A5, 48 pages, Black & white printing, Saddle stitched, Softcover Materials, 2017Poems written in Berlin between September 2015 and the Summer of 2017. This pamphlet contains selected work from the pamphlet Cancer: Poems after Katerina Gogou, previously published in a limited edition, and an ongoing sequence entitled Our Death, as well as other pieces from the period. These are poems haunted by catastrophe, light, fires, the sun, violence and love. As Bonney writes: “We were talking about prophecy, about defeat and war, about how nobody knows what those words really mean, and what they will come to mean”. Drawing on writers like Baudelaire, Artaud, Anita Berber and Hölderlin like “marks on a calendar”, “a kind of cacophony”, or “the beginnings of a map”, these poems are vital indices of where we are.

Ugly Duckling Presse, 2018  160pp paperback   A meandering and dead-serious meditation challenging the centrality of black music to black poetry and black critical theory, this book proposes disinvestment in the idea of the music as the highest form of what blackness ‘is’.   Half poems, half prose, Dear Angel of Death braids intimate and public thinking about forms of togetherness. Is one woman a mother, a person in an artworld, a “black”? What imaginary and real spirits are her guides? The title essay proposes disinvestment in the idea of the Music as the highest form of what blackness “is” and includes many forms: philosophical divergence on the problem of folds for black life, a close reading of Nathaniel Mackey’s neverending novel From a Broken Bottle Traces of Perfume Still Emanate, and an impassioned defense-cum-dismissal of contemporary hip hop’s convergence with capitalism.

110 x 165mm, 64 pp, black and white printing, perfect bound, softcover Varamo Press, 2024Writing from the body, from nervous impulses, sensations and gestures, but also from our being carried by matter, language and history, Sabina Holzer explores how writing may become ‘a way of singing and slip over into liminal, latent meanings and potentials.’ How to stay close to the body of the word? To perceive some of the multiplicity of our reality and ways of being, she incorporates somatic practices, ecology and new materialism, fables and science fiction in her writing. Allow me to dream a body with you gathers poetic essays and stories that delve into the fine grain of our corporeal entanglements and embeddedness. ‘Would an encounter between you and me be possible without all this?’ Sabina Holzer works in the field of expanded choreography. Her performances, interventions and texts explore the ecologies of human and more-than-human bodies with particular attention to movement and matter. She engages in practices of collaboration, philosophy, ecology, science fiction and poetry.

Isabel de Naverán is a writer and researcher. Concern with the passage and use of time is the backbone of her work, which focuses on bodily transmission and the examination of the concept of historical time by way of ephemeral and fugitive practices. She holds a PhD in art from the University of the Basque Country.   Paperback, 112pp, 110 x 165mm Varamo Press, 2024  18 July 1936, Bayonne. After hearing the news of the Fascist uprising, the Spanish dancer and bailaora Antonia Mercé y Luque, known as La Argentina, suffers a syncope and dies in fateful synchrony with the Second Republic. History, and the artist’s body, have been seized and broken by the event. In close dialogue with images and historical documents, Isabel de Naverán pursues the reverberations of that shock and how it resonates with collective pain and artistic translations (by Federico García Lorca, Gertrude Stein, Kazuo Ohno and others). How does history affect and move through bodies? How do living bodies carry and pass on cultural legacy and collective memory? What do these complex movements reveal about the present? Wrap, History and Syncope is an affective journey that invites the reader into tracing and revisiting other bodies, to ultimately dance their difference and multiplicity for oneself.

Jonathan Burrows is a choreographer, who has worked for many years in collaboration with the composer Matteo Fargion, with whom he continues to create and perform work. He is the author of A Choreographer’s Handbook (Routledge, 2010) and is currently an Associate Professor at the Centre for Dance Research, Coventry University.     Paperback, 80pp, 11 x 16.5cm Varamo Press, September 2023‘Human beings embody whatever they meet, and it’s all there when you work whether you want it there or not.’ Practice is like the dust that accumulates, and revisiting fragments of essays and talks on choreography Jonathan Burrows ended up embracing the haphazard and the mess, moments of unfocus and focus, harnessing them in pithy formulations and scores, adding room and punctuation and line breaks in the process so readers can hear the rhythm as he writes his dance on writing dance.

Janne-Camilla Lyster is a writer, dancer and choreographer. She has published poetry, novels, essays and plays.www.jannecamillalyster.no   Paperback, 56pp, 11 x 16.5cm Varamo Press, May 2023Imagine words approaching a dance eyes closed or sleepwalking, words adrift beyond what can be envisioned beforehand, prompting writer and reader alike into a zone where time multiplies, where bodies grow footnotes and paper skin, savour the taste of language, attune their ears to the wavelength of blue. In a string of brief essays on her practice of writing choreographic poetry and scores, Janne-Camilla Lyster offers reflections on time, memory and the senses, on translation, punctuation and rhythm, on mistakes and crevasses, on the impossible and yet other things. What does it take to enter another form of existence, say, a chair?

Anne Juren is a choreographer, dancer and Feldenkrais practitioner. In 2021 she finished her PhD at Stockholm University of the Arts with the project Studies on Fantasmical Anatomies.www.wtkb.org   Paperback, 68pp, 11 x 16.5cm  Varamo Press, March 2023Lesson on Gravity is a slice of Anne Juren’s ongoing artistic research into ‘fantasmical anatomies’. ‘What happens when our sense of ground, orientation and support is lost? What are the risk and the promise of detaching ourselves from the pull of gravity?’ As this apocryphal Feldenkrais lesson embraces moments of intrusion and fragmentation, poetry and flights of fancy, it shows how language is alive, embodied and liquid. It also invites the reader to treat the book itself as a body, an unruly tongue sticking somewhere in its folds and creases.

Available in a limited hardback edition of 300 copies, with a bookplate signed by the author.  Strange Attractor Press, December 2024 184pp Hardback A compendium of other musics, channelled from the spirit world, the fairy kingdom, outer space, secret societies and occult lodges. This unique collection of esoteric earworms gathers, and reproduces, music from other worlds. Here you'll find tunes hummed, strummed, and sung by spirits, sprites, and fairies, extraterrestrial elevator music, dreamed ditties, marches for occult ceremonies, secret musical codes and languages, music made by animals, and more. Each entry contains an explanatory text on its origins and purpose, and also reproduces the musical notation, in facsimile where possible, so that you can play along at home. An in-depth introductory essay by musician, historian and collector Doug Skinner rounds out this wondrous musical cabinet of curiosities.   A cacophonous cabinet of curiosities, gathering other musics channeled from the spirit world, the fairy kingdom, outer space, secret societies and occult lodges. Compiled by musician, historian and archivist Doug Skinner, this unique collection of esoteric earworms gathers, and examines, music from other worlds. Notation is also included for several tunes so that you can play along at home. Over eight themed essays you’ll find tunes hummed, strummed, and sung by spirits, sprites and fairies, extraterrestrial elevator music, dreamed ditties, marches for occult ceremonies, secret musical codes and languages, music made by animals, and more.

Foreword by Jeff SchwartzOutline Press, October, 2024, Page count 305 / 6 x 8.5 in    Jonathon Grasse is a professor of music at California State University, Dominguez Hills, where he teaches world music, music theory, and composition. His work Hearing Brazil: Music And Histories In Minas Gerais is the definitive English-language study on that region’s musical traditions, a book complimented by The Corner Club, in which he examines Milton Nascimento’s and Lô Borges’s 1972 album Clube da Esquina. His articles have appeared in Popular Music and the Yale Journal Of Music And Religion, among other publications. Born in Calistoga, California, in 1961, Jonathon lives with his wife Nanci in West Los Angeles.Jazz Revolutionary is the first full biography of Eric Dolphy, passionately tracing his creative life from Los Angeles clubs of the late 1940s and 50s, to New York in the early 1960s, and on to Paris, where sixty years ago he died from the complications of undiagnosed diabetes. It presents an engaging examination of this innovative musician and composer, from his family background to posthumous memorials, and provides insight into his recordings both as sideman and leader. Dolphy emerged at the frontiers of post-bop and free jazz, collaborating with John Coltrane, Charles Mingus, Ornette Coleman, and Gunther Schuller, among others, during the early 1960s. This book accounts for his successes, trials, and tribulations. His critical reception is presented as an element of his career’s ups and downs, ultimately leading to an attempt at a new life in Paris. The albums on which he appears are interpreted title by title, track by track, without unnecessary musical terminology or musical examples; instead of cold discographic charts, readers are brought into each recording with a descriptive prose framework reflecting Dolphy’s performances on alto saxophone, flute, and bass clarinet. Eric Dolphy was perhaps jazz’s first true multi-instrumentalist and a pioneer of avant-garde technique. He is also widely remembered by those who knew him as a kind, gracious human being. In Jazz Revolutionary, his artistic accomplishments, his friendships and family life, and his timeless music are brought together in one place for the first time.

Publisher: Errant Bodies published in April 2018 English edition 21 x 26,5 cm (softcover) 144 pages (b/w ill.)Gender, voice, language, and identity in musical composition and experimental sound practices. How do we get to imagine the music we make? Where and how is it grounded? What is the relationship between the art and its maker, and what and who does music represent? Gender, voice, language, and identity are four important notions for musical creation, for the shaping of a canon, and for the interactions in the field. All four notions are strongly contextual and carry an inherent sense of paradigm and otherness. Other and self are defined via orientation and history, expressed via voice, and confirmed in language. In this publication, these four core notions serve as a set of lenses permitting different perspectives on one another. However much the field of the sounding arts might pretend to be tangential to such affections, they provide important grounds for musical creation. Some twenty artists have created a variety of outputs—as different in form, strategies, approach, and language, as they are rooted in a variety of sub-fields within the sounding arts. --- Edited by Julia Eckhardt. Contributions: AGF aka Antye Greie, Andrea Parkins, Aurélie Lierman, Bonnie Jones, Cathy Lane, Electric Indigo aka Susanne Kirchmayr, Felicity Ford, Heimo Lattner, Jaume Ferrete Vázquez, Judith Laub, Julia Eckhardt, Marc Matter, Marijs Boulogne, Marion Wasserbauer, Myriam Van Imschoot, Pali Meursault, Peter Westenberg, Richard Scott, Romy Rüegger, Susan McClary, Suzanne Thorpe. --- Errant Bodies, 2018

4.5" x 7.5" (folded)13.5" x 7.5" (unfolded) pamphlet / tri-fold published by Topos PressThis is the only authorized facsimile edition of a scarce pamphlet written and distributed by master jazzman Charles Mingus in 1972. The CAT-alog features Nightlife the cat and outlines Mingus's unique toilet-training program for felines. “Mingus was as broad and inventive a thinker as he was a musical genius. Here's hoping this pamphlet leads to his timeless music as well as a cleaner, litter-free home.” —Ashley Kahn, jazz author & fan of cats One of the most important figures in twentieth century American music, Charles Mingus was a virtuoso bass player, accomplished pianist, bandleader and composer. Note: The CAT-alog is a historical curiosity, not veterinary advice! Do not attempt this method without consulting a vet.

Selected by Mattin as part of his 3 day residency 17th-19th May, 2022 ---6.5 x 9.5 inches, cloth hardcover with dust jacket, 398 pages. “Amacher’s electronic music work is paralyzing for its combination of extreme sound and precise architecture. The resulting propulsion is unrelenting and subterranean. This is a woman who would sleep in many of the studios in which she worked, forbidding anyone to disturb her. Supremely articulate, bold, and exacting in the demands of her work, she drew for us a picture of one of the most unusual minds in any field of art.” —Diamanda Galás   “An unprecedented entree into the life and work of one of the most transgressively creative composers of our time, this never-before-available compendium of Maryanne Amacher’s scores, notes, and communications is an invaluable and inspirational resource for anyone interested in the history and practice of experimental creative practice.” —George E. Lewis, author of A Power Stronger Than Itself: The AACM and American Experimental Music   “Maryanne was an artist who didn’t seem interested in names and definitions. I met her when she was teaching, but she was clearly not an academic… When I saw her play, I couldn’t identify all the forces I felt, could barely catch hold of them. Her work is made of mysteries that linger in the mind, changing shape over time.” —Seth Price   Distributed by Les presses du réel in French-speaking Europe, Antenne Books in the rest of Europe, and DAP in the rest of the world.The life and work of Maryanne Amacher are as vast as they are little known. In this volume, Amy Cimini and Bill Dietz offer a heterodox and idiosyncratic selection of largely unpublished documents spanning the breadth of the papers included in the Amacher Collection. The chronologically grouped documents, ranging from private writings and letters to program notes, manifestos, and proposals for unrealized projects, are framed by interviews in which Amacher discusses corresponding periods of her life. This structure leads readers carefully into the composer’s musical thought as it develops and transforms over time, while working  strenuously against the definitiveness associated with “collected” writings. This study of a still-unfolding body of work approaches its materials as provisional, promissory and open-ended. Here, Cimini and Dietz have compiled a volume full of staggeringly rich primary documents, while probing the issue of what it means to assemble these materials while the question “who was Maryanne Amacher?” remains so open. This collection invites the reader to answer. Because Amacher worked across nearly every imaginable media format, this book will be be of interest to theorists and practitioners of urban design, contemporary art history, media and communications, music and sound studies, film, radio, art criticism, and performance studies—in short, a configuration of disciplines that we might call an Intermedial Humanities. At the same time, this collection challenges any area of music, sound, or media studies that might be remade through the recovery of understudied figures. This volume is about doing things a different way. It is organized to foreground Amacher’s voices and soundworlds  so that—whatever future musical and social constellations might join the ongoing excavation of this practice—readers can experience her work in, and through, her own words. At the time of this writing, the Maryanne Amacher Collection is currently being processed at the New York Public Library, stewarded by Blank Forms and the Maryanne Amacher Foundation. Maryanne Amacher (1938 – 2009) was a composer of large-scale, fixed-duration sound installations, and a highly original thinker in the areas of perception, sound spatialization, creative intelligence, and aural architecture. She is regarded as a pioneer of what has come to be called “sound art,” although her thought and creative practice consistently challenged key assumptions about the capacities and limitations of that genre. Often considered in light of post-Cagean art practices, her work anticipated some of the most important developments in network culture, media arts, acoustic ecology, and sound studies. Bill Dietz is a composer, writer and co-chair of Music/ Sound in the Bard MFA program. Amy Cimini is a musicologist, violist and Assistant Professor of Music at UC San Diego. Her first book, Wild Sound: Maryanne Amacher and the Tenses of Audible Life, is forthcoming in Spring 2021 with Oxford University Press.

This is a risoprinted facsimile of the original 1973 pamphlet published by The Feminist Press. Cutt Press, 2025.  A5, stiched, 50ppAn essential book about the corruption of the medical establishment and its historic roots in witch hunters.Barbara Ehrenreich and Deirdre English raise an exposé on the demonization of women healers and the political and economic monopolization of medicine. This quick history brings us up-to-date, exploring today’s changing attitudes toward childbirth, alternative medicine, and modern-day witches.“This booklet will open your eyes. Barbara Ehrenrich and Deirdre English show how, for reasons of class politics, women’s suppression and naked greed, wealthy men discredited, persecuted and outright killed the wisewomen healers, leaving themselves to be the sole practitioners of their ‘scientific’ medicine. The information presented here gives a whole new perspective to medical history and points to some of the causes underlying our current healthcare mess.” —WomanSource Catalog & Review

Originally published, 1983 #booksofthenewuniverse  This edition is a reprint in riso by @cutt_press  A5 staplebound, 50pp Hopscotch Reading Room makes “bootlegs” in close collaboration with @cutt_press of often rare and difficult to find printed matter that we consider to be of lasting historical value from our (not for sale) archives that we feel deserve wider circulation.“If the object identified as a barred-spiral galaxy in drawing #37 really is a barred-spiral galaxy, it would seem to imply that either the ancients had high-powered telescopes or that advanced beings visited earth! I personally feel that such is not very likely, due to the lack of appropiate artifacts. Yet suppose a worldwide civilization existed in the past, which was fragmented by planets in collision in historical times?Then the object might well be the two-horned, comet-planet Venus. Since the Mayans held that their savior-creator god Quetzacoati had turned into Venus after ascending from a three day stay in Hades, it would not be inconceivable that he might be deemed to, in fact, constitute the fundamental building blocks of the universe.” - from the postscript

Originally published in the influential African Writers Series in 1992   printed and bound by @cutt_press , 2022 A5, 250pp *About 3/4ths of the way through the printing process, the stash of Federal Blue ink ran out so you can see the gradual transition to Burgundy ink.Major Gentl and the Achimota Wars by Kojo Laing + a supplementary essay: ‘To Win the War, You Fought It Sideways: Kojo Laing's Major Gentl and the Achimota Wars’ by Kodwo Eshun Originally published in the influential African Writers Series in 1992, Major Gentl and the Achimota Wars is a science fiction novel about the city of Akkra, Ghana in the year 2020. It is the most sustained science fiction yet written in which the futurity of the African continent constitutes the object and the stake of warring forces. Laing envisions the year 2020 as an era in which one power fights for the right to project themselves into a futurity from which they will be expelled by the victory of their enemy. ‘To Win the War, You Fought It Sideways: Kojo Laing's Major Gentl and the Achimota Wars’ by Kodwo Eshun is included with permission from the author.

The Other's Language: Ornette Coleman & Jacques Derrida in Conversation, originally published (1997) Edition of 100 / riso printed in burgundy ink / pamphlet stitched Cutt Press, 2023A 1997 conversation between the modern-jazz musician Ornette Coleman by the philosopher Jacques Derrida; the substantial connections between their ideas, which come through in surprising ways. They were, as Derrida notes, born in the same year, 1930.///OC: When you take music, the composers who were inventors in western, European culture are maybe a half-dozen. As for technology, the inventors I have most heard talk about it are Indians from Calcutta and Bombay. There are many Indian and Chinese scientists. Their inventions are like inversions of the ideas of European or American inventors, but the word “inventor” has taken on a sense of racial domination that’s more important than invention—which is sad, because it’s the equivalent of a sort of propaganda.

At last: the long-awaited box set surveying The Shadow Ring's prolific, decade-long existence. Eleven CDs, one DVD, and a more than 450-page book featuring a detailed biographical essay, hundreds of photographs, ten interviews, a complete discography with lyrics, and rarely-seen ephemera. The Shadow Ring (1992–2002) presents a comprehensive overview of the work produced by British musicians Graham Lambkin, Darren Harris, and later Tim Goss over the course of a decade. Throughout their legendary ten-year run, this shambolic rock outfit, formed by a group of teenagers in the port town Folkestone, were an enigmatic force on the international musical sub-underground. The group have left behind a mighty run of eight LPs, a handful of 7-inches, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic. Collected here for the first time are The Shadow Ring’s live cuts, rarities, and complete commercial releases, spread out across eleven CDs and a DVD, accompanied by an nearly five-hundred-page book that includes a monographic biographical survey, more than one hundred color photos, a comprehensive discography with transcribed lyrics, and a selection of zine appearances, fliers, postcards, and other miscellanea. In aggregate, this significant collection not only plums the depths of the band and its attendant lore, but reveals a vivid minor history of mail-order networks, bedroom recording sessions, cross-USA couch-surfing, and encounters with fellow travelers such The Dead C, Harry Pussy, Charalambides, Richard Youngs and the No-Neck Blues Band. Where is the connecting thread between Ralf Wehowsky and Squirrel Nut Zippers? Inquire within. The roughly 200 songs in this set trace the band from its earliest days recording in Lambkin’s parents’ house (SHP Studios), through its brooding mid-period, garnering word-of-mouth notoriety that peaked with the trio turning down an invitation to tour with Pavement, to a string of increasingly uncompromising experiments with electronics, voice, and tape. Although the band’s sound morphs considerably during this time period, from spartan beginnings using pots and pans as a drum set to their ultra-deconstructed latter-day approach, certain core sensibilities are apparent throughout: brash youthful rawness, wry and morbid lyricism, stripped-down angularity, and a penchant for atmospherics. This boxset, featuring every record and single, and buttressed by twenty-nine rarely-heard recordings, including proto-Shadow Ring projects such as the Cat & Bells Club and Footprint cassettes, and their unearthed final CD-R Darren Harris Reads Graham Lambkin, presents the first opportunity to hear this arc in full. The ebbs and flows of the band—their schoolboy beginnings, initial successes, first shows and tours, life milestones, and Lambkin’s gradual development as a solo artist—are painstakingly detailed in a sizable band history-cum-Künstlerroman by Blank Forms artistic director Lawrence Kumpf, illustrated with candid photos, sketches, letters, newspaper clippings, and other ephemera. The music and videos can speak for themselves, but taken as a mass, this collection makes sense of the group’s utter uncanniness without comprising one iota of their mystique, bringing something new to the table for completionists and the uninitiated alike.  The Shadow Ring: Graham Lambkin, Darren Harris, Tim Goss Audio transfers and remastering: Graham Lambkin with Daniel Martin-McCormick and Jade Guterman Mastering: Stephan Mathieu at Schwebung Mastering, Bonn, Germany DVD mastering: C. Spencer Yeh Design: Lucas Quigley

A5, 32 pages, Black & white printing, Saddle stitched, Softcover, Includes download code.  Arterial & Gil De Ray, 2024Ltd Edition 32 page zine with FREE download featuring the essay by ROBIN PURVES in which he discusses 4 pieces of drone music through time, starting with the composer La Monte Young's "Trio For Strings", Joan La Barbara’s Voice Piece: One Note Internal Resonance Investigation; ‘Bass Pulse in Open Air’ in Floating Frequencies: Intuitive Synthesis III – Phase Two by Eleh; and Keiji Haino’s ‘Wisdom That Will Bless I, Who Live in the Spiral Joy Born at the Utter End of a Black Prayer’. "..in discussing these works, the following questions will be considered: What do these works mean? Do these works mean? If they can mean, in what ways do they bear their meanings? What are they for if they do not mean?