Book sewn with open spine. 170 x 239mm. 192pp. 1+1 Pantone 546C, 120 gsm offset paper inside, 300 gsm offset paper covers. Texts by:Johan Arrias, Elsa Bergma, Nadine Byrne, Erik Carlsson, Scott Caza, Jon Collin, Mats DimmingNiklas Fite, Marta Forsber, Joel Grip, Mats Gustafsso, Carl Michael von Hausswolff, Isak Hedtjär, Karin Hellqvist, Per Åke Holmlander, Martin Küche, Andreas Hiroui Larsson, Anna Linda, Eva Lindal, Kajsa Magnarsso, Sten Sandell, Em Silé, Marja-leena Sillanpää, Susana Santos Silva, Mattias Ståhl, Cara Tolmie, Elena Wolay, Torbjörn Zetterberg.Photos by Mats Äleklint.Bilingual: English & SwedishI left London eight years ago today. It was time to go. I was completely exhausted by the job I’d been doing — running the concert programme at Café OTO — and couldn’t really imagine finding something better to do there whilst simultaneously being pushed further out of the city by the crazy cost of living. Stockholm seemed to be the best option. We could get somewhere affordable to live. I got a grant that paid off my debts. And so we moved.I always rejected the idea that I would start some kind of OTO-equivalent here in Stockholm, but that hasn’t stopped me trying to imagine what such a place could be. There is a special confluence of things that makes OTO work in its own strange way and there is little point in trying to copy it. But one thing I keep coming back to are the windows onto the street. Everything that happens there is visible (and often audible) to the outside world. There are no secrets. The windows suggest an opening to and connection with. That it is possible to participate. I decided that my fantasy space would also need to have such windows out to the street and it would be called Fönstret (The Window). A physical space will remain fantasy, but I decided to make Fönstret real, to make space via a series of online and physical publications, and do if but a small cut of the work that a physical space might do. At the same time, I’d been reading Fred Moten and Stefano Harney’s The Undercommons, trying to think through the meaning of such spaces and the meetings and relationships they facilitate. How informal, unaccredited knowledge is made through these connections and what/how much that means for how we live in the world (as artists, as people). For the first of these missives, I made three short ‘portrait’ films where the subjects talked about someone else or some place else: Lisa Ullén about Fylkingen, Leif Elggren about Lennart Af Larsson and Raymond Strid about Roland Kejser. I also asked a whole stack of people I felt have some connection to Stockholm if they could write something along these lines. It should be someone or place they knew personally rather than a remote influence, but that otherwise they could be as loose as they liked with the brief. 29 people took me up on the ask and these contributions have finally been collected in a book — a mix of memoir, oral history, love letters, and poetry — a small window into a small part of Stockholm. Forever grateful to everyone for their honesty and for trusting me with their texts and happy to now make them available to the outside world. — John Chantler, Stockholm

Paperback: 70 pages Published: August 1st 2013 by Ugly Duckling Presse  ISBN: 1937027023 (ISBN13: 9781937027025) Third in the Emergency Playscripts series, NOT KNOWING bounces between video and live actors to deduce how history is made, how therapy rewrites personal history, the role of jokes in collective memory and the vast unacknowledged reams of material The Wild One and "The Wild Duck" have in common. Vaudeville Ibsen, Marlon Brando stuck in an attic in Norway, a psychiatrist who can't decide between healing and fetishizing his patient, and live video footage that clearly supports whatever reality is currently in session. If you can't fix it feature it.

84 Pages6 x 9.5 inchesPaperbackIn Identity Pitches, artists Stine Janvin and Cory Arcangel have composed conceptual music scores based on the knitting patterns for traditional Norwegian sweaters known as Lusekofte. Utilizing three of the most popular designs (Setesdal, Fana, and the eight-petal rose of Selbu) of this ubiquitous garment, Janvin creates scores for both solo and ensemble performers by mapping the knitting patterns onto the harmonic and subharmonic series and integrating the tuning principles of traditional Norwegian instruments. These scores are further manipulated by Arcangel using a custom, “deep-fried” coding script to create a series of image glitches. A foreword and an interview between the two artists provides context for the work, delving into the history of Norwegian folk music tunings and the Lusekofte sweater and their intersection with the cultural identity of the country over the last millennium. Stine Janvin is a vocalist, performer, and sound artist based in Stavanger, Norway. Janvin works with the extensive flexibility of her voice, and the ways in which it can be used to channel physicality of sound. Often drawing from electronic music, folk music, and contemporary media, she creates audio visual works for variable spaces from theaters, to clubs and galleries, and more recently websites and digital platforms. Recent presentations include Performa Telethon, New York; Munch Live and CADS, Munchmuseet, Oslo; Deutschlandradio Kultur, Daadgalerie, and CTM Festival, Berlin; Kunsthall Stavanger, Stavanger; Rokolective, Bucharest; Wiener Festwochen, Vienna; Issue Project Room, New York; and INA GRM,  Paris. Cory Arcangel is an artist based in Stavanger, Norway. Arcangel explores, encodes, and hacks the structural language of video games, software, and machine learning. In 2014, he established the merchandise and publishing imprint Arcangel Surfware, which opened its flagship store in Stavanger, Norway in 2018. His work has been exhibited in solo exhibitions at the Whitney Museum, New York; Carnegie Museum of Art, Pittsburgh; Barbican Art Centre, London; Reykjavik Art Museum, Iceland; Hamburger Bahnhof, Berlin; and Museum of Contemporary Art, Miami.

Publisher :Uniformbooks ( 31 Oct. 2016)Language :EnglishPaperback :224 pagesISBN-10 :1910010138ISBN-13 :978-1910010136A survey of the work of Michael Gibbs whose activities included poetry, performance, film, and publishing, and his immersion in “a genuinely 'underground' culture... which owed nothing to the official art establishment". As well as visual poetry and texts, the book includes his major study of blank books 'All or Nothing', written in 2005, a selection of critical writing that originally appeared in Kontexts, and Artzien, journals that he edited and published, as well as articles from the photography journal Perspektief, and Art Monthly, for which he wrote a regular column. Examples of his visual and concrete poems, books, photography and films are reproduced, along with documentation of performances, edited by Gerrit Jan de Rook & Andrew Wilson, with --- 64 pages of black and white illustrations, critical commentaries about aspects of Michael Gibbs' work by: Gerrit Jan de Rook: concrete poetry and language art, Guy Schraenen: books and publishing, Marga Van Mechelen: performance works, John Held: mail art, Henriette Dingemans: the internet work, Rob Perree: the later photographic works, Bas Vroege. --- Uniform Books, 2016

From scouring flea markets and eBay to maxing out their credit cards, record collectors will do just about anything to score a long-sought-after album. In Vinyl Freak, music writer, curator, and collector John Corbett burrows deep inside the record fiend’s mind, documenting and reflecting on his decades-long love affair with vinyl. Discussing more than 200 rare and out-of-print LPs, Vinyl Freak is composed in part of Corbett's long-running DownBeat magazine column of the same name, which was devoted to records that had not appeared on CD. In other essays where he combines memoir and criticism, Corbett considers the current vinyl boom, explains why vinyl is his preferred medium, profiles collector subcultures, and recounts his adventures assembling the Alton Abraham Sun Ra Archive, an event so all-consuming that he claims it cured his record-collecting addiction. Perfect for vinyl newbies and veteran crate diggers alike, Vinyl Freak plumbs the motivations that drive Corbett and collectors everywhere.   About the Author:   John Corbett is a music critic, record producer, and curator. He is the author of Microgroove: Forays into Other Music and Extended Play: Sounding Off from John Cage to Dr. Funkenstein, both also published by Duke University Press, and A Listener’s Guide to Free Improvisation. His writing has appeared in DownBeat, Bomb, Nka, and numerous other publications. He is the co-owner of Corbett vs. Dempsey, an art gallery in Chicago.

Self-Published 280 x 180mm 16 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 3 of Talker features a conversation with the director and playwright Richard Maxwell. Since 1999 he has worked with his company New York City Players producing theatre work for the stage, for galleries and moving image. His plays are set in the everyday environments of lobbies, living rooms, karaoke bars and highway intersections. Often non-professionals, his actors portray American archetypes through spare, stylised dialogue and occasionally sing. Recent productions include Queens Row at ICA London, Paradiso at Greene Naftali Gallery and Good Samaritans at Abrons Arts Centre

Self Published 280 x 180mm 24 pages Risograph throughout Saddle stitch, Card cover Released: 2020TALKER is a self published interview zine about performance by musician, artist & writer Giles Bailey --- Issue #9 of Talker is a conversation with artist Clifford Owens. He is based in Jersey City, New Jersey, and his work focuses on the body in relation to the power dynamics of race, masculinity, class and the fragility of social structures. It also closely examines the significance of photography in performance making and its histories. His project Anthology responds to the absence of a performance history that includes Black artists by soliciting and performing scores from Black artists working today. In Photographs with an Audience those attending the performance are invited to respond to prompts and questions by making a commitment to the moment and history by standing before the camera and having their picture taken. ---

Published by The Grass is Green in the Fields for You 130mm x 195mm, 228pp, perfect bound, hand stamped cover, oversize A6 risograph printed tip-in flyer, open edition.‘Dude, you wrote an essay!’ he told me, ‘how do you expect us to sell it in one sentence if you can’t even describe it in one page?’ I was horrified, embarrassed, immediately offered to write a new one and send it. ‘No,’ he explained, ‘you’re being taught a lesson. Do better with the next release.’ I was too surprised to be angry. I also didn’t learn my lesson, and they didn’t carry the next record we put out either. The lesson I did learn, maybe not for a long time, is that I only really care about the records that take pages to describe. The Grass is Green in the Fields for You is overjoyed to present a project which has been in the making—and mind—for some time: Fix The Mirrors by Ethan Swan. This collection, which starts itself in the year of 2000, collects writings on music and DIY activity from Swan’s back-catalogue. Musically it is broad, we begin with Meltdown moving to Shudder To Think; singular considerations on tracks by Tracey Thorn, Unrest and Jane’s Addiction. Further focuses on Saturday Looks Good to Me, Roy Harper, Panax, Slick Rick. There are documentary works and interviews covering Felix Kubin, The Homosexuals, Graham Lambkin & Spencer C. Yeah, Cass McCombs, and Bridget Cross. An expansive amount of ground is covered in this single collection, and this isn't the start of the wealth Swan has created. The writing is immediate, thoughtful, touching and honest—just like Ethan. Meticulously crafted, the painstaking layout is accompanied by photographs by Lisa Anne Auerbach documenting 1980’s Chicago punk shows.

This is the first English monograph of legendary French musique-concrete pioneer Luc Ferrari (1929-2005). Founding member of Groupe de Recherches (GRM) with Pierre Schaeffer-the group and studio were dedicated to the electronic medium that changed composition forever. This sumptuous volume includes facsimiles of Ferrari's original compositions, notebooks, and the first English translations of his writings, including poetry and fictional works and correspondence, as well as a special full-colour section that includes the composer's own collage artwork. Ecstatic Peace Library. 406 pages

Limited number of copies found in the lockdown clean up! Issue 2 of the Cesura//Acceso, journal of music, politics and poetics. Featuring work by Paul Abbott, Larne Abse Gogarty, Kim O'Neil, Danny Hayward, David Morris, Nathaniel Mackey, Federica Frabetti and Mark Fell, Irene Revell and Annea Lockwood, ESW, Abject Subject Ensemble, Sophie Hoyle, Hannah Black, Naroder Bourniki, Paul Rekret, Clair Potter, Sacha Kahir, Byron Peters and Tyler Coburn, Pil and Galia Kollectiv and Verity Spott.

Restock expected to ship 3rd August Guest edited by Shawn Jaeger, the Lee Hyla issue features remembrances and appreciations of the deeply missed composer by Stephen Drury, Rhonda Rider, David Rakowski, Bryan Hayslett, Chris Fisher-Lochheed, Eliza Brown, Scott Wheeler, and Ben Hjertmann. As well as articles by or with Jerome Harris on Jaki Byard, Charissa Noble on Johanna Beyer, Rick Moody on Stephen Malkmus, Sam Amidon on Son House, Colin Stetson on Henryk Górecki, Claire Chase, Kate Soper, and Eric Wubbels. Also photos from Katherine Desjardins and exquisite corpse from Shawn Jaeger. --- 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.

Foreword by Paul Gilroy Paperback, 310pp Manchester University Press, 2026A bold analysis that exposes the racist policing of Black music. The emergence of UK drill music made headline news, portraying it as a criminal enterprise instead of recognising it as an art form. This new rap subgenre, however, is neither the first nor the only Black music to be targeted this way. Policing the beats rewinds the tape to demonstrate how music has been used as an instrument for policing Black people, from the era of colonial slavery to the present day, revealing the racist legal processes that make crimes out of rhymes. This original and readable book offers the first in-depth account of the policing of Black music in Britain, highlighting the relationship between politics, culture and criminal (in)justice and inviting music lovers, scholars and activists to tune in.

Softcover, 328pp Penguin, 2026From one of the most original, creative, and provocative writers on American culture comes a now-classic collection of essays, delving ‘far and wide into Black music, into film, into the beats and rhyme of culture’ (Questlove).These pieces orbit social, pop cultural, political, and economic subjects­— from the rise of hip-hop, the art of Jean-Michel Basquiat, the music of Miles Davis, James Brown, Jimi Hendrix, Bad Brains, and many others, to the crisis of the Black intellectual and the irony of the GOP recruiting Black Americans. With unrivalled flair, Tate writes in a voice that is at once angry, joyous, self-critiquing, and dazzlingly witty.

حمد [Ahmed] - Writing gathers together the [Ahmed] ‘paper’ texts from the last decade: liner-notes; covers of the releases; and writing by the band members – Antonin and Joel have written two fresh ones for this book, Seymour’s have appeared alongside the records, and some of Pat’s come from a time (long) before [Ahmed]. “Together, the ideas-energy in these things gives a sense of what we have done, do, think together (and apart) in living music, how our different ways come together, and how, together, we learn through be-doing [Ahmed]... These texts are woven together (the etymology of text is from weave) through (and into) a rich fabric of enquiry. A collaborative weaving together of difference(s) to make a whole (thing).” (Seymour Wright) Contributions by Pat Thomas, Seymour Wright, Antonin Gerbal, Joel Grip, Robert Levin, James G. Spady, John Chantler, Edward George, Fred Moten. Designed by Will Holder. Thanks to Jef Lambrechts and Stoffel Debuysere. Published by In vitro and KASK School of Arts, April 2026.

Hardcover, 304pp Bloomsbury, July 2026Why do Bob Marley, John Coltrane, Aretha Franklin, and Nina Simone move us the way they do? What drives the soulful notes of the Delta blues? What makes Beyoncé’s Cowboy Carter inescapably great? How Black Music Took Over the World takes readers inside the vibrant world that underlies Black musical creation, demonstrating the impact that the musical inheritance of Africa has had on music today. Beginning with two rhythmic building blocks he calls the cell and the frame, musician, composer and cultural theorist Melvin Gibbs reveals Black music as an organised system of knowledge. Blending cultural history and musical analysis, he explores how Black music has shaped nearly every music genre on the planet, from carnival music in Brazil to rap ciphers in New York and global pop. How Black Music Took Over the World explores rhythm, vibration and movement to challenge Western musical hierarchies and offer new tools for understanding our musical heritage.

Paperback, 104pp Divided, London, June 2026Waiting at Martinique Aimé Césaire International Airport, in the city of Le Lamentin, Mayra A. Rodríguez Castro browses the airport kiosk. Alongside books by Césaire, it offers titles by Frantz Fanon, Maryse Condé and Patrick Chamoiseau. She picks up a copy of Nègre je suis, nègre je resterai, a conversation between Françoise Vergès and Césaire published in 2005, and embarks. In Another Sun, Rodríguez Castro and Vergès revisit that seminal conversation, resulting in an eclectic text shaped by ongoing struggles.With poems by Danielle Legros Georges, Wole Soyinka, Ishion Hutchinson, Clarisse Baleja Saïdi, Aimé Césaire and Jean Érian Samson.

Flexibound, 200 ppU.S Edition, Ars Nova Workshop, January 2026  Eternal Rhythm: Conversations & Travelations with Don Cherry offers an intimate, free-flowing portrait of a legendary improviser and musical visionary. Drawn from priceless cassette-taped interviews gathered since 1979, the book is woven together by writer Graeme Ewens—a confidant, travel companion, and close friend of Cherry. Through Ewens’ vivid storytelling and Cherry’s own reflections, Eternal Rhythm traces a life lived in constant motion—artistically, spiritually, and geographically. The result is an unfiltered insight into the evolution and working life of a musician globally recognised as one of the most unique, innovative voices to emerge from the Sixties free-jazz movement. It’s a rich exploration of creativity without borders, capturing the essence of Cherry’s expansive global musical journey.

Hardcover, 200pp, 88 ill. (44 colour) Reaktion, 2026 Imagined instruments reveal how we shape music – and how music shapes us. The Museum of Imaginary Musical Instruments is a guided tour through centuries of instruments that never existed. From ancient myths to futuristic media, these imagined devices appear in literature, theory, video games and art, at times echoing real instruments, other times pushing far beyond the bounds of technology. This book presents a wide-ranging collection of such creations, showing how they reflect changing ideas about sound, invention and the limits of the possible. At once a cultural history and a study of creative thought, it uncovers unexpected links between music, design and the human urge to make meaning through sound. These are not just fictional artefacts – they are windows into what music might mean, even when it cannot be played.