press). Solitary Pleasure delivers us this poet raw with mid-century queer feelings. Here, we encounter a writer preoccupied with the power and magic of poetics to profoundly render love, loss and survival in the face of destruction.’— Nat Raha, from the introduction 'Any "selected poems" is going to reveal the tastes of its editor, especially when those poems are selected from among an extensive body of work like the one John Wieners left us. Richard Porter's taste is exquisite, and his selection covers great ground, from the torch song poems of Wieners' early career to the rich, tessellated works of his beautiful and anguished late-sixties period. If I wanted a friend to fall in love with John Wieners, I'd give them this book.' — Michael Seth Stewart, editor of Stars Seen in Person: Selected Journals of John Wieners (City Lights) 'This book is a great love held on paper, groaning out of Black Mountain and Boston. You are hit accurately by the poet flying around you as a reincarnated bow and arrow cherub. John Wieners is a fever dream where the poems forever maintain their mystery, releasing a flood of spontaneity in the reader's imagination. Let's get in the magic with both feet; let's do it now!' — CAConrad, author of Amanda Paradise and While Standing in Line for Death (Wave Books)Solitary Pleasure is a new collection of poetry, journal entries, letters and ephemera by the American poet John Wieners, edited by Richard Porter with an introduction by Nat Raha. --- John Wieners (1934-2002) was a poet, a Black Mountain College alumnus and an antiwar, gay rights & mental health activist.

A rare document of the 1960s Black Arts Movement featuring Albert Ayler, Amiri Baraka, Milford Graves, Sun Ra, Cecil Taylor, and many more, The Cricket fostered critical and political dialogue for Black musicians and writers. Edited by poets and writers Amiri Baraka, A.B. Spellman, and Larry Neal between 1968 and 1969 and published by Baraka’s New Jersey–based Jihad productions shortly after the time of the Newark Riots, this experimental music magazine ran poetry, position papers, and gossip alongside concert and record reviews and essays on music and politics. Over four mimeographed issues, The Cricket laid out an anticommercial ideology and took aim at the conservative jazz press, providing a space for critics, poets, and journalists (including Stanley Crouch, Haki Madhubuti, Ishmael Reed, Sonia Sanchez and Keorapetse Kgositsile) and a range of musicians, from Mtume to Black Unity Trio, to devise new styles of music writing. The publication emerged from the heart of a political movement—“a proto-ideology, akin to but younger than the Garveyite movement and the separatism of Elijah Mohammed,” as Spellman writes in the book’s preface—and aimed to reunite advanced art with its community, “to provide Black Music with a powerful historical and critical tool” and to enable avant-garde Black musicians and writers “to finally make a way for themselves.” This publication gathers all issues of the magazine with an introduction by poet and scholar David Grundy, who argues that The Cricket “attempted something that was in many ways entirely new: creating a form of music writing which united politics, poetry, and aesthetics as part of a broader movement for change; resisting the entire apparatus through which music is produced, received, appreciated, distributed, and written about in the Western world; going well beyond the tried-and-tested journalistic route of description, evaluation, and narration.” --- David Grundy is the author of A Black Arts Poetry Machine: Amiri Baraka and the Umbra Poets (Bloomsbury Academic, 2019) and coeditor, with Lauri Scheyer, of Selected Poems of Calvin C. Hernton  (Wesleyan University Press, forthcoming). He is currently a British Academy Fellow at the University of Warwick, United Kingdom, where he is working on two manuscripts, Survival Music: Free Jazz Then and Now and Never by Itself Alone: Queer Poetry in Boston and San Francisco, 1943–Present  (Oxford University Press, forthcoming), and a further edited collection on Umbra.  A.B. Spellman is a poet, music critic, and former director of the Arts in Education Study Project for the National Endowment of the Arts.

The Synth History interviews… available in tangible 'zine form! The second thick high quality 150+ page issue is bigger than the last one! It features a compilation of interviews with contemporary and legendary icons within the synth world. Including interviews with Weyes Blood, Trent Reznor, Sylvan Esso, Ryuichi Sakamoto of Yellow Magic Orchestra, Nikolai Fraiture of The Strokes, Kyle Dixon and Michael Stein (cover photo), John Carpenter, Jean-Michel Jarre, Jackie Cohen & Jonathan Rado, Izzy Glaudini of Automatic, Hudson Mohawke, Hiroshi Sato interviewed by P-THugg, Fatboy Slim, Ela Minus, Chrome Sparks, Carl Craig, Black Marble, Alan Palomo, A-Trak, and specials from Alison Tavel with the Resyntaor Synth, and Lance Hill with Vintage Synthesizer Museum.

An indispensable guide to a deeper understanding of the nature of the human voice and its harmonic possibilities from East to West. Overtone Singing is the most comprehensive book ever written on the hidden harmonies of the human voice. Ethnomusicologist and vocalist Mark van Tongeren offers fascinating insights into the timeless and universal aspects of sound and vibration. Grounded in the author's decade-long study of Asian music, the book draws upon field work, interviews with Eastern and Western musicians, and copious scholarship to present a multidisciplinary vision of sound that runs from global music to the science of acoustics and perception, onward to the philosophical and spiritual dimensions of music. Written in a nontechnical style, this generously illustrated book is an indispensable guide for musicians, listeners, and performers seeking a deeper understanding of the nature of the human voice and its harmonic possibilities from East to West.

‘In this blown-away piece of Jarman magic, a fantasy / fable about how to see differently and a cornucopic visual version of the psyche, Derek Jarman casually reconstructs notions of empire, the road trip, and the mid-twentieth century journey of the soul. Trippy, light, fantastic.’ – Ali Smith ‘Derek Jarman was always an inspirational Renaissance figure, whose solidarity and commitment grounded his intense imagination. Here we can see for the first time how this remarkable conjunction of forces was present in his earliest work, and in a medium we did not associate with him – until now. Carry this volume with you as you would the key to all those doors that matter the most.’ – John Akomfrah"Published here for the very first time through our House Sparrow Press imprint, Through the Billboard Promised Land Without Ever Stopping is Derek Jarman’s only piece of narrative fiction. Written in 1971, it is a surreal, fabular, lyrical work – a literary fairytale acid-trip road movie hybrid – the energies and details of which influenced much of his later work across media. The richly poetic story, a cinematic prose quest, tracks the journey of a blind young King and his valet, disguised as beggars, who set out in no particular direction and with no particular purpose. Departing from Fargo, across the frontier of Movietown, along the Superhighway and picnicking on the Lawns of Paradise, they encounter vivid characters like Pierrot, Borgia Ginz and Topaz, an Emperor who ‘smiles with the art of mirrors’, as well as a Sphinx with ‘Silence is Golden’ written in her eyes. The story serves as a foundational text, laying out many of the themes, images and styling of Jarman’s work in painting, film and design whilst also being haunted by the then emerging ecological crisis in its juxtaposition of the beauty of nature with the reckless consumption of modernity. This edition features facsimile images of the story’s handwritten drafts from Jarman’s archive, a link to an exclusive audio recording of Jarman himself reading the story in full, and is comprehensively informed by a vivid foreword from Philip Hoare, a deeply researched afterword by Jarman scholar Declan Wiffen, and a warm memoir by the artist Michael Ginsborg, a close friend of Jarman’s throughout the period of the story’s writing."

‘microbursts is a sparklingly original, tender book that remakes language with delicacy and verve – finding new ways to speak loss, change and the many layered movements of the self.’ – Rebecca Tamás --- ‘Haunting, beautiful, honest. This is an incredibly relatable and carefully curated collection of writing and imagery about love, grief and creativity. It is a wholly original, truthful and sensitive portrayal of life and loss’ – Annie Lyonsmicrobursts is a collection of hybrid, lyric essays about the places between life and death; memoir and poetry; making and letting go. Originally written by Reeder as an intense text-based collection of lyric and experimental essays responding to the illnesses and deaths of her parents, it confronts the raw emotions of crisis, grief and creativity. Through collaboration with Thomson, the project expanded to consider how design and visual intervention might alter the nature and impact of the text. The outcome is a book which explores the subjects of illness, crisis, creativity, caring, death and grief, alongside the aesthetic and formal concerns of cross-genre writing, including how image, formatting and text work together to create tension, understanding and pace, expanding the possibilities of the essay and the artist’s book. Formally audacious, linguistically fluid, sensitive and intricate in its visual presentation, microbursts uses the potential and elasticity of the essay form to explore intensely personal, yet universal, experiences and considers the ways in which we can express and communicate these through spatial and linguistic form. Crucially, it achieves these things effortlessly, with its accessible, poetic language and engaging narrative of family, love, care, grief, dying, death and creativity. --- Elizabeth Reeder, originally from Chicago, now lives in Scotland. She writes fiction, narrative non-fiction and hybrid work that creates spaces between forms, subjects and disciplines. Her work explores identity, family, illness and grief, creativity and landscapes. She has published two previous novels, Ramshackle and Fremont, and her latest novel, An Archive of Happiness, was published by Penned in the Margins in September 2020. She is a MacDowell Fellow and a senior lecturer in Creative Writing at University of Glasgow. Her website is: elizabethkreeder.com Amanda Thomson is a visual artist and writer who is also a lecturer at the Glasgow School of Art. Her interdisciplinary practice is often about notions of home, movements, migrations, landscapes and the natural world and how places come to be made, and she has exhibited nationally and internationally. She earned her doctorate in interdisciplinary arts practice, based around the landscapes and the forests of the North of Scotland, in 2013. She lives and works in Glasgow and in Strathspey. Her first book, A Scots Dictionary of Nature, is published by Saraband Books. Her website is: www.passingplace.com

‘A real quantum strangeness abounds in Lila Matsumoto’s poems – actual glimpses of life’s fast-running plurality, all the sprouting impressions and perspectives, in misleadingly tidy sentences that unfold like intricate inventions.’– Sam Riviere ‘Visually masterful, painting images like an artist, and summoning scenes from nothing, so that we see them clearly in our own mind’s eye, Matsumoto also has a joyful, wayward sense of humour which made me snort-laugh here and there. If you like your poetry wildly inventive, then this is the book for you!’– Mab Jones, Buzz Magazine ‘An experimental poet whose work is characterised by genuine humour and a simmering sense of the ominous, Matsumoto has a sharp eye for an image, and seems to write with a specificity that draws out the uncanny within the real . . .Two Twin Pipes Sprout Water showcases a poet whose formal experiments are varied, admirable and, taken in succession, full of the unexpected.’– Seán Hewitt, The Irish TimesTwo Twin Pipes Sprout Water brings together five discrete sequences of poems and poem- stories. Moving through different voices and times, landscapes and interiors, Lila Matsumoto’s new collection offers a sense of the world as an observed tableau, inviting the reader to participate in a creation of a strange yet familiar world full of ordinary-extraordinary moments. Rooted in descriptions of objects and nature, these illustrative poems offer a sense of the world as an observed tableau, inviting the reader in as an involved and knowing participant in the creation of a strange yet familiar world. Moving through different voices and times, landscapes and interiors, Matsumoto’s poetry is one of energetic precision, alert to the subtleties of rhythm and to the inherently visual nature of poetry, embracing the hybrid potential of the form.

Journeys Across Breath collects poems from the extraordinary career of one of the UK’s most significant poets, Stephen Watts. Gathering all of Watts’ published works between 1975 and 2005 – as well as a number of unpublished pieces appearing here for the very first time – this collection is an astonishing journey through the life and eyes of a remarkable writer of people and place. This long-awaited volume presents the breadth of Watts’ writing, from early prose poems, through long narrative sequences, fragmentary episodes, and later poetic meditations – all in Watts’ unmistakable voice. A writer of both the intensely personal and deeply-felt universal, Watts’ poetry charts familial histories, friendships, and encounters, set in both remote, rural landscapes across Europe and the changing, urban environs of East London, where Watts has spent much of his life. Journeys Across Breath is a vital collection of work by a major voice in UK poetry, offering an indispensable companion to readers for years to come.