Bedroom Beats & B-sides is the first comprehensive history of the instrumental hip-hop and electronic scenes and a truly global look at a thirty-year period of modern music culture based on a decade of research and travel across Europe, North America, and Japan.   Bedroom Beats & B-sides is the first comprehensive history of the instrumental hip-hop and electronic scenes and a truly global look at a thirty-year period of modern music culture based on a decade of research and travel across Europe, North America, and Japan. The first decades of the 21st century saw dramatic changes in the music industry as new technology transformed creation, communication, and consumption. Amid this turmoil one change occurred relatively quietly, almost naturally: so-called bedroom producers, music makers raised on hip-hop and electronic music, went from anonymous, often unseen creators to artists in their own right. In Bedroom Beats & B-sides: Instrumental Hip Hop & Electronic Music at the Turn of the Century, Laurent Fintoni details the rise of a new generation of bedroom producers at the turn of the century through the stories of various instrumental hip-hop and electronic music scenes. From trip-hop, jungle, illbient, and IDM in the 1990s to just “beats” in the late 2000s, the book explores how these scenes acted as incubators for new ideas about composition and performance that are now taken for granted. Combining social, cultural, and musical history with extensive research, the book tells the B-side stories of hip-hop and electronic music from the 1990s to the 2010s and explores the evolution of a modern beat culture from local scenes to a global community via the diverse groups of fringe idealists who made it happen and the external forces that shaped their efforts. Includes quotes and stories drawn from more than 100 interviews with producers, DJs, label owners, and more including James Lavelle, Charlie Dark, Luke Vibert, Mark Pritchard, Flying Lotus, Georgia Anne Muldrow, El-P, Hudson Mohawke, Kode9, Prefuse 73, Anti Pop Consortium, Dabrye, Waajeed, Tekilatex, Ghislain Poirier, Kutmah, LuckyMe, Benji B, The Bug, and many more. Bedroom Beats & B-sides is the first comprehensive history of the instrumental hip-hop and electronic scenes and a truly global look at a thirty-year period of modern music culture based on a decade of research and travel across Europe, North America, and Japan. Laurent Fintoni says: “Bedroom Beats & B-sides is a deeply personal project that has consumed me for over 20 years. I hope it can do some justice to the vibrancy and importance of the culture it seeks to celebrate and its people. I am grateful to Velocity Press for taking a chance on me as a first-time author and giving me space and support to tell the first, but hopefully not the last, version of this story.”

Revised reissue of the acclaimed first-ever book-length investigation into the origins of jungle and drum & bass. Back in print for the first time since 1998, State of Bass: The Origins of Jungle and Drum & Bass features previously unpublished interviews with Roni Size, Goldie, LTJ Bukem, Fabio, Shy FX and other key players from the early years of the scene.

Published: Ignota Books Publish Date: 20th Nov 2020 ISBN: 1999675959 Edited by Ben Vickers & K Allado-McDowellForeword by Bill Sherman Like a snake eating its tail, artificial intelligence exists in a circular relationship with its human creators. The Atlas of Anomalous AIis a compelling and surprising map of our complex relationship to intelligence, from ancient to emerging systems of knowledge. A wildly associative constellation of ideas, stories, artworks and historical materials, theAtlasdraws on art historian Aby Warburg’s Mnemosyne Atlas — an image map of the “afterlife of antiquity” — to approach the defining concepts of AI from an imaginative, artistic and revitalising perspective. The Atlas presents a hyperdimensional view of the world, through a broad range of perspectives that explore the question of what AI has been and what it is becoming. Key texts on modelling, prediction and automation are brought together with stories of science fiction, dreams and human knowledge, set among visionary and surreal images --- Contributions from writers, philosophers and curators including: Blaise Agüera y Arcas, Ramon Amaro, Noelani Arista, Jorge Luis Borges, Benjamin H. Bratton, Federico Campagna, Arthur C. Clarke, Rana Dasgupta, Eknath Easwaran, GPT-2, GPT-3, Yuk Hui, Nora N. Khan, Suzanne Kite, Jason Edward Lewis, Catherine Malabou, Hans Ulrich Obrist, Matteo Pasquinelli, Archer Pechawis, Noah Raford, Nisha Ramayya, Beth Singler and Hito Steyerl.Artworks by: Anni Albers, Pablo Amaringo, Refik Anadol, William Blake, Ian Cheng, Ithell Colquhoun, DeepDream, Federico Díaz, Susan Hiller, Hildegard of Bingen, Pierre Huyghe, C. G. Jung, Hilma af Klint, Emma Kunz, Paul Laffoley, Lucy Siyao Liu, Branko Petrović and Nikola Bojić, Santiago Ramón y Cajal, Casey Reas, Jenna Sutela and Suzanne Treister. Artworks by: Anni Albers, Pablo Amaringo, Refik Anadol, William Blake, Ian Cheng, Ithell Colquhoun, DeepDream, Federico Díaz, Susan Hiller, Hildegard of Bingen, Pierre Huyghe, C. G. Jung, Hilma af Klint, Emma Kunz, Paul Laffoley, Lucy Siyao Liu, Branko Petrović and Nikola Bojić, Santiago Ramón y Cajal, Casey Reas, Jenna Sutela and Suzanne Treister. --- Editors: Ben Vickers is a curator, writer, publisher, technologist and luddite. He is CTO at the Serpentine Galleries in London, co-founder of Ignota Books and an initiator of the open-source monastic order unMonastery. K Allado-McDowell works in the overlap between music, language, technology and healing. With over twenty years of experience translating between technical and cultural worlds, Allado-McDowell is a sought after speaker and consultant to cultural, artistic, and technological institutions that desire to align their work with larger traditions of human understanding. Allado-McDowell established the Artists + Machine Intelligence program at Google AI, bringing artists and philosophers into collaboration with machine learning researchers to develop research strategy and policy for emerging AI technology. Allado-McDowell records and releases music under the name Qenric.

In the form of a richly illustrated compendium, Tape Leaders is an indispensable reference guide for anyone interested in electronic sound and its origins in Great Britain. For the first time, a book sets out information on practically everyone active with experimental electronics and tape recording across the country to reveal the untold stories and hidden history of early British electronic music. With an individual entry for each composer, it covers everyone from famous names like William Burroughs, Brian Eno and Joe Meek to the ultra-obscure such as Roy Cooper, Donald Henshilwood and Edgar Vetter. There are sections for EMS and the BBC Radiophonic Workshop and amateurs, groups and ensembles that experimented with electronics, including The Beatles, Hawkwind and White Noise.

Format: Paperback Publisher: PLUTO PRESS Published: August 1, 2007 ISBN: 9780745321653 352 pages Sometimes described as ‘the British Brecht’, Ewan MacColl (1915-1989) was a major twentieth-century political artist. This is the first biography of MacColl, and was prepared with the authorisation of his collaborator and widow, Peggy Seeger. MacColl became a communist at fourteen and spent six decades at the cultural forefront of numerous political struggles, producing plays, songs and radio programmes on subjects ranging from the Spanish Civil War to the Poll Tax. Charting his involvement in radical theatre, his ground breaking radio work in the UK and the USA, as well as his musical influences and legacy, his three marriages, and his relationship with his songwriter daughter Kirstie MacColl, this is a lively account of a much-loved icon of 20th century folk music. Drawing on extensive research, Class Act is a freshly conceived and energetically written account of a highly creative and controversial activist.

Publisher: University of Chicago Press ISBN-10: 0226109593 Publication date: 15 Sept. 2011 Language: English The Sacred Harp choral singing tradition originated in the American South in the mid-nineteenth century, spread widely across the country, and continues to thrive today. Sacred Harp isn’t performed but participated in, ideally in large gatherings where, as the a cappella singers face each other around a hollow square, the massed voices take on a moving and almost physical power. I Belong to This Band, Hallelujah! is a vivid portrait of several Sacred Harp groups and an insightful exploration of how they manage to maintain a sense of community despite their members’ often profound differences. Laura Clawson’s research took her to Alabama and Georgia, to Chicago and Minneapolis, and to Hollywood for a Sacred Harp performance at the Academy Awards, a potent symbol of the conflicting forces at play in the twenty-first-century incarnation of this old genre. Clawson finds that in order for Sacred Harp singers to maintain the bond forged by their love of music, they must grapple with a host of difficult issues, including how to maintain the authenticity of their tradition and how to carefully negotiate the tensions created by their disparate cultural, religious, and political beliefs. --- University of Chicago Press, 2011

Publisher :Zone BooksLanguage :EnglishHardcover :368 pagesISBN-10 :1935408658ISBN-13 :978-1935408659What is the origin of music? In the last few decades this centuries-old puzzle has been reinvigorated by new archaeological evidence and developments in the fields of cognitive science, linguistics, and evolutionary theory. In this path-breaking book, renowned musicologist Gary Tomlinson draws from these areas to construct a new narrative for the emergence of human music. Starting at a period of human prehistory long beforeHomo sapiensor music existed, Tomlinson describes the incremental attainments that, by changing the communication and society of prehumen species, laid the foundation for musical behaviors in more recent times. He traces in Neandertals and early sapiens the accumulation and development of these capacities, and he details their coalescence into modern musical behavior across the last hundred millennia. But A Million Years of Musicis not about music alone. Tomlinson builds a model of human evolution that revises our understanding of the interaction of biology and culture across evolutionary time-scales, challenging and enriching current models of our deep history. As he tells his story, he draws in other emerging human traits: language, symbolism, a metaphysical imagination and the ritual it gives rise to, complex social structure, and the use of advanced technologies. Tomlinson's model of evolution allows him to account for much of what makes us a unique species in the world today and provides a new way of understanding the appearance of humanity in its modern form. --- Zone Books, 2015

ISBN-101890951870   Publisher: Zone Books   Publication date: 28 Oct. 2011   Pages 479 Type: Paperback Tony Conrad has significantly influenced cultural developments from minimalism to underground film, “concept art,” postmodern appropriation, and the most sophisticated rock and roll. Creator of the “structural” film, The Flicker, collaborator on Jack Smith's Flaming Creatures and Normal Love, follower of Henry Flynt's radical anti-art, member of the Theatre of Eternal Music and the first incarnation of The Velvet Underground, and early associate of Mike Kelley, Tony Oursler, and Cindy Sherman, Conrad has eluded canonic histories. Yet Beyond the Dream Syndicate does not claim Conrad as a major but under-recognized figure. Neither monograph nor social history, the book takes Conrad's collaborative interactions as a guiding thread by which to investigate the contiguous networks and discursive interconnections in 1960s art. Such an approach simultaneously illuminates and estranges current understandings of the period, redrawing the map across medium and stylistic boundaries to reveal a constitutive hybridization at the base of the decade's artistic development. This exploration of Conrad and his milieu goes beyond the presentation of a relatively overlooked oeuvre to chart multiple, contestatory regimes of power simultaneously in play during the pivotal moment of the 1960s. From the sovereign authority invoked by Young's music, to the “paranoiac” politics of Flynt, to the immanent control modeled by Conrad's films, each avant-garde project examined reveals an investment within a particular structure of power and resistance, providing a glimpse into the diversity of the artistic and political stakes that continue to define our time. --- Branden W. Joseph isP rofessor of Modern and Contemporary Art in the Department of Art History andArchaeology at Columbia University and an editor of the journal Grey Room (MITPress). He is the author of Random Order: Robert Rauschenberg and theNeo-Avant-Garde (MIT Press, 2003.)

A memoir and manifesto by a pivotal figure at the junction of rock, the avant-garde, and an ever-widening spiral of art, theater, film, and dance. For over five decades, Elliott Sharp has been engaged in a quest at once quixotic and down to earth: to take the music he hears in his inner ear and bring it to life in the real world. In this vivid memoir and manifesto, Sharp takes us along on that quest, through some of the most rugged, anarchically fertile cultural terrain of our time. Sharp, a mainstay of the New York Downtown scene beginning in the 1980s, has been a pivotal figure at the junction of rock, experimental music, and an ever-widening spiral of art, theater, film, and dance. Rooted in blues, rock, jazz, and the twentieth-century avant-garde, Sharp's innovative music has encompassed fractal geometry, chaos theory, algorithms, genetic metaphors, and new strategies for graphic notation. In IrRational Music, Sharp dodges fake cowboys' real bullets by the side of a highway near Colby, Kansas; is called on the carpet by a prickly, pompadoured Morton Feldman (“Improvisation… I don't buy it”); segues from Zen tea to single malt with an elfin John Cage; conjures an extraterrestrial opera from a group of high-school students in Munich; and—back in his own high-school days—looks up from strumming Van Morrison's “Gloria” in Manny's Music on 48th Street to see Jimi Hendrix smiling benignly upon him. A mix of tales from the road with thoughts on music, art, politics, technology, and the process of thinking itself, IrRational Music is a glimpse inside the mind of one of our most exacting, exciting creative artists.

Following his investigation into experimental music and sound recording in Records Ruin the Landscape, David Grubbs turns his attention to the live performance of improvised music with an altogether different form of writing. Now that the audience is assembled is a book-length prose poem that describes a fictional musical performance during which an unnamed musician improvises the construction of a series of invented instruments before an audience that is alternately contemplative, participatory, disputatious, and asleep. Over the course of this phantasmagorical all-night concert, repeated interruptions take the form of in-depth discussions and musical demonstrations. Both a work of literature and a study of music, Now that the audience is assembled explores the categories of improvised music, solo performance, text scores, instrument building, aesthetic deskilling and reskilling, and the odd fate of the composer in experimental music. About The Author David Grubbs is Professor of Music at Brooklyn College and The Graduate Center, City University of New York, and author of Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording, also published by Duke University Press. As a musician, he has released fourteen solo albums and appeared on more than 180 commercially released recordings. Grubbs is known for his cross-disciplinary collaborations with poet Susan Howe and visual artists Angela Bulloch and Anthony McCall, and his work has been presented at the Museum of Modern Art, the Solomon R. Guggenheim Museum, the Tate Modern, and the Centre Pompidou. Grubbs was a founding member of the groups Gastr del Sol, Bastro, and Squirrel Bait, and has appeared on recordings by Tony Conrad, Pauline Oliveros, Will Oldham, and Matmos, among other artists. Grubbs has written for The Wire, BOMB, Bookforum, and the Süddeutsche Zeitung.

Published: Duke University PressPages: 160 Published: March 2020The voice in the headphones says, “you’re rolling” . . .The Voice in the Headphones is an experiment in music writing in the form of a long poem centered on the culture of the recording studio. It describes in intricate, prismatic detail one marathon day in a recording studio during which an unnamed musician struggles to complete a film soundtrack. The book extends the form of Grubbs's previous volume Now that the audience is assembled, sharing its goal of musicalizing the language of writing about music. Mulling the insight that “studio is the absence of pushback”—now that no audience is assembled—The Voice in the Headphones details one musician's strategies for applying the requisite pressure to the proceedings, for making it count. The Voice in the Headphones is both a literary work and a meditation on sound recording, delivered at a moment in which the commercial recording studio shades into oblivion. It draws upon Grubbs's own history of several decades as a recording artist, and its location could be described as every studio in which he has set foot.   --- “David Grubbs's books are at once bravado poetic performances and incisive works of performance theory. He combines a deep knowing with a willingness to smash everything. I will follow him into any medium.” — Ben Lerner “It's decades now that David Grubbs has kept my head spinning with ideas about the creation, performance, and understanding of music. To hear or read his work is to be invited into collaboration. We are all audience, all of the time, and every creator worth her salt knows this. Grubbs turns this tenet into poetry.” — Will Oldham, music maker "Grubbs uses the set-up to extrapolate many philosophical questions surrounding the materiality of technology, the motivations of the performer, the collapsing of distinctions between different media and musing on the economics of entertainment – all within the crucible of the noble ruin of the recording studio, once the promised land for an aspiring musician and now an expensive obsolescence. . . . A kind of torrent of ideas and anxieties in the form of a visual score pouring forth from his three decades of recording in grungy studios and gilded arts academies all over the world." — Alex Neilson, Record Collector "At times, Grubbs goes into incredible detail: the buttons an engineer presses, the way a space looks, the feelings that arise from playing an instrument. However.just when it becomes almost tedious, such detail proves to be the book's greatest charm. As it progresses, one more fully appreciates how these descriptions illuminate the mindfulness that music-making can beget." — Joshua Minsoo Kim, The Wire "[The Voice in the Headphones] is an experience encapsulated in the space-time of the recording process of isolation booths, mixing boards, the room that not only floats acoustically but also is free from the flow of real time in the outside world. . . . This is an insider’s inside book about an inside experience, but Grubbs’ warmth will appeal to anyone who’s wondered just what goes on in those sequestered rooms." — George Grella, New York City Jazz Record

Publisher: Sub Jam Author: Yan Jun (editor) Medium: Book + 2 CDs Pub: 2020 Pages: 180HardcoverA project born from the mind of Yan Jun, who has edited this beautiful velvet hardback book and CD. Yan Jun gave friends and contemporaries very simple instructions - "what comes to mind when you hear the phrase 'music will ruin everyything'?" The responses came in the form of both text and audio. This very special limited run book and double CD is the collection of these results. --- “the very reason i initiated this project was vanished in time. however, it’s not very long time since it has suspending into this “physical object is dying” and “society is dying” situation. and it’s long enough to coming back with ideas of “connecting objects and bodies over language” and “connecting an outer territory”. so i have diving back to the files again, starting editing and translating, inviting few more physical entities and fortunately yihao joined as designer at this perfect moment. The way this project runs is very simple: i show my friends this sentence “music will ruin everything” then ask them to contribute audio track and text or images. i tried my best to show it while we meet physically. but some were sent by emails, exceptionally. there is no rules and no clue. i don’t explain why this title because i have no idea what it means. for me what these people doing is a huge cluster of mass such as constellation. they are connected and growing. there are much more alikes surrounding them. the way they are connected is more important than their works. if you dig more on any one of them, you will find its own genealogy of sense and mind. which i have spent years to following and enjoying. so pls, you make it anything and everything. thanx everybody who participate this project ! you have ruined some parts of me.”Yan Jun - 2016 ---

Published: Zone Books ISBN: 9781935408727Published: Sep 10, 2015 Pages: 288 Size:6 x 9 in. Illus: 7 b/w illus.Long before the invention of the phonograph, the written word was unrivaled as a medium of the human voice. In The Ancient Phonograph, Shane Butler takes us back to an age, long before Edison, when writing itself was still relatively new. He meticulously reconstructs a series of Greek and Roman soundscapes ranging from Aristotle to Augustine. Here the real voices of tragic actors, ambitious orators, and singing emperors blend with the imagined voices of lovesick nymphs, tormented heroes, and angry gods. The resonant world we encounter in ancient sources is at first unfamiliar, populated by texts that speak and sing, often with no clear difference between the two. But Butler discovers a commonality that invites a deeper understanding of why voices mattered then, and why they have mattered since. With later examples that range from Petrarch to Puccini, Mozart to Jimi Hendrix, Butler offers an ambitious attempt to rethink the voice — as an anatomical presence, a conceptual category, and a source of pleasure and wonder. He carefully and critically assesses the strengths and limits of recent theoretical approaches to the voice by Adriana Cavarero and Mladen Dolar and makes a rich and provocative range of ancient material available for the first time to students and scholars in voice studies, sound studies, and media theory. The Ancient Phonograph will appeal not only to classicists but to anyone interested in the verbal arts — literature, oratory, song — and the nature of aesthetic experience.

Paperback312 pp229 x 152 mmSteve Beresford's polymathic activities have formed a prism for the UK improv scene since the 1970s. He is internationally known as a free improviser on piano, toy piano and electronics, composer for film and TV, and raconteur and Dadaist visionary. His résumé is filled with collaborations with hundreds of musicians and other artists, including such leading improvisers as Derek Bailey, Evan Parker and John Zorn, and he has given performances of works by John Cage and Christian Marclay. In this book, Beresford is heard in his own words through first-hand interviews with the author. Beresford provides compelling insight into an extensive range of topics, displaying the broad cultural context in which music is embedded. The volume combines chronological and thematic chapters, with topics covering improvisation and composition in jazz and free music; the connections between art, entertainment and popular culture; the audience for free improvisation; writing music for films; recording improvised music in the studio; and teaching improvisation. It places Beresford in the context of improvised and related musics – jazz, free jazz, free improvisation – in which there is growing interest. The linear narrative is broken up by 'interventions' or short pieces by collaborators and commentators.

80 page book with over 50 photos and a 21 track CD.Printed in Belgium by die Keure. Designed by John Hubbard. “Having heard the beautiful and haunting recordings of Zabelle Panosian, it's wonderful to learn more about her life and musical career, grounded in the history of music and the history of immigration, told here so well.” - Heather Hughes, librarian"A carefully crafted and detailed, yet succinct biography. Many of us were introduced to Armenian-American singer Zabelle Panosian’s soul-jolting rendition of “Groung” via the 2011 release of To What Strange Place, but here, in Zabelle Panosian: I Am Your Servant, for the first time, we travel with Panosian from her birthplace in Bardizag to her home in New York. We are there in the studio with her at Columbia Records for her historic recordings in lower Manhattan, and we stand with her in the radio studios of WEAF. We become readers of reviews of Panosian’s concerts both celebrated and scathing. We accompany her on performances, minuscule and grand from Waterford to Providence and San Francisco to Fresno, eventually recrossing the Atlantic with her to sing in France, Italy, and Egypt. More than a singer or performer, we learn of Zabelle, the estranged sister, the loving aunt, and the mother who passes the baton to her daughter, Adrina Otero, completing what will be the starting point for future historians or ethnomusicologists wishing to explore Zabelle Panosian and her legacy.” -Richard Breaux, Associate Professor of Race, Gender, and Sexuality Studies, University of Wisconsin-La CrosseAmong the most significant Armenian singers in the early twentieth century, Zabelle Panosian made a small group of recordings in New York City in 1917-’18. Unaccountably, she was then largely neglected as an artist for more than half a century. This volume by three dedicated researchers is the first effort to reconstruct the life and work of a woman who had an exceptional and cultivated voice — who toured the world as a performer and made a significant contribution to the cultural lives of the Armenian diaspora, the elevation of Armenian art song, and the relief of survivors of the Armenian genocide.Panosian’s music is derived from a syncretic experience of the Western Armenian village near the sea of Marmara where she was born and a passion for the coloratura sopranos she encountered in Boston. As an immigrant carrying the traumas of dislocation and the loss of her home, she transformed her grief into action, dedicated her life to an expression of the greatest art she could imagine, both from her former life and her new life in America, and she created a path in her wake for her daughter to become a renowned dancer.Tracing her story from the Ottoman Empire to New England, from the concert halls of Italy, Egypt, and France to California, Florida, and South America through two World Wars, the story of Zabelle Panosian is that of a serious talent recognized and celebrated, dismissed and forgotten, year by year, waiting only to be known and loved again."Please listen to the Armenian singer, Zabelle Panosian. [Her ‘Groung'] is a secret song that steals away the breath of those who are fortunate enough to hear it." - Nick Cave

Translated, edited, and with an introduction by Robert Hullot-Kentor Publisher: University of Minnesota Press ISBN: 9780816636679 Number of pages: 248 Dimensions: 229 x 149 x 25 mmn 1947 Theodor Adorno, one of the seminal European philosophers of the postwar years, announced his return after exile in the United States to a devastated Europe by writing Philosophy of New Music. Intensely polemical from its first publication, every aspect of this work was met with extreme reactions, from stark dismissal to outrage. Even Schoenberg reviled it. Despite the controversy, Philosophy of New Music became highly regarded and widely read among musicians, scholars, and social philosophers. Marking a major turning point in his musicological philosophy, Adorno located a critique of musical reproduction as internal to composition itself, rather than as a matter of the reproduction of musical performance. Consisting of two distinct essays, “Schoenberg and Progress” and “Stravinsky and Reaction,” this work poses the musical extremes in which Adorno perceived the struggle for the cultural future of Europe: between human emancipation and barbarism, between the compositional techniques and achievements of Schoenberg and Stravinsky. In this completely new translation—presented along with an extensive introduction by distinguished translator Robert Hullot-Kentor—Philosophy of New Music emerges as an indispensable key to the whole of Adorno's illustrious and influential oeuvre. Theodor W. Adorno (1903-1969) was the leading figure of the Frankfurt school of critical theory. He authored more than twenty volumes, including Negative Dialectics (1982), Philosophy of Modern Music (1980), Kierkegaard (Minnesota, 1989), Dialectic of Enlightenment (1975) with Max Horkheimer, and Aesthetic Theory (Minnesota, 1997).Robert Hullot-Kentor has taught at Harvard and Stanford universities and written widely on Adorno. He has translated various works of Adorno, including Aesthetic Theory.

Compiled by Robin Maconie   Paperback,220 pages Published September 1st 2000 by Marion Boyars Publishers ISBN: 0714529184(ISBN13:9780714529189) Edition Language: English If a genius is someone whose ideas survive all attempts at explanation', writes the well-known contemporary musicologist Robin Maconie, 'then by that definition Stockhausen is the nearest thing to Beethoven this century has produced. Reason? His music lasts.With penetrating philosophical and spiritual insights Stockhausen describes, in this collection of lectures and interviews conducted in English, a whole new universe of sounds and events.

"Presented by Sacred Realism Press, D=D is the culmination of 15 years of work and the latest and most ambitious installment of Bryan Eubanks and Joe Foster's Don (now Dan) Brown and Dan Reynolds' project. The book itself contains 391 pages of letters, notes, aphorisms, scores, images, and commentary from Brown and Reynolds, with contributions from related figures including Jenny Haniver, Tim Bradley, and of course Gwendolyn Lovequist and Jack Lunetti, offering furtive glimpses into the thoughts, work, and lives of these still under-recognized figures of contemporary American music. While it might be tempting to see D=D as epistolary speculative biography it also may call to mind the heteronyms of writers like Fernando Pessoa and especially Antoine Volodine. But make no mistake --D does equal D and everything is as it seems. The accompanying audio CD compiles Eubanks and Foster's interpretations of Brown and Reynolds' Holy and Old musics, respectively, bookended by two cassette recordings from the composers themselves, which should be of special appeal to listeners with an interest in never before exposed corners of American West Coast musical experimentation and iconoclasm." mixed by Joe Foster & Bryan Eubanks, Berlin 2018mastered by Dick Stormm, the Bronx 201910 tracks, total running time: 52:28391 page hard cover book with glass mastered CD, edition of 500 release date: April 17th, 2019