SKU: 9780571360512 Publisher:Faber & Faber Selected and arranged by the authors themselves, and featuring an introduction by Jarvis Cocker, Side by Side presents the lyrics, poems, writings and drawings of innovative musician Robert Wyatt and his creative partner, English painter and songwriter Alfie Benge. As a founding member of influential English rock bands Soft Machine and Matching Mole, and with a solo career which has lasted for over forty years and seen him collaborate with a diverse range of artists including Bjork, Brian Eno, Carla Bley, Paul Weller and David Gilmour, his own music remains unclassifiably personal. Alfie Benge is a visual artist, songwriter and pioneering music manager, having managed Robert’s career for fifty years. She is also married to Robert. Since 1982 they have collaborated on many of Robert’s most well-known songs. This unique volume celebrates one of the most enduring creative partnerships of the last half-century.

Published: Burning DeckISBN: 1936194090P. Inman radically fractures the conventions of language in order to build everything up again from a more elemental level. In PER SE, the composers Luigi Nono, Morton Feldman, Hans Lachenmann provide musical structure for his jazz-inflected words in motion. The book lives in the tension between the free, multidirectional movement of words and the highly orgazined macro-structures.

'From a premier contemporary, murmur invitates us to revised attention, to a verbal & typographic spatiality where operates a liberating vulnerability to what irrupts.'  Full colour work, available for the first time in print.

Anthony Barnett produced the Natural Music concert at which Lennon and Ono recorded 'Cambridge 1969' released on *Unfinished Music No. 2: Life with the Lions*. This book, illustrated with contemporary documents, includes Lennon's drawing on the inner sleeve of the author's copy of Zapple 01, examines the full circumstances surrounding the concert."...in 1969 this was Lennon's first public appearance post Beatles and so it became fodder for documentation. This work is Barnett's attempt to set the record straight and begins with his first meeting with Ono in 1966. Following this account is a description of the concerts, the tapes and issuance of the recordings. From the beginning nothing went smoothly as Barnett was at first caught off guard by the assumptions of celebrity and ensuing commercial interests. Throughout Barnett inserts other published accounts and interviews of the 3/2/69 event. Fascinating reading and it highlights the very different worlds of rock and jazz as they existed in 1969."—Bob Rusch, Cadence Magazine

"To encounter BBF Hosted by DJ Escrow through Dhanveer Brar’s ears is to see Babylon through his eyes, and to sense Britain—to uncover with 'accuracy, brutality and beauty' the complexities of its meaning—through the social music, social vision and social feel of those who refuse the Britishness that is withheld from them. Brar discerns Dean Blunt’s rightful place in a cultural field where critical discourse and sonic dream are fundaments of a dub university curriculum whose various approaches show the absolute necessity and generativity of stealth, flaw and the resistance to category. Blunt’s “love letter to the blackness of Hackney” deserves the most rigorous, gentle, erudite attention. Happily, Dhanveer Brar is here to provide it." – Fred Moten.the87press is delighted to present our first book of non-fiction produced in collaboration with darkmatter journal. Dean Blunt is the most important British artist of the current century because he fundamentally does not care about Britain. His importance makes it shocking that such little critical attention has been paid to his work. His indifference explains it. Dhanveer Singh Brar’s ‘Beefy’s Tune (Dean Blunt Edit)’ looks to initiate a conversation that needs to be had about Dean Blunt, about Britain (through Blunt’s indifference to it), and about Blackness in Britain (through the depth and complexity of Blunt’s feeling for it). Using the 2016 album ‘BBF Hosted By DJ Escrow’ as a means of navigation, Brar hears Blunt in order to access the long contested dream of Britain’s disappearance that was conducted under the name of Black British Arts. Partial (in the sense of his relation to Blunt) and partial (in the sense of unfinished), ‘Beefy’s Tune (Dean Blunt Edit)’ see’s Dhanveer Singh Brar give the dream a grammar, if not a name.Dhanveer Singh Brar is a theorist and scholar who teaches in the Department of Visual Cultures at Goldsmiths, University of London. His is a member of Le Mardi Gras Listening Collective and Lovers Discourse. Brar’s second book ‘Teklife, Ghettoville, Eski: The Sonic Ecologies of Black Music in the Early Twenty-First Century’ will be published by Goldsmiths Press/MIT Press in Spring 2021

Published by The Grass is Greeen In Fields For You 120mm x 155mm, 132pp, perfect bound with fold in flaps, black and white digital printed interior, red and violet risograph printed cover, first edition of 200, 2022"Landing on my doorstep in the Summer of 2022 was a package from Matthew. Within this bubblewrap casing was a book, a hefty book, called Create Disturbance In Your Mind. A 'micro-edition publication' (I received copy 15/57) which I was infatuated with from the get go. Full colour collages adorn the left hand pages, and automatic writing in short passages on the right. Typewritten, fast. As you reach the end you find the works are all created and correspond to a 2CD compilation 'Create Disturbance In Your Mind' by Midnight Mines, of which Sorrow is one half. Listening and responding in immediate fashion creating the outcome. I was struck by how immediate this was. Typewritten, fast, no outtakes, all included. I then contacted Sorrow on a whim—can I release this through The Grass is Green...?—he had found me, I will find him. As with lets say, Punk is Dad by Jamie Johns, I felt there was so much to be seen and felt from this publication that a shift from micro- to open- was appropriate. And here we are. The original full colour and A5, this version smaller for the pocket and black and white, call it a facsimile, call it making it as immediate as possible."

Published by The Grass is Green in the Fields for You 130mm x 180mm, 140pp, perfect bound, hand stamped cover, 2019.New project from Matthew Walkerdine: The Grass is Green in the Fields for You. A small press publisher investigating the unsung corners of music culture, its participants and subculture fandom. Releases shun exaggerated self-opinion instead favouring collaboration, community and conversation. In the early 1980's, in the small town of Rugby in the centre of England, three teenagers began melding early blues with feedback, one-chord drones, booming drums, smashing cymbals, gospel, Turkish Saz and two-note melodies. Natty Brooker, Pete Kember and Jason Pierce were Spacemen 3. On 3 August, 1985, they played a gig in the backroom of the Black Lion pub on St. Giles Street in the nearby town of Northampton. All these years laters, it is still the best gig I’ve ever seen. It is also the gig that led directly to the band’s first-ever recording deal. As a teenager growing up in Rugby in the '80s I saw Spacemen 3 play in many pub backrooms. They were, and remain, an incredible band and over the years, their reputation has spread far beyond those sticky floored, fag ash filled, grubby backrooms. Sometime in the early part of the 21st century, in a house in the south of France, I rediscovered a shoebox filled with photos, posters, tickets, flyers and cassettes from the mid-'80s and I tipped the lot out onto the floor. In among the ephemera were the photographs and cassette recording from that gig on 3 August 1985, the earliest Spacemen 3 gig for which there was a recording and photographs. And I wondered: where were all the people who were at the gig that night? And did they remember it too?

Print run: 600 Size: 11 x 17 cm Softcover, 48 pages June, 2022The first volume in bie bao series dedicated to militant zaum investigations of Ilya Zdanevich - Iliazd (1894-1975). Zdanevich was a poet, designer, typographer, theoretician, and publisher who developed a new philosophy and methodology from zaum (trans-sense) experiments.

Publisher ‏ : ‎Scb Distributed Publishers (6 July 2017)Language ‏ : ‎EnglishPaperback ‏ : ‎288 pagesISBN-10 ‏ : ‎1941576249ISBN-13 ‏ : ‎978-1941576243Dimensions ‏ : ‎12.7 x 1.75 x 17.78 cmThe Other Night at Quinn's is an uncommon and engaging portrait of people gathering to make and embrace deeply personal art in the age of new media. In early 2014, Mike Faloon sees jazz legend Joe McPhee perform at Quinn's, a recently reopened diner turned club in Beacon, New York. Faloon soon realises he's stumbled across a vibrant scene - 'small, local, and brave as hell' - that is at once unique and universal. --- Foreword: Joe Mcphee --- Scb Distributed Publishers, 2017

"[This Woman's Work] strikes a chord: "We can't help but surrender to what moves us in the sound even if it seems contradictory or irrational; in fact, our experience of music is full of contradictions," Heather Leigh writes in the introduction. The result is a collection worth tuning in to." - Publishers Weekly "By inhabiting the sound worlds these women create, we get to engage with a vast range of ideas, to consider profound concepts of liberty and oppression, of joy and terror. Always there are the notes between, of the unexpected, the nuanced, the bold. . . This Woman's Work is an important collage of tenses, disciplines, perspectives, borders and experiences." - The QuietusThis Woman’s Work: Essays on Music is edited by Kim Gordon and Sinéad Gleeson and features contributors Anne Enright, Fatima Bhutto, Jenn Pelly, Rachel Kushner, Juliana Huxtable, Leslie Jamison, Liz Pelly, Maggie Nelson, Margo Jefferson, Megan Jasper, Ottessa Moshfegh, Simone White, Yiyun Li and Zakia Sewell.Published to challenge the historic narrative of music and music writing being written by men, for men, This Woman’s Work seeks to confront the male dominance and sexism that have been hard-coded in the canons of music, literature, and film and has forced women to fight pigeon-holing or being side-lined by carving out their own space. Women have to speak up, to shout louder to tell their story – like the auteurs and ground-breakers featured in this collection, including: Anne Enright on Laurie Anderson; Megan Jasper on her ground-breaking work with Sub Pop; Margo Jefferson on Bud Powell and Ella Fitzgerald; and Fatima Bhutto on music and dictatorship.This Woman’s Work also features writing on the experimentalists, women who blended music and activism, the genre-breakers, the vocal auteurs; stories of lost homelands and friends; of propaganda and dictatorships, the women of folk and country, the racialised tropes of jazz, the music of Trap and Carriacou; of mixtapes and violin lessons.

Listening into writing, reading into writing take shape in F.M.R.L. through a collection of short texts, fragments and ‘deranged essays’, with attention to pacing and linguistic derives. An archive of books, notebooks, events and records prompts the texts in these pages, responding to encounters with Michel Leiris’s autobiographical fictions; concerts and events at Café Oto and the Swedenborg House in London; visits to museums such as the Pitt Rivers in Oxford and exhibitions such as Ice Age Art at the British Museum, among the others. F.M.R.L. is a book constructed across sonic patterns, assonance, repetitions, comprising texts that intermittently drift from sense to sound and to nonsense and back. A flip from the immateriality of sound to the sounds of letters and words as material, a call from reading to voicing.

Anne Bean: Self Etc. is the first major monograph about the performance work of artist Anne Bean, a noted international figure who has been working actively since the 1960s. Part of the Intellect Live series, co-published with the Live Art Development Agency, this book includes extensive visual documentation of Bean’s performances, critical essays by leading scholars of art and performance and a series of new visual essays by the artist. Additional contributions include documentation of collaborations with influential artists, such as Bean’s Drawn Conversations, made at Franklin Furnace, New York, in collaboration with Harry Kipper, Karen Finley, Kim Jones and Fiona Templeton; and TAPS: Improvisations with Paul Burwell, involving numerous artists, including Paul McCarthy, Steven Berkoff, Evan Parker, Brian Catling, Carlyle Reedy, Rose English, David Toop, Lol Coxhill, Jacky Lansley and Maggie Nicols. Lavishly illustrated and including previously unseen images, Anne Bean explores and expands the nature, form and contexts that artistic collaboration can take.

“Before punk was even called ‘punk’ – when something foul to most but the sweetest
nectar to the few was bubbling up from the depths – there was Max.” Ted Polhemus “Max was there – from proto-punk performing and the early punk rock Sex shop scene, to drumming at the beginning of Adam and the Ants and the Monochrome Set, then on through post-punk with Rema-Rema and cyber-psychedelic-punk with Psychic TV.”
 Tom Vague A vibrant, wry, and engaging account of life as an adventurous, queer young person in late 1970s London discovering themselves as an artist, and an individual. While working as a photographer’s model, gallery usher, and exotic dancer, Dorothy “Max” Prior witnessed the births of Adam and the Ants, The Monochrome Set, The Sex Pistols, and Throbbing Gristle, as well as drumming in her own cult band Rema Rema and recording with Industrial Records.  Her exuberant commentaries, each presented as a stand-alone episode, illustrate the multilayered nature of the London music, art, and fashion worlds of the late 1970s, and the overlap between the early punk scene with the city’s rapidly evolving club and queer cultures. --- The title refers to the legendary house in South Kensington, where the author lived from 1976 to 1982. Through twelve vivid, engaging, and occasionally shocking vignettes, Max maps out the wild and exhuberant counter-cultures of late ’70s London, including: • Working life as a go-go dancer, model and stripper. • The queer counter-culture that gave way to punk. Disco meets Punk in the gay clubs of 1970s London. • A celebration of the women at the crux of the gay/punk axis, including Vivienne Westwood, Jordan, Louise’s DJ Caroline, and the fabulous and feisty Sharon of the Bromley Contingent. •Inside The Band With No Name, which became Adam and the Ants and The Monochrome Set; and spawned Bow Wow Wow and Rema Rema.  • Halcyon days working at the ICA: including Helmut Newton’s ‘dead’ women, Mary Kelly’s dirty nappies and Throbbing Gristle’s infamous Prostitution exhibition. • The notorious Eaton Square squat, whose inhabitants included various gay and trans performance artists and a real live lion.

Publisher: Canongate Books Published: Oct 2000 Pages: 512 ISBN: 9781841950556This ground-breaking biography is as much about Sun Ra's music as it is about his passionate, often wildly unorthodox views on the galaxy, black people and spiritual matters. With the various incarnations of his inimitable Arkestra, his repertoire ranged from boogie-woogie to swing to be-bop to fusion to New Age, and his influence extended throughout the jazz and rock worlds. While Sun Ra made a lifelong effort to obscure many of the facts of his early years, he did acknowledge that he was born on the planet Saturn. John Szwed has succeeded brilliantly in delving into and evoking the life and work of this extraordinary artist. --- Canongate Books, 2000

Jazz musicians call it The Bible. Critics call it the one jazz album every fan must own. Forty-one years since its recording in 1959, it has sold millions worldwide and sits near the top of any list of most important records of the century. How did two impromptu sessions produce such a timeless acknowledged masterpiece? Now, for the first time, Ashley Kahn takes us into the studio to witness the creation of an album that still thrills jazz musicians, enthusiasts, and newcomers alike with its deceptively simple tunes. Using eyewitness accounts and newly discovered documents, Kahn traces Miles’s move from bop to modal jazz, re-creates the sessions using master tapes (weighing in on fragmentary takes and the dispute about composers), and follows the rise of the album from its contemporary reception to its transformation into a cultural landmark through conversations with those who were there. Extensively researched and copiously illustrated, Kind of Blue recovers an invaluable piece of musical history and heightens fans’ appreciation of the album they know and love.New and never-before-published material in Kind of Blue includes: The complete, unedited master session tapes, with analysis of fragmentary takes that have never been released, and studio dialogue between Davis and the musicians Over forty new interviews with musicians, producers, and critics, including Herbie Hancock, Elvin Jones, Quincy Troupe, George Avakian, Nat Hentoff-and the only people still living who witnessed the making of the album: Jimmy Cobb, engineer Bob Waller, and photographer Don Hunstein Previously unpublished photos of the recording session, featuring a rare shot of Miles’s charts Studio logs and internal memos from Columbia about the making and marketing of the album The handwritten version of Bill Evans’s famous liner notes

On a quiet day, near the Caribbean island of Black Conch, a mermaid raises her barnacled head from the flat grey sea. She is attracted by David, a fisherman waiting for a catch, singing to himself with his guitar. Aycayia the mermaid has been living in the vast ocean all alone for centuries.When Aycayia is caught and dragged ashore by American tourists, David rescues her with the aim of putting her back in the ocean. But it is soon clear that the mermaid is already transforming into a woman.This is the story of their love affair, of an island and of the great wide sea.

With a Foreword by Francesca Wade and an Introduction by Sophie Lewis 'Di Prima is one of the greatest writers of her generation.' Chris Kraus 'Explosive and nourishing . . . Revolutionary Letters is a time machine towards a better future.' Ken ChenDiane di Prima began writing her ‘Letters’ in 1968, conjuring a potent blend of utopian visions, ecological urgency and spiritual insight. By turns a manifesto for breaking free, a manual for street protest and a feminist broadside, these poems are as relevant to the convulsions and crises of today as they were fifty years ago. During the last years of her life, di Prima worked on the final iteration of her enduring project. This volume brings together fifteen new poems with all the previously published Letters in an expanded fiftieth anniversary edition.

Fiction by Alison Mills NewmanWith a contribution by Saidiya Hartman The book makes space for rumination, complexity, and transience. It offers a unique window into the mind of one woman, at one moment in history, and by doing so examines beauty, sex, and art through her eyes. Once you get into the flow of Newman’s prose, you’ll find artistic and intellectual riches.—Kirkus ReviewsAlison Mills Newman’s novel Francisco—“profoundly underappreciated” (NY Times)—has long been out of print and impossible to find. Written in her early twenties in a “fluently funky mix of standard and nonstandard English” (Harryette Mullen), Mills Newman tells the vibrant story of a young black woman’s love affair with an indie filmmaker, Francisco. Described as “a portrait of the artist as a young black woman trying to find a way back to herself” in the new foreword by Saidiya Hartman, Francisco unfolds like an on-the-road diary of a young actress and musician as she becomes increasingly disillusioned with success in Hollywood. She chronicles her bohemian life with her filmmaker lover, visiting friends and family up and down California, and her involvement in the 1970s Black Arts movement. Angela Davis, Muhammad Ali, Pharoah Sanders, Melvin Van Peebles, Frank Silvera, and Amiri Baraka make appearances, along with other artists and writers like Ishmael Reed and Joe Overstreet. Love and friendship, long revealing conversations, parties and dancing in Berkeley and LA—Francisco celebrates “the workins of a positive alive life that is good value, quality, carin, truth . . . the gift of art for the survival of the human heart."