Listen along to the Fovea / Ages Ago playlist, curated by Sarah Lasoye.   The fovea centralis is a small depression in the retina that produces our sharpest vision. In this keenly perceptive chapbook, Sarah Lasoye ruminates on moments from the playground to the present day. Sitting across from her early memories, she begins to discern the watery contours of a primary self. Through abstract and narrative poems, Lasoye’s temporal experiments open up a tender interior life and a need to anchor oneself in others. With no clean boundary between past and present, emergent preoccupations—with selfhood, goodness and want—persist and reappear.  This compact collection keeps to itself—an inquisitive, personal contemplation on childhood and growth. --- Sarah Lasoye is a poet and writer from London. She is an alumna of the Barbican Young Poets and a current member of Octavia—Poetry Collective for Women of Colour. Fovea / Ages Ago is her first publication. --- Publisher: Hajar Press,  2021Paperback / 84 pages

Publisher :Uniformbooks (14 Feb. 2020)Language :EnglishPaperback :112 pagesISBN-10 :1910010227ISBN-13 :978-1910010228History isn't so much about the passage of time as the study of change - how did we get from then to now, from there to here?To write the history of birds and people, you can look at how they've changed us, or you can look at how we've changed them.This book seeks to do the second thing; this is a book about our place in their history --- Uniform Books, 2014

“Spirited… elegant… highly enjoyable… Shirley Collins’s descriptions of her beloved Sussex, along with the richness of her culture, make an elegant case for reclaiming a variant of English history.” The Guardian “In these pages Shirley Collins completes her comeback, reclaiming her rightful place in the English folk revival from those who placed obstacles in her way.”Billy Bragg in The New Statesman “Luminous… All in the Downs traces the rhythm of a life with the old songs and music. Deeply moving… [it] allows us to read Collins in the landscape and the landscape in her.” The Wire“Another strong female voice to add to the chorus of music history, going against the grain, so tunefully …it’s a book that makes you want to hear those old ballads about love and loss, full of hunger and heat.” Mail on Sunday “All In The Downs dissolves time, darting between distant memory and history and the events of her recent renaissance, dissolving the years between incidents, bringing ghosts, both metaphorical and literal, striding over the downs into life before us.”From the introduction by Stewart Lee   A legendary singer, folklorist, and music historian, Shirley Collins has been an integral figure in the English folk music scene for more than sixty years. In her new memoir, All in the Downs, Collins tells the story of that lifelong relationship with English folksong—a dedication to artistic integrity that has guided her through the triumphs and tragedies of her life. All in the Downs combines elements of memoir—from her working-class origins in wartime Hastings to the bright lights of the 1950s folk revival in London—alongside reflections on the role traditional music and the English landscape have played in shaping her vision. From formative field recordings made with Alan Lomax in the United States to the “crowning glories” recorded with her sister Dolly on the Sussex Downs, she writes of the obstacles that led to her withdrawal from the spotlight and the redemption of a new artistic flourishing that continues today with her unexpected return to recording in 2016. Through it all, Shirley Collins has been guided and supported by three vital and inseparable loves: traditional English song, the people and landscape of her native Sussex, and an unwavering sense of artistic integrity. All in the Downs pays tribute to these passions, and in doing so, illustrates a way of life as old as England, that has all but vanished from this land. --- Shirley Collins MBE  is a renowned folk singer who has recorded over 20 albums, and the author of America Over the Water (2004). She is the president of the English Folk Dance and Song Society in London. Her critically lauded album Lodestar, released in 2016, marked a triumphant return to performance after thirty eight years. Shirley was recently the subject of a feature documentary film, The Ballad of Shirley Collins

In People Get Ready, musicians, scholars, and journalists write about jazz since 1965, the year that Curtis Mayfield composed the famous civil rights anthem that gives this collection its title. The contributors emphasize how the political consciousness that infused jazz in the 1960s and early 1970s has informed jazz in the years since then. They bring nuance to historical accounts of the avant-garde, the New Thing, Free Jazz, "non-idiomatic" improvisation, fusion, and other forms of jazz that have flourished since the 1960s, and they reveal the contemporary relevance of those musical practices. Many of the participants in the jazz scenes discussed are still active performers. A photographic essay captures some of them in candid moments before performances. Other pieces revise standard accounts of well-known jazz figures, such as Duke Ellington, and lesser-known musicians, including Jeanne Lee; delve into how money, class, space, and economics affect the performance of experimental music; and take up the question of how digital technology influences improvisation. People Get Ready offers a vision for the future of jazz based on an appreciation of the complexity of its past and the abundance of innovation in the present. Contributors. Tamar Barzel, John Brackett, Douglas Ewart, Ajay Heble, Vijay Iyer, Thomas King, Tracy McMullen, Paul D. Miller/DJ Spooky, Nicole Mitchell, Roscoe Mitchell, Famoudou Don Moye, Aldon Lynn Nielsen, Eric Porter, Marc Ribot, Matana Roberts, Jaribu Shahid, Julie Dawn Smith, Wadada Leo Smith, Alan Stanbridge, John Szwed, Greg Tate, Scott Thomson, Rob Wallace, Ellen Waterman, Corey Wilkes

Publisher : University of Chicago Press Language :EnglishHardcover :328 pagesISBN-10 :022673207XISBN-13 :978-0226732077Dimensions :15.24 x 2.29 x 22.86 cmSun Ra (1914-93) was one of the most wildly prolific and unfailingly eccentric figures in the history of music. Renowned for extravagant performances in which his Arkestra appeared in neo-Egyptian garb, the keyboardist and bandleader also espoused an interstellar cosmology that claimed the planet Saturn as his true home. In Sun Ra’s Chicago, William Sites brings this visionary musician back to earth?specifically to the city’s South Side, where from 1946 to 1961 he lived and relaunched his career. The postwar South Side was a hotbed of unorthodox religious and cultural activism: Afrocentric philosophies flourished, storefront prophets sold “dream-book bibles,” and Elijah Muhammad was building the Nation of Islam. It was also an unruly musical crossroads where the man then known as Sonny Blount drew from an array of intellectual and musical sources? from radical nationalism, revisionist Christianity, and science fiction to ja ---

Microgroove continues John Corbett's exploration of diverse musics, with essays, interviews, and musician profiles that focus on jazz, improvised music, contemporary classical, rock, folk, blues, post-punk, and cartoon music. Corbett's approach to writing is as polymorphous as the music, ranging from oral history and journalistic portraiture to deeply engaged cultural critique. Corbett advocates for the relevance of "little" music, which despite its smaller audience is of enormous cultural significance. He writes on musicians as varied as Sun Ra, PJ Harvey, Koko Taylor, Steve Lacy, and Helmut Lachenmann. Among other topics, he discusses recording formats; the relationship between music and visual art, dance, and poetry; and, with Terri Kapsalis, the role of female orgasm sounds in contemporary popular music. Above all, Corbett privileges the importance of improvisation; he insists on the need to pay close attention to “other” music and celebrates its ability to open up pathways to new ideas, fresh modes of expression, and unforeseen ways of knowing.   ---   John Corbett is a music critic, record producer, and curator. He is the author of Extended Play: Sounding Off from John Cage to Dr. Funkenstein, also published by Duke University Press. His writing has appeared in Downbeat, The Wire, the Chicago Reader, and numerous other publications.  He is the co-owner of Corbett vs. Dempsey, an art gallery in Chicago.

Publisher ‏ : ‎Granta Books Language ‏ : ‎EnglishPaperback ‏ : ‎336 pagesISBN-10 ‏ : ‎1847080081ISBN-13 ‏ : ‎978-1847080080Dimensions ‏ : ‎12.9 x 2 x 19.8 cmIn Dancing in the Streets Ehrenreich uncovers the origins of communal celebration in human biology and culture. She discovers that the same elements come up in every human culture throughout history: a love of masking, carnival, music-making and dance. Although sixteenth-century Europeans began to view mass festivities as foreign and 'savage', Ehrenreich shows that they were indigenous to the West, from the ancient Greek's worship of Dionysus to the medieval practices of Christianity as a 'danced religion'. Exhilarating in its scholarly rang --- Granta Books, 2008

Print length: 264 pages Language: English Publisher:Repeater Books Publication date: 12 Jan. 2021 Type: Hardcover A collection of transcripts from Mark Fisher’s final series of lectures at Goldsmiths, University of London, in late 2016.Edited and with an introduction by Matt Colquhoun, this collection of lecture notes and transcriptions reveals acclaimed writer and blogger Mark Fisher in his element — the classroom — outlining a project that Fisher’s death left so bittersweetly unfinished.Beginning with that most fundamental of questions — “Do we really want what we say we want?” — Fisher explores the relationship between desire and capitalism, and wonders what new forms of desire we might still excavate from the past, present, and future. From the emergence and failure of the counterculture in the 1970s to the continued development of his left-accelerationist line of thinking, this volume charts a tragically interrupted course for thinking about the raising of a new kind of consciousness, and the cultural and political implications of doing so.For Fisher, this process of consciousness raising was always, fundamentally, psychedelic — just not in the way that we might think --- Edited and with an introduction by Matt Colquhoun ---   Reapeater Books, 2021

Publisher ‏ : ‎Equinox Publishing Ltd;Language ‏ : ‎EnglishPaperback ‏ : ‎356 pagesISBN-10 ‏ : ‎1781796459ISBN-13 ‏ : ‎978-1781796450Dimensions ‏ : ‎15.6 x 2.46 x 23.39 cmProvincial Headz: British Hip Hop and Critical Regionalism draws upon spatial practice, material culture, human geography, ethnomusicology and cultural theory in order to present an interdisciplinary counter-narrative to that of hip hop as a strictly urban phenomenon; providing an insight into the relocation of hip hop culture from its inception in New York ghettos to its practices in provincial and rural Britain. Hip hop culture truly arrived in Britain in 1983, a decade after its origin in New York City, and although many important events, artists and recordings that evidence hip hop’s existence in 1980s Britain are well documented, these are almost exclusively urban. Additionally, the narratives embedded in these representations remain too convenient and unchallenged. This book reveals parallel and dialectical experiences of British hip hop pioneers and practitioners dwelling outside the metropolis, discussed under the recurring themes of relocation, territory, consumption, production and identity. These narratives are framed within a rich contextual discourse drawing upon Bhabha, Bourdieu, Foucault, DeLanda and contemporary hip hop scholarship. Shifting hip hop research from urbanism to rurality, the book serves as an introduction to the complexities of its historical narratives in Britain and reveals another hip hop history and how we understand it.

Editor: Jan-Frederik Bandel,Annette Gilbert,Tania Prill Desginer:Prill Vieceli Cremers Design in collaboration with students of the HfK Bremen 368 pp. with black/white and colour images ISBN:9783959051040 Edition Number: 2 Width:22.5 cm Length:33.5 cm Language(s):English The mid-1960s witnessed a boom in underground and selfpublished works. Hectographs, mimeographs, and offset printing not only allowed for the production of small, lowcost print runs but also promote a unique aesthetic: using wild mock-ups, »messianic amateurs« combined typescript aesthetics, handwriting, scribbled drawings, assemblages of collaged visuals, porn photos, snapshots, and comic strips. The typography consciously frees itself, in parallel to a liberalization of linguistic and visual forms of expression in the name of a new sensibility. This book (which appears in conjunction with an exhibition at the Weserburg in Bremen) is the first to present the underground and self-published works that came out of West Germany in such depth, while also showing the internationalcontext in which they emerged: not as an anecdotal history but as an attempt to tap into the aesthetic cosmos of a Do-It-Yourself rebellion, one that also challenges us to take a new look at the current boom in »independent publishing«, the risograph aesthetic, and so on.

Put together by Alan Rider, Adventures in Reality, was a fanzine from Coventry in the early 1980s that both fitted snugly inside the post-punk landscape of the time and did its utmost to avoid many of the tropes most fanzines were given to. Like most of them, however, each edition was produced with a youthful energy and passion itself manacled to an attitude only really emboldened by this cultural shift. In between diatribes and a salubrious dash of humour, Adventures in Reality proved itself to be amongst the vanguard, running countless reviews, putdowns of the apathy dominating the city, and interviews with all from Attrition and Human Cabbages to Wah! and SPK. Somewhere along the way an excerpt taken from the lyrics of The Jam’s poignant ‘That’s Entertainment’ also appear, as indeed do cartoons, various lists and suchlike. Everything adds up to an intoxicating mix absolutely perfect for the time that spawned it. Over the course of its 13 issues, plus a few other related titles originally published anonymously and designed to upset rival fanzine editors and their own supporters, Adventures in Reality proved itself to stand above its immediate competition so well it made a formidable impression not only nationally, but also internationally. This compendium gathers all 13 issues in their entirety, as well as the other titles and additional ephemera, alongside insightful introductions to each of them, an interview with Alan Rider, a foreword by Matthew Worley, blurb by Nicholas Bullen (himself inspired by AiR enough to start his own ‘zine), and several other bonuses. Collected in an A4 book similar in size to the Grim Humour one also published by Fourth Dimension, this makes for a perfect return trip to a time long gone still of interest to either those informed by it or those who wish to navigate their way to why it was so unique in the first place. As Alan himself says, "Fanzines were never intended to form a part of mainstream pop culture.They were underground, counter culture, an alternative that existed to shine a light on new music in a way that commercial publications could not and would not. Wilfully obtuse, Adventures in Reality sought to seize that ground, breaking the mould of what a post-punk fanzine was expected to be and by doing so, adding an extra dose of subversive originality to the pool of UK underground alternative music culture "

Published: Amphetamine Sulphate Paperback,144 pages Published October 19th 2018It’s comedy night on the terminal ward. Jason Williamson returns with thirteen all-new short stories from a grim and desperate world where everything is either ‘knackered and shit or new and shit.’ Sound familiar? Here you’ll meet roaming loners, twats in fast cars, hard men telling porkies, strong women who know the score, various music maniacs and sex-addled, whizz-infested pub warts galore. But it’s not all abject fucking misery, Williamson’s characters come alive and somehow manage to conjure some happy days from the endless, panicked slog of caged poverty and bad choices. So settle down for some porn barks, crap nature, terrible housing and dogging hotspots. Life à la fuckin sniff innit. Jason Williamson is, of course, in the Sleaford Mods. He is also the author of ‘Grammar Wanker’ (2015) and  ‘Slabs from Paradise’ (2017).Release Date: 19/10/2018

Ceramic Hobs’ Simon Morris's book is a nightmarish vision of bad sex and bad art in a grim UK. Published by the ever disturbed Amphetamine Sulphate ---Release Date: 15/06/2018

Restock expected to ship 3rd August. The Alien Issue features writing on the alien and alienation by Sarah Hennies, Franklin Bruno, inti figgis-vizueta and James May on listening to ourselves and each other, Marc Hannaford, Nicole Kaack in conversation with Jeremy Toussaint-Baptiste, Charmaine Lee and id m theft able on building a home, Matana Roberts, Jacob Wick, Wendy Eisenberg, Chris Pitsiokos and Ben Young on WKCR and Triple Point Records, a contribution to the 2019 exquisite corpse series by Lester St. Louis, and more. The print edition includes very special full color reproduction of Charles Gaines's Librettos. Sound American is A quarterly journal founded in 2012 by Nate Wooley, providing in-depth interviews and essays, Sound American starts from a simple desire to open the doors of experimental music to a wider audience. Sound American believes that music is for everyone and should be shared on the most basic human level. Sound American aims to accomplish this by creating a direct intellectual, social, and emotional bridge that links audiences and artists. Advisory board: David Grubbs, Rebekah Heller, Taylor Ho Bynum, Zeena Parkins, Matana Roberts, and Ken Vandermark. ---   published in 2020   English edition

Publisher: Primary Information 88 pages 8.25 x 10.8 inches Paperback Edition of 1500 January 2021 ISBN: 9781734489767First published in 1971, A Documentary HerStory of Women Artists in Revolution documents the efforts of a group of women artists, filmmakers, writers, critics, and cultural workers organized around advancing women in the art world. Women Artists in Revolution (W.A.R.) was founded as the women’s caucus of the Art Workers’ Coalition and was active from 1969 to 1971. This publication gathers manifestos, statements, and declarations by W.A.R. members; articles and reports about gendered and racialized discrimination in the arts; pro-abortion fliers and protest ephemera; and grant applications and reports detailing the founding of the Women’s Interart Center in spring 1970. Also included are documentation of key actions, including the 1970 Artists’ Strike against Racism, Sexism, Repression, and War; and correspondence with officials at the Whitney Museum of American Art, the Guggenheim Foundation, and the Museum of Modern Art calling for 50 percent gender equity in exhibition programming, increased grant and fellowship support for women, and structural representation at the management and curatorial level, among other demands. A Documentary HerStory of Women Artists in Revolution was originally printed at the Women’s Media Center in 1971 by Women Artists in Revolution. A second edition, published in 1973 by Women’s Interart Center,  features a preface and addendum with retrospective reflections on the history and activities of W.A.R. and the publication itself, two years after the group’s dissolution. It is this second edition that is reproduced here in facsimile form. Members of W.A.R. included Juliette Gordon, Sara Saporta, Therese Schwartz, Muriel Castanis, Cindy Nemser, Dolores Holmes, Betsy Jones, Silvia Goldsmith, Jan McDevitt, Lucy Lippard, Grace Glueck, Poppy Johnson, Brenda Miller, Faith Ringgold, Emily Genauer, Agnes C. Denes, Doloris O’Kane, and Jacqueline Skiles. ---

Publisher: Strange Attractor Press ISBN: 9781907222825 Number of pages: 364 Dimensions: 194 x 137 mm Paperback bookForeground Music is the result of a lifetime’s passion for gig-going by one of British television’s most individual writers.  From a Cliff Richard gospel concert at the age of 10, to his first rock show aged 14, where The Jam play so loudly he blacks out, to a Joy Division gig which erupts into a full-scale riot. Vivid, insightful and very funny, each chapter covers a different gig, including Primal Scream headlining Glastonbury at the height of Screamadelica, and the troubled reformation of The Velvet Underground. Taking in the first UK headline gig by The Strokes in a room above a pub, and the final arena tour by David Bowie. Along the way Duff experiences pub-crawls with Mark E. Smith of The Fall, convinces Paul Weller to undertake his first acting role and attempts to interview Genesis P. Orridge of Throbbing Gristle whilst tripping on LSD. Foreground Music captures the power of life-changing gigs, whilst tracing the evolution of 40 years of musical movements and subcultures. But more than that, it’s an honest, touching and witty story of friendship, love, creativity and mortality, and a testimony to music’s ability to inspire and heal. Introduction by Mark Gatiss --- Graham Duff is a British TV comedy and drama scriptwriter whose credits include Ideal and The Nightmare Worlds of H.G. Wells. As an actor he has appeared in, among other things, two Harry Potter films, Alan Partridge, and Dr. Who. --- Strange Attractor Press, 2019

Self-Published 28 x 18 cm, 24 pages, Black & white digitally printed Saddle stitch, Softcover, 2017  TALKER is a self published interview zine about performance by musician, artist & writer Giles Bailey --- The first issue of talker is a conversation with artist, writer and curator of film, Ian White. The interview took place in 2012 and focuses on Ian's live work - from early experimental collaborations to his landmark solo triology Ibiza Black Flags Democracy and hybrid curatorial projects. --- Ian White (1971-2013) was an artist, working mainly in performance.Since 2007 he was the Facilitator of the LUX Associate Artists Programme and from 2001-11 was Adjunct Film Curator for the Whitechapel Gallery, London. Independent curatorial projects include Kinomuseum, Internationale Kurzfilmtage Oberhausen, 2007; The Secret Public (Associate Curator; Kunstverein Munich & touring, 2006/7), The Artists Cinema (Coordinator; Frieze Art Fair, London, 2005/6) and Emily Wardill at De Appel (2010), with a co-authored publication, We Are Behind (De Appel/Bookworks, 2010). His artistic practice includes collaborations with Jimmy Robert (Art Now, Tate Britain, 2004; STUK, Leuven & De Appel Amsterdam & touring, 2007 on) and Emily Roysdon (Chisenhale Gallery, London, 2010), a performance of Yvonne Rainer's Trio A at the Museum of Modern Art, New York (2009) and a solo show Ibiza Black Flags Democracy, daadgalerie, Berlin (2010) with a publication of the same title.

Self-Published 280 x 180mm 20 pages Risograph throughout Saddle stitch, Card cover Released: 2018.TALKER is a self published interview zine about performance by musician, artist & writer Giles Bailey--- Issue #6 of Talker features a conversation with Spanish artist Dora Gracía. For over 18 years García has worked with performance as a way of dealing critically with relationships between artworks, audiences, and places. Her projects are often developed in response to works by others and deploy performers as intermediaries in ambiguous or even subversive roles as undercover agents, prophets, guides or spies. In this conversation, she traces the origins of her performance practice from diverse creative community in Brussels in the early 2000s to the Happenings by Argentinian polymath Oscar Masotta happening again in her recent work Segunda Vez (2018)".” ---