Book includes download codeA large book-object of scores by artist and composer Philip Corner, including a numbered art print and a supplemental audio download which features recordings of many scores from the book, played on a variety of instruments by 10 musicians (limited edition of 100 hand-numbered copies). The Art of No-Art is a collection of 385 new graphic scores written between 2019 and 2022. Each score is a single-page meditation based around octaves. Though written mostly for piano, the scores could be arranged for other instrumentation (for those with fewer than an 8 octave range). The Art of No-Art explores the endless possibilities of one musical note (and its bounded harmonics). The pieces can be performed by people of any skill level; rudimentary or advanced navigations are possible.A supplemental audio download is included, which features recordings of many scores from the book, played on a variety of instruments by Agnese Toniutti, Rhodri Davies, Sarah Davachi, Derek Baron, Philip Corner, Matt Hannafin, Charlie Morrow, Zachary Paul, and Silvia Tarozzi. Additionally, Philip Corner wrote instructions for Sean McCann to collage all these recordings into a grand piece of No-Art. A numbered art print of the score "Life's A Joke" is included, a piece for voice which invites the reader to sing (or shout), "LIFE'S A JOKE AND ALL THINGS SHOW IT, I THOUGHT SO ONCE AND NOW I KNOW IT."

170 x 240mm, 244 pages, Colour printing, Perfect bound, Softcover, 2022  An acoustic mapping of colonial history. From his longstanding engagement to "un-mute" colonial sound collections captured during the European colonial period, Satch Hoyt's practice has been dedicated to intervene those collections and awake their sonicity, releasing phonogram recordings and instruments of different regions in Africa from the museological silence. For Hoyt, the sonic opens a portal to the acoustic mappings of history—testimonies of enslavement, resistance, empowerment and liberation, and also the amalgamations of today and the future. For the book launch, Satch Hoyt in collaboration with Dirk Leyers performs live, intertwining historical and present recordings, vintage instruments and electronic music. By combining processed electric flute, electronic percussions, Congolese Sanzas, Brazilian Berimbau, synthesizers and recordings, Hoyt uncoveres layers of diasporic experience, reimagining memories of the African Diaspora from contemporary and future spaces in which, as Hoyt stays in the book, "the recorded past becomes the present". "Imagine a counter-journey through a multi-media mixing board of Afro-Sonic resistance beginning on the Southwest coast of Africa in 1483 and playing back live the layered improvisations of Angolan musicians and artists from the Congo, Angola, Brazil, and Portugal. With breathtaking scope, Satch Hoyt has scrambled the signals of settlers and colonial theft. He chronicles here his archival research and exuberant artistic collaborations across a map of Afro-sensibility that resoundingly displays that culture is a living activity and a practice of creative hospitality and ultimately, the jam". —Tsitsi Jaji, author of Africa in Stereo: Music, Modernism, and Pan-African Solidarity (2014)

Publisher :W. W. Norton & CompanyLanguage :EnglishPaperback :224 pagesISBN-10 :0811226603ISBN-13 :978-0811226608Dimensions :13.46 x 1.52 x 20.32 cmNathaniel Mackey's Late Arcade opens in Los Angeles. A musician known only as N. writes the first of a series of letters to the enigmatic Angel of Dust. N.'s jazz sextet, Molimo m'Atet, has just rehearsed a new tune: the horn players read from The Egyptian Book of the Dead with lips clothes pinned shut, while the rest of the band struts and saunters in a cosmic hymn to the sun god Ra. N. ends this breathless session by sending the Angel of Dust a cassette tape of their rehearsal. Over the next nine months, N.'s epistolary narration follows the musical goings-on of the ensemble. N. suffers from what he calls "cowrie shell at- tacks"--oil spills, N.'s memory of his mother's melancholy musical Sundays-- which all becomes the source of fresh artistic invention. --- Here is the newest installment of the National Book Award-winner Nathaniel Mackey's From a Broken Bottle Traces of Perfume Still Emanate, the great American jazz novel of "exquisite rhythmic lyricism" (Bookforum). --- W. W. Norton & Company, 2017

Published by The Grass is Greeen In Fields For You 200mm x 250mm, 116pp, perfect bound Medium blue and light teal risograph printing throughout, perfect bound, softcover, full colour sticker adheared to the cover, includes a fold out poster, first edition of 200, 2022  Collected from published and unpublished sources Watercolor of Jandek Debut charts the writing of David Roeder between 2015 and 2020. Roeder has an ability to coax out familiarity in his writing whilst opening up ideas you may not have considered. It is a personal, enthusiastic and heartfelt whilst still keeping music and writing at the fore. There are glimmers of the finest time of DIY music 'journalism' where immediacy and stream-of-consciousness fold together with craft and editing to create extremely hopeful moments.The book and its subjects are broad in their approach. See a mention of the Pacific Northwest scene, the dreaminess of Grouper, a beautifully tempered consideration of David Berman. Following these are the liner notes for a previous band of David’s and mine, Mordwaffe. It opens with a sentiment close to this press; 'Not that anybody asked for these...' as we walk through this almost bootleg release. In the centre of the book is a work of fiction: a transcript of a radioplay titled Chitlin Etc. which takes on various voices and thoughts on the sonic impact and internalisation of sound. We move forth and another series of artists are worked upon; Charlie Megira, Vital Idles, and a heap of reviews and write ups for a sound orientated exhibition That's Life very much based in Glasgow. Alice Coltrane and Sophie Dickinson are the final subjects with two previously unpublished texts which show Roeder's tastes and mind closer to the present. --- David Roeder is an artist, music maker and mental health worker based in Berlin.These practices are connected by an effort to connect everyday experience with deeper psychological structures by means of contemplating, making and facilitating art of various kinds. He is a board member of Berlin's Society for Outsider Art and records music as Nein Rodere.

• 4x Cassettes (nearly 5 hours of music)• 240-page book, 6"x9" perfect bound• Housed in printed box• Digital download card• Hand-numbered edition of 200 (+35 AP)After years of preparation, Recital is proud to present the 12th Annual International Sound Poetry Festival box set. Held in New York in 1980, this was the last festival of the pioneering series, first started in Stockholm in the 1960s. This ambitious document holds nearly five hours of audio from 30 artists. A 240-page book with biographies, texts, and artwork from each artist supplements the edition, including program notes by Charlie Morrow and Sean McCann.The 10-day festival collected a battalion of sound poets from around the globe to share the stage at Washington Square Church in Manhattan. Both established sound poets are juxtaposed with more obscure artists, some more fervent than others. Carles Santos, John Giorno, and The Four Horsemen, for example, convey a verbal onslaught. And Bernard Heidsieck, you can hear his shouted and snarled words of “Democratie II” shimmer against the walls and ceiling, amplifying in intensity as if he is screaming at the French Parliament in the Palais du Luxembourg. Not all performances are aggressive; Alison Knowles presents a theatrical ensemble reading (with bean performance), and the subdued conceptual work of Robert Joseph and Pier Van Dijk’s for voice and the sound of turning book pages is particularly interesting.The year 1980 seemed like a turning point for sound poetry: there were seemingly more new sound poets than ever, yet the genre began to dissipate and melt into a pool of other experimental sound practices with newer digital technologies. One can almost hear the generational change in these tapes, mid-exhale. But of course at the end of the day sound poetry is still alive and well, and splitting hairs as fine as these becomes more a matter of personal taste/perception than anything else. There will always be a romanticization of the beginning of any project or movement, the pure state, and luckily this collection includes many of the pioneers. Artists included: Carles Santos, Jackson Mac Low, Greta Monach, Bernard Heidsieck, Katalin Ladik, Jerome Rothenberg, Mary Ellen Solt, John Giorno, Armand Schwerner, Charles Stein, Beth Anderson, Charles Amirkhanian, Richard Kostelanetz, Franz Kamin, Michael Gibbs, The Four Horsemen (bpNichol, Rafael Barreto-Rivera, Paul Dutton and Steve McCaffery), Adriano Spatola, Paula Claire, Sten Hanson, Charlie Morrow, Glen Velez, Larry Wendt, Nina Yankowitz, Robert Joseph, Pier Van Dijk, Alison Knowles, Bern Porter, P. Clive Fencott, Bob Cobbing, and the Ocarina Orchestra.

12" x 8.5" – 100 color pages, perfect bound book Edition of 200Night of Rain is the second art book by musician and artist Loren Connors, following last year’s Wildweeds (Recital, 2021).The book is comprised of two parts: ‘Night of Rain,’ which Loren describes as “seascapes, or expressions of the sea and shore. [They are] about the power of rain and the sea, lagoons, bays, tides." Taken from small pencil and black ink drawings enlarged again and again at a copy store. The pieces would often be drawn over and modified throughout this process – ultimately reaching sizes of 8 x 6 feet or larger. In this series, Loren considers the digital images as the "originals” – so this section of the book acts as a sort of swatch, a gallery exhibiting an element of this process.The second section of the book is “A Coming to Shore.” Nineteen acrylic paintings on stretched canvas, which are often cast in hazy and dreamlike blues, greys, and yellows. They span across the page in stark simplicity. “They all have the feeling of horizon, but not all of them depict horizons,” Loren remarks. Supplemented with a foreword written by artist and friend Aki Onda, Night of Rain is part of a continuing series of limited books published by Recital that explore Loren’s visual art.

165 x 235mm, 184 pages, Colour printing, Perfect bound, Softcover, 2022Premodern acoustic traces as the basis for new communities of thought in the present (a project responding to the work of the self-taught acoustic archaeologist Umashankar Manthravadi). Coming to Know asks how listening to the past together might transform our sense of the knowledge held in common. It sets aside the visual techniques of the archaeological site, the museum, and the larger project of colonial modernity, and instead constitutes itself as a resonant structure—a future-oriented monument to historically situated listening bodies as well as a dwelling place for community now. This book was conceived in relation to the programme Coming to Know, accompanying the exhibition A Slightly Curving Place at Haus der Kulturen der Welt in Berlin in 2020. It is the second in a series of volumes titled An Archaeology of Listening.

Pages: 288 + insertDimensions: 170 × 224.764mmCover: SoftcoverISBN: 978‐0‐9956835‐2‐5Language: EnglishBricks from the Kiln is an irregular journal edited by Andrew Lister and Matthew Stuart, sometimes with guest editors, that presents graphic design and typography as disciplines activated by and through other disciplines and lenses such as language, archives, collage, and more. It borrows its title from the glossary notes of Ret Marut’s "Der Ziegelbrenner," which was the ‘size, shape and colour of a brick’, and ran for 13 issues between 1917 and 1921.The latest installment, "#4: On Translation, Transmission & Transposition," was published as an event (and now) a publication, with events at London College of Communication, Burley Fisher Books & Pig Rock bothy, Socttish National Gallery of Modern Art, and Inga (in November, 2019). ---Featuring contributions from Helen Marten, Sophie Collins, Don Lee Choi, Kate Briggs, Phil Baber, Joyce Dizon, Florian Roithmayr, Jen Calleja, J.R. Carpenter, Edgar Wind, Natalie Ferris, Byrony Quinn, Rebecca Collins, Naomi Pearce, Karen Di Franco, James Bulley, Saki Mafundikwa, Natalie Ferris, Matthew Stuart, James Langdon, Peter Nencini, Sophia Seita, Caroline Bergvall, Seb McLauchlan, and Maria Fusco. Editor: Natalie Ferris, Bryony Quinn, Matthew Stuart& Andrew Walsh‐Lister ---

Publisher: Goldsmith Press Publication date: 15 Dec. 2017 Language: English   ISBN-10: 1906897514 ISBN-13: 978-1906897512 A timely exploration of whether sound and listening can be the basis of political change. In a world dominated by the visual, could contemporary resistances be auditory? This timely and important book from Goldsmiths Press highlights sound's invisible, disruptive, and affective qualities and asks whether the unseen nature of sound can support a political transformation. In Sonic Agency,Brandon LaBelle sets out to engage contemporary social and political crises by way of sonic thought and imagination. He divides sound's functions into four figures of resistance—the invisible, the overheard, the itinerant, and the weak—and argues for their role in creating alternative “unlikely publics” in which to foster mutuality and dissent. He highlights existing sonic cultures and social initiatives that utilize or deploy sound and listening to address conflict, and points to their work as models for a wider movement. He considers issues of disappearance and hidden culture, nonviolence and noise, creole poetics, and networked life, aiming to unsettle traditional notions of the “space of appearance” as the condition for political action and survival. By examining the experience of listening and being heard, LaBelle illuminates a path from the fringes toward hope, citizenship, and vibrancy. In a current climate that has left many feeling they have lost their voices, it may be sound itself that restores it to them. --- Goldsmiths Press, 2017

'One of the world’s most singular guitarists, Loren Connors is among few living musicians whose prolific body of work can be said to be wholly justified in its plenitude. On more than 100 records across almost four decades, Connors has wrung distinct shades of ephemeral blues from his guitar, its sound ever-shifting while remaining unmistakably his own. From his early, splintered take on the Delta bottleneck style through his song-based albums with Suzanne Langille and on to the painterly abstraction that defines his current work, Connors has earned the admiration of many, leading to collaborations with the likes of John Fahey, Jim O’Rourke, Keiji Haino, and Kim Gordon.  In the mid-80s, Connors took a partial break from music and focused instead on the art of haiku, for which he received the Lafcadio Hearn Award in 1987. With his wife Suzanne Langille he also co-wrote an article on blues and haiku, “The Dancing Ear,” published in the Haiku Society of America’s journal. It was during this period that Connors penned the material that appears in Autumn’s Sun, a chapbook first published by Thurston Moore and Byron Coley’s Glass Eye in 1999. The text features diary excerpts from 1987, lyrically fragmented observations interspersed with haiku-like poems that paint an idyllic impression of the passing seasons in his home of New Haven, Connecticut. With synesthetic perception, Connors gazes from tranquil domestic streets. Sycamore, elm, and catalpa trees are activated by the breeze and made to rustle in unison with their natural and artificial surroundings, including the howling dogs from which Connors derived his ‘Mazzacane’ moniker. As summer fades to winter, Connors portrays death as an undramatic certitude, the flux of his own maturation reflected in musings on his son’s. Like his music, Autumn’s Sun is tender without being sentimental, conjuring those rare, delicate moments when time stands still. --- 82 pages 5 x 7.5 inches  Paperback Edition of 1,000 This edition includes “The Dancing Ear” and an introduction by Lawrence Kumpf.

Fieldnotes is a quarterly print journal publishing new writing and artworks with a focus on practices that work between disciplines and against type. The purpose of the journal is to provide a test site for ideas and research; a space for experimental modes and new prototypes. --- The second issue of Fieldnotes contains new work by: Apichatpong Weerasethakul Steve Dutton Liesl Ujvary Akio Yuguchi Evan Lavender-Smith Dodie Bellamy Paul Maheke & Giles Bailey Yan Jun Emily Charlton Ed Atkins Sam Buchan-Watts Elizabeth Price Mary Mussman Carolyn Ferrucci Hanne Lippard Charlie Godet Thomas Hannah Regel

Blank Forms Editions, April 2021 Hardback Edition 6 x 8 inches 496 pages 138 Color and 86 B&W; images  --- The sixth journal from Blank Forms Editions presents archival documents and new writings on the intermedia collaborations of avant-garde jazz trumpeter Don Cherry and textile artist Moki Cherry --- Don Cherry and Moki Karlsson met in Sweden in the late '60s. They married and began to perform together, dubbing their mix of communal art, social and environmental activism, children's education and pan-ethnic expression "Organic Music." Their home in Tågarp became a locus of artistic production, attracting free-spirited musicians, poets, actors and artists with the promise of collective life. There, Keith Knox assembled Tågarp Publication Number One to document the collectivistic practices blooming under the Cherrys' guidance. Reproduced here, the text includes interviews with Terry Riley and Cherry, a piece on Pandit Pran Nath, a report on the Bombay Free School and a survey of the esoteric Forest University by Bengt af Klintberg. This book explores Don Cherry's work of the period through additional interviews by Knox, a piece on his Relativity Suite and an essay by Fumi Okiji. Moki Cherry's writings on her workshops are featured alongside full-color reproductions of her tapestries, used as performance environments by Don Cherry's ensembles. Cherry collaborators Bengt Berger and Christer Bothén contribute travelogues from the era. --- Edited by Lawrence Kumpf, Naima Karlsson, Magnus Nygren. Introduction by Lawrence Kumpf, Magnus Nygren. Text by Keith Knox, Rita Knox, Bengt af Klintberg, Iris R. Orton, Åke Holmquist, Pandit Pran Nath, John Esam, Michael Lindfield, Sidsel Paaske, George Trolin, Alan Halkyard, Moki Cherry, Don Cherry, Ben Young, Christer Bothén, Bengt Berger, Fumi Okiji. Interviews by Keith Knox & Rita Knox with Don Cherry, Terry Riley, Steve Roney.

Published; Duke University Press Pages: 360 Published: December 2017In Black and Blur—the first volume in his sublime and compelling trilogy consent not to be a single being—Fred Moten engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life. In these interrelated essays, Moten attends to entanglement, the blurring of borders, and other practices that trouble notions of self-determination and sovereignty within political and aesthetic realms. Black and Blur is marked by unlikely juxtapositions: Althusser informs analyses of rappers Pras and Ol' Dirty Bastard; Shakespeare encounters Stokely Carmichael; thinkers like Kant, Adorno, and José Esteban Muñoz and artists and musicians including Thornton Dial and Cecil Taylor play off each other. Moten holds that blackness encompasses a range of social, aesthetic, and theoretical insurgencies that respond to a shared modernity founded upon the sociological catastrophe of the transatlantic slave trade and settler colonialism. In so doing, he unsettles normative ways of reading, hearing, and seeing, thereby reordering the senses to create new means of knowing.

ISBN: 978-1-933254-75-3Trade PaperbackPerfect-bound. 50 pp, 5 x 8 inPublication Date: April 14 2011Distribution: SPDSeries: Emergency PlayscriptsA musical notation can either describe an event that has already happened or prescribe an event to be performed by the reader. No Collective's (You Nakai. et al.) Concertos, the second book in the Emergency Playscript Series, uses both description and prescription to notate a musical performance. The original Concertos premiered in 2008 in Tokyo, performed by four musicians, a dog, a bird, and several guests. The playscript evokes the original piece while embedding the experience of reading the playscript into any subsequent performances of the piece. No Collective (You Nakai, et al.) makes music performances which explore and problematize both the conceptual and material infrastructures of music and performance. Central to their endeavor is the generally unquestioned notion of people sharing "one" space and time at a music performance. In an attempt to dismantle this pseudo-truism, No Collective employ various strategies which extend from the tweaking of concert flyers (giving different starting time for each flyer, making three different flyers with different titles and designs but with the same date and place, etc), contrivances to make each person a “solo” audience (dragging each audience’s seat to different parts of the venue, controlling the sound volume in relation to the distance to a specific person, etc), to the pluralization of the framing of performance (packing all equipments during performance leaving only portable equipments carried by performers which continues to play as they head home with friends, etc). The basic objective of these temporal constructs is theoretical–ontological in that it examines what time is and the different ways it may be systematized, and practical-political in that it criticizes a singular ground to which all differences can be reduced, by foregrounding several incommensurate grounds.

"A fascinating and pacey read, stitched together painstakingly from over 90 original interviews and both public and private texts including Hodgkinson's extensive diaries. The combination of narrative background, musical analysis and critical insight should open the door for a new generation of listeners." – Phil England, The Wire "Exhaustive and illuminating." – Kurt Gottschalk, New York City Jazz Record “What was it all about, to me? Thinking. Henry Cow really thought about the why, the what, the appropriate methods of making music. Their riveting music was the sound of thinking out loud: Henry Cow seemed to be asking, ‘So, what is the significance of these sounds in our heads?’ And they were always witty: just look at the name of the band and the unwearable sock representing ‘the Henry Cow legend’. I am very glad this book exists. Henry Cow’s history – in all its inevitable turbulence – tells an inspiring story.” – Robert Wyatt “In this landmark monograph, Benjamin Piekut offers a stunning new theoretical framework for writing the history of ‘adventurous’ music in the late 20th century, realising that theory in practice by replicating in his graceful prose the improvised relation to the world he seeks to illuminate. Through his gripping account of the band Henry Cow, he reconstructs the cultural space of what he calls the ‘vernacular avant garde’, where musicians learn from records rather than in institutions, live uncertainty, cross genres, improvise responses to novel situations, work with and against record companies, and embrace avant gardism without negation. It is rare to finish a monumental monograph with a gasp. A must-read intervention and instant classic!” - Tamara Levitz, Professor of Musicology and Comparative Literature, University of California Los Angeles "In its open improvisations, lapidary lyrics, errant melodies, and relentless pursuit of spontaneity, the British experimental band Henry Cow pushed rock music to its limits. Its rotating personnel, sprung from rock, free jazz and orchestral worlds, synthesized a distinct sound that troubled genre lines, and with this musical diversity came a mixed politics, including Maoism, communism, feminism and Italian Marxism. In Henry Cow: The World Is A Problem Benjamin Piekut tells the band’s story – from its founding in Cambridge in 1968 and later affiliation with Virgin Records to its demise ten years later – and analyses its varied efforts to link aesthetics with politics. Drawing on 90 interviews with Henry Cow musicians and crew, letters, notebooks, scores, journals and meeting notes, Piekut traces the group’s pursuit of a political and musical collectivism, offering up its history as but one example of the vernacular avant garde that emerged in the decades after World War Two. Henry Cow’s story resonates far beyond its inimitable music: it speaks to the avant garde’s unpredictable potential to transform the world." --- Benjamin Piekut is Associate Professor of Music at Cornell University, author of Experimentalism Otherwise: The New York Avant-Garde And Its Limits and editor of Tomorrow Is The Question: New Directions In Experimental Music Studies.

Published by Joao Simoes 172 x 243mm 196 page  black and white printing perfect bound softcover with fold in flaps, Published: 2021A stunning marvel and the first text from the wild and wonderful mind of Henry Flynt, "Three Essays on Spirituality and Art", across 196 pages - issued in a beautifully produced edition of 500 copies - takes on a rarely explored subject in contemporary context, seeded in the anti-authoritarian positions that Flynt laid down at the dawn of Fluxus and has embraced ever since. Radical, vibrant, and fascinating, before us rests an essential illumination of the inner workings of one of the most important figures in experimental music that can't be missed. Running adjacent to the vast historical reappraisal instigated by the vinyl reissue market, over the last few years we’ve been graced by numerous crucial texts, illuminating the lives, ideas and practices of some of the most important artists - Julius Eastman, Don Cherry, Eliane Radigue, Sun Ra, Pauline Oliveros, Alvin Lucier, Maryanne Amacher, Robert Ashley, Jon Gibson, Joseph Jarman, Catherine Christer Hennix, etc. - within the field of experimental sound. Now, offering a much-needed entry within this growing context, comes Three Essays on Spirituality and Art, diving deep into the endlessly fascinating and engaging mind of Henry Flynt. Co-edited by Joao Simoes and Christian Xatrec, and beautifully printed and produced, the volume marks the first publication of writings by the legendary American philosopher, musician, activist, and artist to appear in years. Truly essential for any fan of experimental art and music, not to mention radical ideas.The narrative of Flynt’s creative life began unexpectedly in the mathematics departments at Harvard. It was there that he met Tony Conrad during the late 1950’s, and where the two like minds would embark upon a life in art and music that would change everything in their wake, eventually moving to NY, joining forces with George Maciunas, La Monte Young, Jack Smith, and a number of others, and forming the core of the dawning Fluxus movement, which Flynt, through writing and performances, is credited with laying down many of its central ideas.Flynt’s musical efforts - a fascinating hybrid that pull from everything from his experiences studying with Pandit Pran Nath to indigenous rural American folk music - despite not having been released in recorded form until the early '80s, lay at the very inception of Fluxus music, Minimalism, the deployment of text-based scores, and anti-authoritarian performance. He is also responsible for the ideas - initially drafted in 1961, and published within An Anthology of Chance Operations (issued by Jackson Mac Low and La Monte Young) in 1963, which gave way to all subsequent movements of conceptual art. For Flynt, the acts of creativity have never been purely intuitive, but rather the consequence of complex and interweaving ideas that grow from writing and text as much as action, making his latest and long-awaited volume, Three Essays on Spirituality and Art, a truly essential means to understand and enter his bodies of work that extend over numerous media.Three Essays on Spirituality and Art caries on from the anti-authoritarian positions that Flynt laid down at the dawn of Fluxus and have remained steadfast within his thinking over the years since, revealing a mind as contentiously invested in smashing institutionalized thinking within history and artistic practice as he was at the beginning. Taking the position that there are two forms of spirituality, the affirmative and the ruinous, Three Essays delves into Flynt’s ideas on affirmative spirituality, he begins with the ancient Indian theatrologist and musicologist, Bharata-Muni, as a precedent and nods to Aristotle’s Poetics, as he lays an analytical groundwork for the topic within the arts, ranging from the sensitization of artistic languages, splendor, the dubiously revered, and commercial successes.Heady, wild, and wonderful as Flynt always is, these essential texts illuminate the radical contemporary thinking of one of the most important figures in experimental music. Clocking in at 196 pages, and issued in a beautiful edition that has been co-edited by Joao Simoes and Christian Xatrec, this one is an absolute must.

Closed 220×312mm portrait, open 440×312mm376pp + 10 tip-ins from cultural contributorsThreadsewn with 8pp softcoverNew Age: Stonehenge to Jungle is a comprehensive collection of iconic UK rave, jungle, sound system and warehouse party flyers dating from the early 1973s to 2000. The book is sourced and curated from the Mott Collection – an extensive archive that gathers paper ephemera of British popular culture from punk to rave – curated by artist and collector Toby Mott. Crammed full of 575 entries of flyers and other collectables, New Age is a visual feast that charts the origins and progress of a series of youth rebellions that were to last for a generation. The book looks beyond the music into the fantastical visual language that propelled this subculture, offering a global perspective on how British party cultureshifted through the decades. New Age opens with an extensive array of iconic flyers created for the early 1970s free festivals of Stonehenge and Windsor. It then moves into the 1980s, when the boom of illegal London warehouse parties gave birth to acid house – visually embodied by its iconic smiley face, then evolved into sound system and dub clashes. As rave culture takes over, the designs of the flyers become more complex, unveiling a craving for dystopian experiences and surrealistic universes forged by the vision of mastersof flyer art, the likes of Pez and Junior Tomlin – also known as the Salvador Dalí of Rave. The book traces the rise of jungle music and more widely the aesthetic of the 1990s, digging into its Jamaican roots and bringing together reggae, rave and sound system culture, giving insight into the profound, and yet often overlooked, impact of the Black British community on rave music. Featuring interviews with influential flyer designers such as Pez, Kaos, Junior Tomlin, and Dave Little.Published by Corina Manu, Cultural Traffic and Dashwood Books 2022 Art and Design Direction: Jamie Reid Studio Source material © The Mott Collection

The fifth issue of We Jazz Magazine, "Amaryllis" for Mary Halvorson. 128 pages 174 x 250 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles presented IN ENGLISH. Stories include Mary Halvorson by Peter Margasak, Pi Recordings by Will Layman, Tyshawn Sorey by Marc Medwin, Women On the Syllabus by Tina Edwards, A Love Supreme Festival by Gareth Allen, Odysseus Festival by Dave Waller, Bob Rutman by Marialuisa Bonometti, Sarathy Korwar & Joanna Duda in conversation by Debra Richards, Tokyo Jazz Joints Vol. 3 by Philip Arneill, reviews, plus more.