The history of India's first electronic music studio founded in 1969 at the National Institute of Design in Ahmedabad by David Tudor. Subcontinental Synthesis explores the history of India's first electronic music studio, founded in 1969 at the National Institute of Design in Ahmedabad with the support of the composer David Tudor. The essays and writings unravel the narrative and context surrounding the studio as well as the work of the Indian composers who created groundbreaking recordings during its four years of activity. The texts reflect on the role of electronic music within a post-independence India, considering its interconnections with experimental design, radical pedagogies, and the international avant-garde, as well as the encircling conditions of Western ideological soft power within the global expansion of Modernism. Contributors include Frances Morgan, Matthew Williams, Geeta Dayal, Shilpa Das, Alexander Keefe, Paul Purgas.

Trance has been the flag for electronic music across the globe during the nineties and early zeroes. The sound’s trademark optimistic and euphoric aspects has brought some of the most compelling musical pieces of its time, and undoubtedly had a significant influence on future electronic music to come. Yet, its historical significance has been highly overlooked. Hypnotised is the first encyclopedia to cover the global trance movement during its most prolific years. The 322-page book spans a near-complete discography of supposedly essential albums, labels and releases, alongside exclusive photos and in-depth interviews with influential artists and label owners.

Selected cassette tape and vinyl artwork from experimental electronic music of the 1980s. Touching on industrial, noise, new wave, minimal, drone, sound art, ambient and more. A visual archive of the xerox scanned imagery, disorderly type and hand illustration used to present the decade's boundary-pushing music and abstract compositions. 132 pages 120 x 160mm 115 gsm recycled natural paper

“Ideal as an immersive primer for the curious or an in-depth affirmation of Hawkwind’s influence and impact for fans.” Record Collector“… meticulously researched, entirely engrossing…” Wire“… a tour de force… uniformly provocative and insightful…” The Quietus“… an impressive guided tour of the band’s peak years.” Uncut“…terrific… the footnotes deserve their own book.” Shindig!“… in-depth… intriguing… intelligently written.” Classic Rock  Hawkwind are like no other band. Their influence reaches across the spectrum of alternative musics—from psychedelia, prog and punk, through industrial, electronica and stoner rock—and they continue to inspire devotion from fans around the world. They’ve been positioned as heirs to both Pink Floyd and the Velvet Underground, and as Britain’s answer to the Grateful Dead and Krautrock. They’ve defined a genre—space rock—while operating on a frequency that’s uniquely their own.For a generation of young people growing up in an age of paranoia, with the planet on the brink of economic, ecological and nuclear catastrophe, Hawkwind offered a radical vision of sci-fi-inspired escapism. As commentators asserted that the countercultural experiment of the 1960s was over, Hawkwind took the underground to the provinces and beyond, fanning the flames of mainstream resistance. In Days Of The Underground, Joe Banks repositions Hawkwind as one of the most innovative and culturally significant bands of the 1970s. Rejecting the accepted narrative that views the band as one long lysergic soap opera, he shows us just how revolutionary Hawkwind were and how enduring their legacy remains. Profusely illustrated with rare and previously unseen archival material, Days Of The Underground will rewire your perceptions of Hawkwind forever.

Essays that explore the connections between time, representation, and identity within hip-hop culture. “This book, edited by Roy Christopher, is a moment. It is the deconstructed sample, the researched lyrical metaphors, the aha moment on the way to hip-hop enlightenment. Hip-hop permeates our world, and yet it is continually misunderstood. Hip-hop's intersections with Afrofuturism and science fiction provide fascinating touchpoints that enable us to see our todays and tomorrows. This book can be, for the curious, a window into a hip-hop-infused Alter Destiny—a journey whose spaceship you embarked on some time ago. Are you engaging this work from the gaze of the future? Are you the data thief sailing into the past to U-turn to the now? Or are you the unborn child prepping to build the next universe? No, you're the superhero. Enjoy the journey.”—from the introduction by Ytasha L. Womack Through essays by some of hip-hop's most interesting thinkers, theorists, journalists, writers, emcees, and DJs, Boogie Down Predictions embarks on a quest to understand the connections between time, representation, and identity within hip-hop culture and what that means for the culture at large. Introduced by Ytasha L. Womack, author of Afrofuturism: The World of Black Sci-Fi and Fantasy Culture, this book explores these temporalities, possible pasts, and further futures from a diverse, multilayered, interdisciplinary perspective.

In this heavily illustrated compendium, the legendary British experimental band Coil tell their story in the present tense, as events unfold across their twenty-year history.Between 1983 and 2004 the legendary British experimental band Coil established itself as a shape-shifting doyen of esoteric music whose influence has grown spectacularly in the years since its untimely end. With music that could be dark, queer, and difficult, but often retained a warped pop sensibility, Coil's albums were multifaceted repositories of esoteric knowledge, lysergic wisdom and acerbic humor. In Everything Keeps Dissolving, core members John Balance and Peter Christopherson tell Coil's story in the present tense, and from their personal perspectives.Accompanied by their various collaborators, Coil describe the fertile eruption of ideas, inspirations, and stray tangents that informed their lyrical and musical visions—as well as those dead paths and castoff concepts that didn't take root. Not only a worm's eye view of Coil, these interviews provide insight into the late twentieth century's evolving British cultural underground as channeled through two of its most astutely mercurial minds.A milestone in Coil's evolving posthumous history, Everything Keeps Dissolving contains a number of previously unseen drawings, photographs and other images by, and of, the band.About the editor:Nick Soulsby is the author of Everything Keeps Dissolving: Conversations With Coil (Winter 2022), Lydia Lunch: The War Is Never Over (2019), Swans: Sacrifice And Transcendence (2018), Thurston Moore: We Sing A New Language (2017), Cobain On Cobain: Interviews & Encounters (2016), I Found My Friends: The Oral History Of Nirvana (2015), and Dark Slivers: Seeing Nirvana In The Shards Of Incesticide (2012). His words feature in an upcoming book on artist Marc Hurtado and The Abrahadabra Letters by John Balance/Anthony Blokdijk. In 2014 he curated No Seattle: Forgotten Sounds Of The North West Grunge Era with Soul Jazz Records, he wrote the liner notes for the re-release of We Are Urusei Yatsura (2022), and also the oral history of Fire Ants for the reissue of their 1993 EP Stripped.

Before he got involved in this whole "film" thing, Harmony was a prolific zine artist. Though distributed in minor quantities (and sometimes given away to homeless people), word has travelled to Drag City HQ of their greatness. They're filled with funny/creepy musings, fake celebrity gossip and found art. This collection contains all the zines bound as one book. Includes MY FRIEND OR SHEEP BOY ADULTHOOD ADULTHOOD 2 OH DEATH WHERE IS THY STING FOSTER HOMES AND GARDENS HUMOR POCAHONTAS MONTHLY HUMER

A new approach to playing and composing music — Hexadic-style! All that the interested player will need is a guitar, a copy of The Hexadic System book — and a regular deck of playing cards (or better yet, our custom Hexadic deck of cards!). Softcover, 4.5"x7", 115 pages, including 70 one- and two-color illustrations. For Errata, Updates on the system, Templates, and a sample of what others have created with The Hexadic System, visit:http://www.sixorgans.com

The first book in Crescent: a new series of contemporary writing.  With a Foreword by Edna Bonhomme Humanity has always excluded Others on the basis of race and gender. What happens to people who choose to flee, following in the footsteps of those who resisted enslavement? This audacious manifesto draws on the legacies of bell hooks, Audre Lorde, Angela Davis and others to consider the ways in which Black women have been excluded from, struggled to achieve and opted to reject the category of ‘human’. Sociologist Akwugo Emejulu argues that it is only through embracing the status of the ‘fugitive’ that Black women can determine their own liberation. Fugitive Feminism is a call for the collective process of speculative dialogue and a bold new model for action.   --- “A reminder that Black feminism can be a promise, even if the world that we have inherited is so perilous. Fugitive Feminism is a bricolage: an intellectual imprint and philosophical harmony between what it means to flee and conjure a world where we are set free.” Edna Bonhomme

Edited and introduced by So Mayer and Sarah Shin Softcover coverm 256pp Silver Press, 2026Celebrated author Ursula K. Le Guin witnessed the rebellions and upheavals of the twentieth century, including women’s liberation, the civil rights movement and anti-war and environmental activism. Spanning fifty years of her life and work fighting for social and environmental justice, Space Crone brings together Le Guin’s writings on feminism and gender for the first time. Gathering speeches, essays and stories, Space Crone offers new insights into her imaginative, multispecies feminist consciousness: from its roots in her ecological and anti-war concerns, to her self-education about racism and her writing on motherhood and ageing.

Spells are poems; poetry is spelling. Spell-poems take us into a realm where words can influence the universe. Spells brings together thirty-six contemporary voices exploring the territory where justice, selfhood and the imagination meet the transformative power of the occult. These poems unmake the world around them, so that it might be remade anew. Contributors: Kaveh Akbar, Rachael Allen, Nuar Alsadir, Khairani Barokka, Emily Berry, A.K. Blakemore, Jen Calleja, Vahni Capildeo, Kayo Chingonyi, Elinor Cleghorn, CAConrad, Nia Davies, Kate Duckney, Livia Franchini, Will Harris, Caspar Heinemann, Lucy Ives, Rebecca May Johnson, Bhanu Kapil, Amy Key, Daisy Lafarge, Dorothea Lasky, Ursula K. Le Guin, Francesca Lisette, Canisia Lubrin, Karen McCarthy Woolf, Lucy Mercer, Hoa Nguyen, Rebecca Perry, Nat Raha, Nisha Ramayya, Ariana Reines, Sophie Robinson, Erica Scourti, Dolly Turing, Jane Yeh.

Sale! Huge mark down! Please note - this book weighs over 2kg, hence the shipping cost. Hardback Book 240 pages Full-color illustrations and photos 30.7 cm H | 30.7 cm W | 2.5 cm T ---------------------------------------------------------------------------------------------------------- Contributors: Le Sony'r Ra, better known as Sun Ra (1914-1993) Irwin Chusid is a journalist, music historian, radio personality and self-described landmark preservationist. He has produced landmark reissues of the music of composer/bandleader/electronic music pioneer Raymond Scott, Space Age Pop avatar Esquivel. Chris Reisman is a longtime record collector and proprietor of Hudson Valley Vinyl in Beacon, NY. ------------------------------------------------------------------------------------------------------------- “This book contains sacred relics that were heretofore hidden in the personal sanctums of insiders, collectors, and fans who bought a souvenir at a Sun Ra show and kept it. These costumes for Ra grooves are as singular and unforgettable as the Arkestra members’ radiant raiment.” BEN YOUNG “Sun Ra’s vision took in multiple arts, beyond music. Art on Saturn catalogs his printed album covers, with their bold Afrofuturistic illustrations, then presents an endless variety of unique LP sleeves handcrafted by Ra and members of the Arkestra.” ROBERT L. CAMPBELL, co-author, The Earthly Recordings of Sun Ra “Sun Ra was an expert at disruption. The Saturns assembled here confront the world with an inscrutable wash of color and astroBlack iconography. They are a surprisingly underdocumented legacy of this angelic visitant’s campaign to alter destiny.” THOMAS STANLEY, author, The Execution of Sun Ra “Another dimension of the Sun Ra story—the art that complements his music and poetry. Saturn Records was groundbreaking, and this book brings out the evolving artistic values of the label and its unique character as a pioneering musician-run enterprise.”Drawn from private collections around the world, this is the first comprehensive collection of the Saturn label’s printed record covers, along with hundreds of the best hand-designed, one-of-a-kind sleeves and disc labels decorated by Sun Ra and members of his Arkestra. Considered the foremost exponent of Afrofuturism, Sun Ra mastered a wide array of styles that spanned jazz, R&B;, exotica, Afro-hybrids, electronic, big band, solo piano, orchestral, experimental, and chamber works. In his 45-year recording career, he issued an epic number of albums and he was one of the first Black musicians to own an independent label, which he named Saturn, after the planet on which he claimed to have been born. The covers of Saturn LPs, issued from 1957 to 1988, are iconic—some rolled off commercial printing presses but many were hand-crafted. These records were sold at concerts, club dates, and by mail order. As collectibles, original handmade Saturn covers sell for hundreds, sometimes thousands, of dollars. More than just packaging for a slab of vinyl, they are works of art in their own right. Sun Ra: Art on Saturn is the first comprehensive collection of all Saturn printed covers, along with hundreds of the best hand-designed, one-of-a-kind sleeves and disc labels, decorated by Ra himself and members of his Arkestra. Essays by Sun Ra catalog preservationist Irwin Chusid, noted Ra scholar John Corbett, and Glenn Jones, who in the 1970s signed Ra to a distribution deal that put countless homemade covers into circulation, add unique insights into the interplanetary life and work of Sun Ra and his Saturn partner Alton Abraham. Historians have written extensively about Sun Ra and his music. This book is a tribute to the covers and to the uncredited visual artists and their rich imaginations. From the simple to the baroque to the absurd, the covers that sheathed Ra's discs reflect the tenaciousness of a genius who refused to compromise or relinquish control of his destiny.

Mina Loy (1882–1966) was one of the most iconoclastic figures in modernism. A groundbreaking poet, she also left an indelible mark in painting, drawing, prose, art criticism, and fashion. Mina Loy: Strangeness Is Inevitable is the first book to examine the full scope of her extraordinary career, demonstrating Loy’s transformative impact on the visual arts as well as the literary avant-garde of the twentieth century.Presenting dozens of Loy’s paintings, drawings, and constructions alongside selections of her poems and writings, this book gives a comprehensive overview of the complex images and objects Loy created and situates them in the larger context of her life and work. It explores Loy’s pursuit of truth and beauty, arguing that her engagement with the emphatically “unbeautiful” materials of the Bowery—such as rags and bottle caps—reflects her questioning of truth. The book positions Loy within the broader context of surrealist art; sheds light on her relationships with influential figures such as Gertrude Stein, Marcel Duchamp, and Wyndham Lewis; and addresses Loy’s enduring relevance today.Featuring rare and previously unpublished artworks, Mina Loy: Strangeness Is Inevitable reveals this visionary artist’s extraordinary contributions as an image-maker, writer, and cultural arbiter, introducing her work to a new generation of readers and charting new directions in art history, women’s studies, poetry, and modernist studies.Published in association with the Bowdoin College Museum of Art

X4 CD + DVD + Book edtion of this amazing collection! Long out of print. One copy onely The year 2007 saw one of the most remarkable findings in the long treasure-hunting history of Die Schachtel: the complete set of recordings of the early manifestation (1967-1969) of one of the most legendary improv group of all time, the Gruppo di Improvvisazione Nuova Consonanza. Rescued by the private archives of Walter Branchi, one of the original founding members -- alongside Franco Evangelisti, Ennio Morricone, Ivan Vandor, Roland Kayn, Egisto Macchi, Mario Bertoncini, and John Heineman -- the tapes were then restored in their entirety. Only a part of them were published in a CD-only boxset in an edition of 500, titled Azioni 1967-1969, which also featured a DVD with the original film Nuova Consonanza shot by Theo Gallher during the rehearsal and concert that the group held on March 19th and 20th, 1967, at the Galleria darte Moderna in Rome. Spanning from free-jazz to total abstract noise to wild electronic sounds, their music was -- and remains -- one of the most dynamic, original, and uncompromising expression of a period defined by intense experimentation and musical bravery, anticipating experiments to come in years following. Or, to put it simple, They were utterly unique," as per the words that John Zorn, who expressively wrote for this edition. To mark the ten-year anniversary of its original release, Die Schachtel present Azioni/Reazioni 1967-1969, the complete cycle of improvisations -- which includes thirteen additional, never before published pieces -- taken from the original tapes. Remastered by Giuseppe Ielasi.

240pp, 234 x 142paperback with flapsFirst published 2013, reprinted 2014, 2016, 2018, and 2022.This is a unique and important collection of interviews with contemporary sound artists who use field recording in their work. From its early origins in wildlife sound and in ethnographic research, field recording has expanded over the last few decades into a diverse range of practices which explore and investigate aspects of the lived environment, from the microscopic to the panoramic, through the medium of recorded sound. These conversations explore the fundamental issues that underlie the development of field recording as the core of their activity. Recurring themes include early motivations, aesthetic preferences, the audible presence of the recordist and the nature of the field.

The ninth issue of We Jazz Magazine, "Oisters" for Petter Eldh. 128 pages, 170 x 240 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles presented IN ENGLISH: Petter Eldh by Peter Margasak, Oren Ambarchi by Daryl Worthington, Sven Wunder by Markus Karlqvist, Robyn Steward by Dave Waller, Jason Moran by Rui Miguel Abreu, Darius Jones by Stewart Smith, Carlos Garnett by Andy Thomas, Discaholic column by Mats Gustafsson, Black Fire by Danny Veekens, reviews, plus more.

** English/German edition. Large format **The first comprehensive publication on his work focuses on Conrad Schnitzler "intermedia" work between Düsseldorf, West Berlin and New York in the late 1960s to 1980s. During this period, the Joseph Beuys student and sculptor Konrad Schnitzler developed into the Zodiak founder and electronic musician of Kluster and Tangerine Dream, into the busy video and performance artist "Konrad von Berlin" and finally into the internationally connected sound artist and musician Conrad Schnitzler.Contributions by Alexia Ciosses, Geeta Dayal, Gregor Jansen, David Keenan, Florian Meier, Stefan Schneider and Linnea Semmerling bear witness to Schnitzler's importance at the intersection of visual art and electronic music, cassette culture and mail art, video and performance, action and installation, which transcends borders in every respect. “I’m a performer, performance artist, intermedia artist—not multimedia, but between the media. I tend to see the word ‘musician’ as a derogatory term.” For Schnitzler, “intermedia” literally meant working between media with simple technical equipment. He treated his sound and video creations not as finished works, but as intermediate stages, set pieces, or momentary states that would unfold their potential in a continual series of new audiovisual constellations. He highly valued the political, economic, and artistic independence of his work.  In the early 1970s, Schnitzler bought his first synthesizer, the affordable and portable EMS Synthi A. With this monophonic, analog device, he was able to create his own electronic sounds, albeit only one at a time. That wasn’t enough for Schnitzler, and so he recorded the individual sounds on different cassette tapes, which he could then play back and mix. While the sparse instrumentation of his early concerts consisted of only the synthesizer and two cassette recorders, over the course of the 1970s he developed a performance practice with up to twelve tape recorders. He also continuously expanded his sound spectrum by recording found sounds from his surroundings and other synthesizers on cassettes and adding them to his sonic universe. This is how the format of the cassette concert, which he invented, came about as a unique combination of composed, improvised, and conceptual music.  Kluster (Konrad Schnitzler, Hans-Joachim Roedelius, Dieter Moebius), Klopfzeichen, 1970 (produced by Conny Plank)- Schnitzler’s ear was shaped by the sound of the bombs during the war and the noise from the factory where he completed his apprenticeship as a machinist. He was determined to transform these industrial soundscapes into art, and to this end he developed his own electroacoustic instruments consisting of modified classical musical instruments and homemade noise makers, whose sounds he electronically amplified and altered. “Back then I wanted to replay what I knew from my time as a machinist—the noise from the factory buildings—with instruments. I didn’t want normal scales, nor could I play them. That was my freedom: not being able to do anything. Sometimes it got out of hand and turned into music.” Schnitzler released an enormous amount of acoustic material in the 1970s and 1980s, deliberately disregarding the mechanisms of the music market. Whether his tracks were released on vinyl or cassette, on a label with professional distribution, or as a private release usually simply depended on whether he had requests from music labels or galleries. Pieces were often released in multiple editions and different versions—for example, on cassette in the early 1970s, as a video soundtrack in the late 1970s, and finally on vinyl in the 1980s.

With an Introduction by David Harsent and Afterword by Gareth Evans.   Returning to the island of Samos during the summer of 1979, where he had spent long periods of exile throughout his life, Greek poet Yannis Ritsos composed a remarkable collection of 336 single-line poems, written at a rate of about 10 a day: the Monochords, each line an essential observation of a moment; a personal archive of time past, present and future. In London in 2020, during a period of Covid confinement, artist and filmmaker Chiara Ambrosio began responding to Ritsos’ words through linocut images: an experiment in entering the space opened by each poem, rendering it in line and shape; a daily ritual that accompanied her along a strange year of exile from life.