Published Faber & Faber ISBN 9780571351343 Published 07/02/2019 Format PaperbackIn 1970, Viv Albertine knew she wanted to be in a band, but had never seen a woman play electric guitar. Seven years later, she was the guitarist in the hugely influential all-female punk band, the Slits. This is the story of how, through sheer will, talent and fearlessness, she forced herself on to a male-dominated music scene and became part of a movement that changed music. Everything is here, unvarnished and unwashed: art school, squatting, hanging out in Sex with Vivienne Westwood and Malcolm McLaren, spending a day chained to Sid Vicious, on tour with The Clash, and being part of a brilliant, pioneering group of women making musical history. The result is a raw, thrilling story of life on the frontiers, and a candid account of what happened post-punk, taking in a career in film, IVF, illness, divorce - and making music again, twenty-five years later. This is a truly remarkable memoir, told in Viv's frank, irreverent and distinctive voice. Utterly shocking, very funny and ruthlessly honest, it is the story of a life lived unscripted, told from the heart.

The memoir of international music icon Richard Thompson, co-founder of the legendary folk rock group Fairport Convention. --- Guitarist and songwriter Richard Thompson came of age during an extraordinary moment in British culture: it was 1967 and popular music was reflecting a great cultural awakening. In the midst of this, eighteen-year-old Thompson co-founded Fairport Convention and helped invent a new genre of music.Thompson packed more than a lifetime of experiences into his late teens and twenties. From the pivotal years of 1967 to 1975, he matured into a major musician, survived a devasting car crash and departed Fairport Convention for a duo act with his wife, Linda, at the height of the band's popularity. His discovery and ultimate embrace of Sufism profoundly reshaped his approach to everything in his life and, of course, the music he wrote thereafter. In Beeswing, Thompson goes back to his childhood, recreates the spirit of the sixties and takes us inside life on the road in the UK and the US, crossing paths – and occasionally sharing the stage – with the likes of Led Zeppelin, Pink Floyd, Nick Drake, Jimi Hendrix and more.An intimate memoir of musical discovery, personal history and social revelation, Beeswing – like Patti Smith's Just Kids or Marianne Faithfull's Faithfull – vividly captures the life of one of Britain's most significant artists during a heady period of creative intensity, in a world on the cusp of change. ---'Honest in its self-appraisal, often very moving and sometimes extremely funny — this quiet joy of a memoir is just what you’d expect from one of the finest British musicians of the last 50 years.'RICHARD WILLIAMS'With Beeswing [Thompson] adds master memoirist to his long list of artistic accomplishments . . . fascinating.'BOB MOULD

Gant Steps examines the most important figures in the creation of modern jazz, detailing the emergence of bebop through the likes of Dizzy Gillespie, Charlie Parker, Fats Navarro, Bud Powell and Thelonious Monk. Using this as its starting point, Giant Steps subsequently delves into the developments of jazz composition, modal jazz and free jazz. The music of each of these great masters is examined in detail and will provide both a fine introduction for the large audience newly attracted to the music but unsure of their direction through it, as well as an entertaining and informative read for those with a more substantial background.

Publisher ‏ : ‎Minor Compositions (25 Jun. 2020)Language ‏ : ‎EnglishPaperback ‏ : ‎200 pagesISBN-10 ‏ : ‎1570273642ISBN-13 ‏ : ‎978-1570273643Dimensions ‏ : ‎22.9 x 1.6 x 15.2 cmThe passion, intensity and complexity of the popular music produced in England between 1965 75 is the work of an extraordinary generation of working-class and lower-middle-class men and women (in alliance with a handful of middle-class men and women) who saw in the new music the remaking of something bigger than themselves, or more precisely, something bigger than themselves that they could guide and shape and call their own. In this the "use-values" of popular music underwent an unprecedented expansion and diversity during this period. Red Days presents how music and action, music and discourse, experienced a profound re-functioning as definitions of the popular unmoored themselves from the condescending judgements of post-1950s high culture and the sentiment of the old popular culture and the musicologically conformist rock n roll seeking to displace it. The remaking of the popular between 1965 and 1975, accordingly, is more than a revision of popular taste, it is, rather, the demolition of old cultural allegiances and habits, as forces inside and outside of music shattered the assumption of popular music as the home for passive adolescent identifications. --- Minor Compositions, 2020

Joanna Stingray’s inspiring and poetic memoir introduces Western audiences to the legendary musicians of Soviet rock through her improbable Cold War heroics as a young New Wave musician who, in 1985, produced Red Wave: 4 Underground Bands from the USSR with music by her new friends that she had smuggled to the West. This is her incredible testimony of youthful fortitude and rebellion, her love story, and proof of the power of music and youth culture over stagnancy and oppression.   Wild and vivid — a rollicking memoir of romance and rock ‘n’ roll in an era of upheaval and transition. From Los Angeles to Leningrad and back again, Joanna’s story is borne along by her infectious, headlong enthusiasm. It’s quite a ride. – Patrick Radden Keefe, award winning staff writer at The New Yorker and author of Say Nothing: A True Story of Murder and Memory in Northern Ireland “You are the mother of Russian rock!” a fan shouted as Stingray promoted her new autobiography at a Moscow bookstore. […] The California musician aroused the suspicions of the KGB and the FBI as she bravely championed the Soviet underground in the 1980s. The Red Wave LP, released in America in 1986, introduced western audiences to Russian rock and helped end the Kremlin’s censorship of homegrown groups. – The Guardian

Publisher ‏ : ‎Pm Press (2 Aug. 2018)Language ‏ : ‎EnglishPaperback ‏ : ‎192 pagesISBN-10 ‏ : ‎1629635065ISBN-13 ‏ : ‎978-1629635064Dimensions ‏ : ‎15.24 x 1.02 x 22.86 cmThe book explores issues of archival theory and practice that arise for any project aspiring to provide an open access platform for political dialogue and democratic debate. How far can the archive serve as a platform for dialogue and debate between different generations of activists in a culture that fetishises the evanescent present, practices a profound amnesia about its counterfactual past, and forecloses the sociological imagination of an alternative future? Can the Left establish its own autonomous model of commemoration? --- PM Press, 2021

Noise Uprising brings to life the moment and sounds of a cultural revolution. Between the development of electrical recording in 1925 and the outset of the Great Depression in the early 1930s, the soundscape of modern times unfolded in a series of obscure recording sessions, as hundreds of unknown musicians entered makeshift studios to record the melodies and rhythms of urban streets and dancehalls. The musical styles and idioms etched onto shellac disks reverberated around the globe: among them Havana’s son, Rio’s samba, New Orleans’ jazz, Buenos Aires’ tango, Seville’s flamenco, Cairo’s tarab, Johannesburg’s marabi, Jakarta’s kroncong, and Honolulu’s hula. They triggered the first great battle over popular music and became the soundtrack to decolonization.

Selected by Mattin as part of his 3 day residency 17th-19th May, 2022In Speculation as a Mode of Production: Forms of Value Subjectivity in Art and Capital, Marina Vishmidt offers a new perspective on one of the main categories of capitalist life in the historical present. Writing not under the shadow but in the spirit of Adorno's negative dialectic, her work pursues speculation through its contested terrains of philosophy, finance, and art, to arrive at the most detailed analysis that we now possess of the role of speculation in the shaping of subjectivity by value relations. Featuring detailed critical discussions of recent tendencies in the artistic representation of labour, and a brilliant reconstruction of the philosophical concept of the speculative from its origins in German Romanticism, Speculation as a Mode of Production is an essential, widescreen theorisation of capital's drive to self-expansion, and an urgent corrective to the narrow and one-sided periodisations to which it is most commonly subjected.

Published: Duke University press Book Pages: 312 Illustrations: 25 illustrations Published: January 2016 Translator: James A. Steintrager Contributor: James A. SteintragerFirst published in French in 1998, revised in 2010, and appearing here in English for the first time, Michel Chion's Sound addresses the philosophical, interpretive, and practical questions that inform our encounters with sound. Chion considers how cultural institutions privilege some sounds above others and how spurious distinctions between noise and sound guide the ways we hear and value certain sounds. He critiques the tenacious tendency to understand sounds in relation to their sources and advocates "acousmatic" listening—listening without visual access to a sound’s cause—to disentangle ourselves from auditory habits and prejudices. Yet sound can no more be reduced to mere perceptual phenomena than encapsulated in the sciences of acoustics and physiology. As Chion reminds us and explores in depth, a wide range of linguistic, sensory, cultural, institutional, and media- and technologically-specific factors interact with and shape sonic experiences. Interrogating these interactions, Chion stimulates us to think about how we might open our ears to new sounds, become more nuanced and informed listeners, and more fully understand the links between how we hear and what we do.

“Although it may at first confound, Hennix’s work, given the deep engagement it requires and deserves, opens up a philosophical and spiritual bounty for her readers. Poësy Matters/Other Matters constitutes a major historiographical contribution to our understanding of experimental music post–John Cage” — Canada Choate, Artforum“This tremendous collection will allow us, finally, to study the winding paths taken by Catherine Christer Hennix in five decades of virtually peerless exploration. As a roadmap, it promises nothing like answers. Instead, committed readers will find themselves edged further into a limitless space of multiplying questions: a fitting tribute to this bright magus and her luminous worlds.” — Benjamin Piekut, Cornell University“Hennix was among the first to connect constructive approaches in the foundations of mathematics to theories of tuning, minimalism, and art practices of the post-Cage avant-garde. These writings put forward a singular and highly individualistic agenda linking Brouwer’s Creative Subject, Lacanian psychoanalysis, formal linguistics, categorical logic (and more) to the existence of an inexhaustible interior world.” — Spencer Gerhardt, Composer and MathematicianThis two-volume set, Poësy Matters and Other Matters, presents selected texts by the Swedish polymath Catherine Christer Hennix. Volume one, Poësy Matters, is divided into two sections: poetry and drama, with each section also containing pieces of commentary by Hennix or her longtime collaborator Henry Flynt. Volume two, Other Matters, is divided into two sections: first, program notes and essays about a wide range of topics (including music, psychoanalysis, and mathematics), and second, a reproduction of Hennix’s 1989 work The Yellow Book. The first comprehensive publication of Hennix’s written work, Poësy Matters and Other Matters illustrates the singular depth and variety of her contributions to contemporary music, art, literature, and mathematics. Best known as a composer, Catherine Christer Hennix has, throughout her fifty-plus-year career, produced innovative work in the fields of not just minimal and computer music, but psychoanalytic theory, intuitionist mathematics, poetry, and prose as well. Born in Stockholm in 1948, Hennix became involved with the local jazz and electronic music communities while in her teens, meeting visiting musicians such as Eric Dolphy and Albert Ayler, studying with trumpeter Idrees Sulieman, and becoming a member of the Elektronmusikstudio. In the late 1960s Hennix traveled to New York City, where, through Åke Hodell, she met Dick Higgins and, in turn, many other members of the New York avant-garde, including La Monte Young, who would become a formative figure for Hennix and introduce her to both Henry Flynt and her eventual guru, Pandit Pran Nath. In the ensuing decades Hennix has continued to compose and perform music in a variety of formations, including in Flynt’s Dharma Warriors, a quartet with Arthur Rhames, and more recently, with her own Chora(s)san Time-Court Mirage. Hennix’s ongoing explorations of mathematics, meanwhile—namely, the work of L.E.J. Brouwer—have led to teaching positions at SUNY-New Paltz and at MIT, and an extended collaboration with Alexander Esenin-Volpin. The texts in Poësy Matters and Other Matters reflect Hennix’s diverse training as well as her long-standing personal interests in La- canian psychoanalysis and Japanese and Middle Eastern poetic forms, resulting in a rich, diffuse collection of writings that reveal one of the avant-garde’s most implacable, not to mention overlooked, creative minds. --- Edited, with an introduction by Lawrence Kumpf 2 individual books, packaged together 311 pages, 448 pages 6.75 x 9.5 inches Paperback Edition of 1,000

Written by Harry Harrison, one of DiY’s founding members, Dreaming in Yellow traces their origins back to early formative experiences, describing in detail the seminal clubs, parties, festivals and records that forged the collective. Dreaming in Yellow is an attempt to distil the story of DiY’s tumultuous existence and the remarkably eclectic, outrageous and occasionally deranged story of them doing it themselves. Emerging from Nottingham in the summer of 1989, DiY were one of the first house sound systems in the UK. Merging the anarchic lineage of the free festival scene, the cultural and political anger of bands like Crass with the new, irresistible electronic pulse of acid house, they bridged the idealistic void left by the moral implosion of the commercial rave scene. From Castlemorton to the Café del Mar, the DiY sound and DJs became internationally renowned and beneath their banners of liberty, collectivism and untrammelled hedonism achieved an underground cult status that endures to this day. Having celebrated their thirtieth anniversary in 2109, DiY continues to challenge the idea that dance music is apolitical and to celebrate the ideology of liberation through fun. Written by Harry Harrison, one of DiY’s founding members, this book traces their origins back to early formative experiences, describing in detail the seminal clubs, parties, festivals and records that forged the collective. Dreaming in Yellow is an attempt to distil the story of DiY’s tumultuous existence and the remarkably eclectic, outrageous and occasionally deranged story of them doing it themselves.

Bedroom Beats & B-sides is the first comprehensive history of the instrumental hip-hop and electronic scenes and a truly global look at a thirty-year period of modern music culture based on a decade of research and travel across Europe, North America, and Japan.   Bedroom Beats & B-sides is the first comprehensive history of the instrumental hip-hop and electronic scenes and a truly global look at a thirty-year period of modern music culture based on a decade of research and travel across Europe, North America, and Japan. The first decades of the 21st century saw dramatic changes in the music industry as new technology transformed creation, communication, and consumption. Amid this turmoil one change occurred relatively quietly, almost naturally: so-called bedroom producers, music makers raised on hip-hop and electronic music, went from anonymous, often unseen creators to artists in their own right. In Bedroom Beats & B-sides: Instrumental Hip Hop & Electronic Music at the Turn of the Century, Laurent Fintoni details the rise of a new generation of bedroom producers at the turn of the century through the stories of various instrumental hip-hop and electronic music scenes. From trip-hop, jungle, illbient, and IDM in the 1990s to just “beats” in the late 2000s, the book explores how these scenes acted as incubators for new ideas about composition and performance that are now taken for granted. Combining social, cultural, and musical history with extensive research, the book tells the B-side stories of hip-hop and electronic music from the 1990s to the 2010s and explores the evolution of a modern beat culture from local scenes to a global community via the diverse groups of fringe idealists who made it happen and the external forces that shaped their efforts. Includes quotes and stories drawn from more than 100 interviews with producers, DJs, label owners, and more including James Lavelle, Charlie Dark, Luke Vibert, Mark Pritchard, Flying Lotus, Georgia Anne Muldrow, El-P, Hudson Mohawke, Kode9, Prefuse 73, Anti Pop Consortium, Dabrye, Waajeed, Tekilatex, Ghislain Poirier, Kutmah, LuckyMe, Benji B, The Bug, and many more. Bedroom Beats & B-sides is the first comprehensive history of the instrumental hip-hop and electronic scenes and a truly global look at a thirty-year period of modern music culture based on a decade of research and travel across Europe, North America, and Japan. Laurent Fintoni says: “Bedroom Beats & B-sides is a deeply personal project that has consumed me for over 20 years. I hope it can do some justice to the vibrancy and importance of the culture it seeks to celebrate and its people. I am grateful to Velocity Press for taking a chance on me as a first-time author and giving me space and support to tell the first, but hopefully not the last, version of this story.”

Revised reissue of the acclaimed first-ever book-length investigation into the origins of jungle and drum & bass. Back in print for the first time since 1998, State of Bass: The Origins of Jungle and Drum & Bass features previously unpublished interviews with Roni Size, Goldie, LTJ Bukem, Fabio, Shy FX and other key players from the early years of the scene.

Published: Ignota Books Publish Date: 20th Nov 2020 ISBN: 1999675959 Edited by Ben Vickers & K Allado-McDowellForeword by Bill Sherman Like a snake eating its tail, artificial intelligence exists in a circular relationship with its human creators. The Atlas of Anomalous AIis a compelling and surprising map of our complex relationship to intelligence, from ancient to emerging systems of knowledge. A wildly associative constellation of ideas, stories, artworks and historical materials, theAtlasdraws on art historian Aby Warburg’s Mnemosyne Atlas — an image map of the “afterlife of antiquity” — to approach the defining concepts of AI from an imaginative, artistic and revitalising perspective. The Atlas presents a hyperdimensional view of the world, through a broad range of perspectives that explore the question of what AI has been and what it is becoming. Key texts on modelling, prediction and automation are brought together with stories of science fiction, dreams and human knowledge, set among visionary and surreal images --- Contributions from writers, philosophers and curators including: Blaise Agüera y Arcas, Ramon Amaro, Noelani Arista, Jorge Luis Borges, Benjamin H. Bratton, Federico Campagna, Arthur C. Clarke, Rana Dasgupta, Eknath Easwaran, GPT-2, GPT-3, Yuk Hui, Nora N. Khan, Suzanne Kite, Jason Edward Lewis, Catherine Malabou, Hans Ulrich Obrist, Matteo Pasquinelli, Archer Pechawis, Noah Raford, Nisha Ramayya, Beth Singler and Hito Steyerl.Artworks by: Anni Albers, Pablo Amaringo, Refik Anadol, William Blake, Ian Cheng, Ithell Colquhoun, DeepDream, Federico Díaz, Susan Hiller, Hildegard of Bingen, Pierre Huyghe, C. G. Jung, Hilma af Klint, Emma Kunz, Paul Laffoley, Lucy Siyao Liu, Branko Petrović and Nikola Bojić, Santiago Ramón y Cajal, Casey Reas, Jenna Sutela and Suzanne Treister. Artworks by: Anni Albers, Pablo Amaringo, Refik Anadol, William Blake, Ian Cheng, Ithell Colquhoun, DeepDream, Federico Díaz, Susan Hiller, Hildegard of Bingen, Pierre Huyghe, C. G. Jung, Hilma af Klint, Emma Kunz, Paul Laffoley, Lucy Siyao Liu, Branko Petrović and Nikola Bojić, Santiago Ramón y Cajal, Casey Reas, Jenna Sutela and Suzanne Treister. --- Editors: Ben Vickers is a curator, writer, publisher, technologist and luddite. He is CTO at the Serpentine Galleries in London, co-founder of Ignota Books and an initiator of the open-source monastic order unMonastery. K Allado-McDowell works in the overlap between music, language, technology and healing. With over twenty years of experience translating between technical and cultural worlds, Allado-McDowell is a sought after speaker and consultant to cultural, artistic, and technological institutions that desire to align their work with larger traditions of human understanding. Allado-McDowell established the Artists + Machine Intelligence program at Google AI, bringing artists and philosophers into collaboration with machine learning researchers to develop research strategy and policy for emerging AI technology. Allado-McDowell records and releases music under the name Qenric.

In the form of a richly illustrated compendium, Tape Leaders is an indispensable reference guide for anyone interested in electronic sound and its origins in Great Britain. For the first time, a book sets out information on practically everyone active with experimental electronics and tape recording across the country to reveal the untold stories and hidden history of early British electronic music. With an individual entry for each composer, it covers everyone from famous names like William Burroughs, Brian Eno and Joe Meek to the ultra-obscure such as Roy Cooper, Donald Henshilwood and Edgar Vetter. There are sections for EMS and the BBC Radiophonic Workshop and amateurs, groups and ensembles that experimented with electronics, including The Beatles, Hawkwind and White Noise.

Format: Paperback Publisher: PLUTO PRESS Published: August 1, 2007 ISBN: 9780745321653 352 pages Sometimes described as ‘the British Brecht’, Ewan MacColl (1915-1989) was a major twentieth-century political artist. This is the first biography of MacColl, and was prepared with the authorisation of his collaborator and widow, Peggy Seeger. MacColl became a communist at fourteen and spent six decades at the cultural forefront of numerous political struggles, producing plays, songs and radio programmes on subjects ranging from the Spanish Civil War to the Poll Tax. Charting his involvement in radical theatre, his ground breaking radio work in the UK and the USA, as well as his musical influences and legacy, his three marriages, and his relationship with his songwriter daughter Kirstie MacColl, this is a lively account of a much-loved icon of 20th century folk music. Drawing on extensive research, Class Act is a freshly conceived and energetically written account of a highly creative and controversial activist.

Publisher: University of Chicago Press ISBN-10: 0226109593 Publication date: 15 Sept. 2011 Language: English The Sacred Harp choral singing tradition originated in the American South in the mid-nineteenth century, spread widely across the country, and continues to thrive today. Sacred Harp isn’t performed but participated in, ideally in large gatherings where, as the a cappella singers face each other around a hollow square, the massed voices take on a moving and almost physical power. I Belong to This Band, Hallelujah! is a vivid portrait of several Sacred Harp groups and an insightful exploration of how they manage to maintain a sense of community despite their members’ often profound differences. Laura Clawson’s research took her to Alabama and Georgia, to Chicago and Minneapolis, and to Hollywood for a Sacred Harp performance at the Academy Awards, a potent symbol of the conflicting forces at play in the twenty-first-century incarnation of this old genre. Clawson finds that in order for Sacred Harp singers to maintain the bond forged by their love of music, they must grapple with a host of difficult issues, including how to maintain the authenticity of their tradition and how to carefully negotiate the tensions created by their disparate cultural, religious, and political beliefs. --- University of Chicago Press, 2011

Publisher :Zone BooksLanguage :EnglishHardcover :368 pagesISBN-10 :1935408658ISBN-13 :978-1935408659What is the origin of music? In the last few decades this centuries-old puzzle has been reinvigorated by new archaeological evidence and developments in the fields of cognitive science, linguistics, and evolutionary theory. In this path-breaking book, renowned musicologist Gary Tomlinson draws from these areas to construct a new narrative for the emergence of human music. Starting at a period of human prehistory long beforeHomo sapiensor music existed, Tomlinson describes the incremental attainments that, by changing the communication and society of prehumen species, laid the foundation for musical behaviors in more recent times. He traces in Neandertals and early sapiens the accumulation and development of these capacities, and he details their coalescence into modern musical behavior across the last hundred millennia. But A Million Years of Musicis not about music alone. Tomlinson builds a model of human evolution that revises our understanding of the interaction of biology and culture across evolutionary time-scales, challenging and enriching current models of our deep history. As he tells his story, he draws in other emerging human traits: language, symbolism, a metaphysical imagination and the ritual it gives rise to, complex social structure, and the use of advanced technologies. Tomlinson's model of evolution allows him to account for much of what makes us a unique species in the world today and provides a new way of understanding the appearance of humanity in its modern form. --- Zone Books, 2015