HARDCOVERAn American original, Patti Smith is a multi-disciplined artist and performer. Her work is rooted in poetry, which infused her 1975 landmark album, Horses. A declaration of existence, Horses was described as 'three chords merged with the power of the word'; it was graced with the now iconic portrait by Robert Mapplethorpe, the subject of her award-winning memoir Just Kids.Initially published in 1998, Patti Smith's Complete Lyrics was a testimony to her uncompromising poetic power. Now, on the fortieth anniversary of the release of Smith's groundbreaking album, Collected Lyrics has been revised and expanded with more than thirty-five additional songs, including her first, 'Work Song', written for Janis Joplin in 1970, and her most current, 'Writer's Song', to be recorded in 2015. The collection is liberally illustrated with original manuscripts of lyrics from Smith's extensive archive.Patti Smith's work continues to retain its relevance, whether controversial, political, romantic or spiritual. Collected Lyrics offers forty-five years of song, an enduring commemoration of Smith's unique contribution to the canon of rock and roll.

If real power begins where secrecy begins, then, as we frantically search for dick pics of Justin Bieber or our next door neighbour who we're convinced posted the faceless Craigslist ad seeking an asian bottom, we're seduced into a beautiful distraction in which we are convinced, by virtue of our victorious toppling of the lives of others, that we indeed have nothing to hide. Much of Mucus in My Pineal Gland uses devices recognisable from “confessional” literature: overtly direct affective statements, recollections of early sexual encounters as if they were the keys to understanding the adult author, general propositions about life filtered through the particulars of personal experience. These are wonderful and familiar devices: they facilitate both empathetic identification (“I can relate to that”) and empathetic alienation (“I can’t quite imagine the inside of that experience”).

In order to live through the grief of the Ghost Ship Fire and the Muslim Ban, Villainy foments political action in public spaces, and indexes the various emotional states, such as rage, revelry, fear, grief, and desire to which queers must tend during protest. In scenes loaded with glitter, broken glass, and cum, Abi-Karam insists that in order to shatter the rising influence of new fascism we must embrace the collective work of antifascists, street medics, and queer exhibitionists and that the safety that we risk is reckless and necessary. Disruptive and demanding, these punk poems embody direct action and invite the audience into the desire-filled slippage between public sex and demonstration. At heart, Villainy aims to destroy all levels of hierarchy to establish a participatory, temporary autonomous zone in which the targeted other can thrive.

Publisher: Sub Jam Author: Hsia Yu and Yan Jun Medium: Book + CD Hardcover: pp49 Language: English + ChineseHsia Yu is a legendary poet in Taiwan. For decades, she has been one of the most influential figures of the youth subculture. Under several pen names such as Li Gedi, she is also one of the top lyrics writers in the Mandarin pop music scene. She publishes her poetry herself and mostly steers away from public events. But she is paid dueful respect now via this release by Beijing-based sound artist Yan Jun on his own label Sub Jam In the same style and format as the book 23 Formes en Elastique(with Lionel Marchetti), this is again a beautiful publication, a hardcover book with a CD, 49 pages. This series of conceptual publications is called Miji which, in translation, means “dense, concentrated. . From the outset, it focused on physical embodiment -- Voice: Hsia Yu Voice and environment sound recorded by: Hsia Yu and Yan Jun in Taipei and Paris, 2011-2012 Other sound materials played and recorded by: Yan Jun. mastered by: Taku Unami in Tokyo, 2015 -- By the way the Tinnitus in the title is all over the place, so don’t expect some sweet laid-back soundtrack okay? okay!

Released May 27th 2019Limited numbered editionA5 paperback (291 pages + a4 foldout image)ISBN: 978-1-9996176-3-9Published by the Sonic Art Research Unit‘Azimuth, the Ecology of an Ear’, is a new book by Patrick Farmer in collaboration with twenty three other artists. It revolves around fifteen attempts to locate and rend the human/non-human ear into holes, isolating and being with its forms and natures outside of their conventional relations–inhabiting a distinct violence of separation–in order to see what, if any, degree of wholeness may arise in the distinct noise of the particulars. It asks, what is the ear; where is the ear; who is the ear; what are we to our ears; are we listeners or listening; does the ear hear? It considers the ear as interlocutor, as equivalence, as syncope, as eros (hear us). Azimuth’ features work by Thomas Martin Nutt, Susana Gómez Larrañga , Lotti V Closs, Richard Skelton, Carrie Olivia Adams, Patrick Farmer, Helen Frosi, April Van Winden, Florence Sunnen, Lance Austin Olsen, Tomoé Hill, Chloë Proctor, Nisha Ramayya, J.R. Carpenter, Julia Bloch, Michael Pisaro, Clara de Asís, Fay Zmija Nicolson, Tess Denman-Cleaver, Joseph Clayton Mills, Amelia Ishmael, Emily Leon, Hannah Dargavel-Leafe and Mirella Salame.

Paperback,72 pages Published December 3rd 2020 Publisher: Peepal Tree Press ISBN: 1845234774This stunning new collection from Nii Ayikwei Parkes features poems which embrace play, love and the ephemeral such as water bodies, blood/heritage, history and gossip; and a healthy dose of music and popular culture. Concerned with the phase of life sometimes referred to as the midlife crisis, The Geez navigates the blurred lines between age and youth; the real and the imagined; what is seen and what is – what catches the gaze and what lies beneath. Conceived in four sections, the collection moves from play, to love, to gossip and - finally - to explorations of the intersections of self and contemporary culture, including a segment inspired by blues legends, riffing on the myth of the crossroads, as well as an eleven-part love letter to the African diaspora – specifically African-Americans, whose sacrifices have contributed to the still-suppressed freedoms of Black folk globally. A number of the poems in The Geez are written in a form called the Gimbal, which was developed by Nii – initially to work through his enduring grief at the loss of his father. It evokes the workings of a gyroscope – spinning but stable –a state that echoes the liminality that anchors this collection. --- Peepal Tree Press, 2020

Publisher: Uniformbooks ISBN: 9781910010037 Number of pages: 88 Dimensions:234 x142 mmPub: 2015Located on the train journey between London St Pancras and Margate, Sonorama is an audio work by composer Claudia Molitor that offers sounds and voices for the otherwise silent view from the train. The work is downloadable as an app for listening with headphones.Imagining the journey itself as the ‘score’ Molitor has composed a cycle of works and collected interviews, readings and archival material which respond to both the present, and the history of the route. With each track relating to a different point or area on the line, the work has been informed through a collaboration with historian David Hendy and the British Library. The tracks imagine topics as diverse as visio-centricity, Roman history and hop-picking, with a variety of contributors such as flautist Jan Hendrickse, saxophonist Evan Parker and writer Charlotte Higgins.Sonorama: Listening to the view from the train, is a companion to the audio experience. It reproduces the complete graphic score of Molitor’s interpretation of the journey, locating the thinking behind the composition and the selection of other material.Claudia Molitor is a composer and artist whose work stems from a curiosity in unnoticed and fragile sounds, structures and thoughts, exploring the hierarchies at play in listening and seeing. Recent projects include Promming (with listening stick), a headphones piece for the 2012 BBC Proms Music Walk, Sounding the View, the culmination of a workshop exploring the sounds heard in the view from Tate Britain in 2013, the desk-opera Remember Me…, produced by Cryptic, which was performed over forty times around Europe throughout 2013/14 and Vast White Stillness, part performance, part installation, commissioned for Spitalfields Festival 2014 and performed at the 2015 Brighton Festival.

SKU: 9780571360512 Publisher:Faber & Faber Selected and arranged by the authors themselves, and featuring an introduction by Jarvis Cocker, Side by Side presents the lyrics, poems, writings and drawings of innovative musician Robert Wyatt and his creative partner, English painter and songwriter Alfie Benge. As a founding member of influential English rock bands Soft Machine and Matching Mole, and with a solo career which has lasted for over forty years and seen him collaborate with a diverse range of artists including Bjork, Brian Eno, Carla Bley, Paul Weller and David Gilmour, his own music remains unclassifiably personal. Alfie Benge is a visual artist, songwriter and pioneering music manager, having managed Robert’s career for fifty years. She is also married to Robert. Since 1982 they have collaborated on many of Robert’s most well-known songs. This unique volume celebrates one of the most enduring creative partnerships of the last half-century.

Published: Burning DeckISBN: 1936194090P. Inman radically fractures the conventions of language in order to build everything up again from a more elemental level. In PER SE, the composers Luigi Nono, Morton Feldman, Hans Lachenmann provide musical structure for his jazz-inflected words in motion. The book lives in the tension between the free, multidirectional movement of words and the highly orgazined macro-structures.

'From a premier contemporary, murmur invitates us to revised attention, to a verbal & typographic spatiality where operates a liberating vulnerability to what irrupts.'  Full colour work, available for the first time in print.

Anthony Barnett produced the Natural Music concert at which Lennon and Ono recorded 'Cambridge 1969' released on *Unfinished Music No. 2: Life with the Lions*. This book, illustrated with contemporary documents, includes Lennon's drawing on the inner sleeve of the author's copy of Zapple 01, examines the full circumstances surrounding the concert."...in 1969 this was Lennon's first public appearance post Beatles and so it became fodder for documentation. This work is Barnett's attempt to set the record straight and begins with his first meeting with Ono in 1966. Following this account is a description of the concerts, the tapes and issuance of the recordings. From the beginning nothing went smoothly as Barnett was at first caught off guard by the assumptions of celebrity and ensuing commercial interests. Throughout Barnett inserts other published accounts and interviews of the 3/2/69 event. Fascinating reading and it highlights the very different worlds of rock and jazz as they existed in 1969."—Bob Rusch, Cadence Magazine

"To encounter BBF Hosted by DJ Escrow through Dhanveer Brar’s ears is to see Babylon through his eyes, and to sense Britain—to uncover with 'accuracy, brutality and beauty' the complexities of its meaning—through the social music, social vision and social feel of those who refuse the Britishness that is withheld from them. Brar discerns Dean Blunt’s rightful place in a cultural field where critical discourse and sonic dream are fundaments of a dub university curriculum whose various approaches show the absolute necessity and generativity of stealth, flaw and the resistance to category. Blunt’s “love letter to the blackness of Hackney” deserves the most rigorous, gentle, erudite attention. Happily, Dhanveer Brar is here to provide it." – Fred Moten.the87press is delighted to present our first book of non-fiction produced in collaboration with darkmatter journal. Dean Blunt is the most important British artist of the current century because he fundamentally does not care about Britain. His importance makes it shocking that such little critical attention has been paid to his work. His indifference explains it. Dhanveer Singh Brar’s ‘Beefy’s Tune (Dean Blunt Edit)’ looks to initiate a conversation that needs to be had about Dean Blunt, about Britain (through Blunt’s indifference to it), and about Blackness in Britain (through the depth and complexity of Blunt’s feeling for it). Using the 2016 album ‘BBF Hosted By DJ Escrow’ as a means of navigation, Brar hears Blunt in order to access the long contested dream of Britain’s disappearance that was conducted under the name of Black British Arts. Partial (in the sense of his relation to Blunt) and partial (in the sense of unfinished), ‘Beefy’s Tune (Dean Blunt Edit)’ see’s Dhanveer Singh Brar give the dream a grammar, if not a name.Dhanveer Singh Brar is a theorist and scholar who teaches in the Department of Visual Cultures at Goldsmiths, University of London. His is a member of Le Mardi Gras Listening Collective and Lovers Discourse. Brar’s second book ‘Teklife, Ghettoville, Eski: The Sonic Ecologies of Black Music in the Early Twenty-First Century’ will be published by Goldsmiths Press/MIT Press in Spring 2021

Published by The Grass is Greeen In Fields For You 120mm x 155mm, 132pp, perfect bound with fold in flaps, black and white digital printed interior, red and violet risograph printed cover, first edition of 200, 2022"Landing on my doorstep in the Summer of 2022 was a package from Matthew. Within this bubblewrap casing was a book, a hefty book, called Create Disturbance In Your Mind. A 'micro-edition publication' (I received copy 15/57) which I was infatuated with from the get go. Full colour collages adorn the left hand pages, and automatic writing in short passages on the right. Typewritten, fast. As you reach the end you find the works are all created and correspond to a 2CD compilation 'Create Disturbance In Your Mind' by Midnight Mines, of which Sorrow is one half. Listening and responding in immediate fashion creating the outcome. I was struck by how immediate this was. Typewritten, fast, no outtakes, all included. I then contacted Sorrow on a whim—can I release this through The Grass is Green...?—he had found me, I will find him. As with lets say, Punk is Dad by Jamie Johns, I felt there was so much to be seen and felt from this publication that a shift from micro- to open- was appropriate. And here we are. The original full colour and A5, this version smaller for the pocket and black and white, call it a facsimile, call it making it as immediate as possible."

Published by The Grass is Green in the Fields for You 130mm x 180mm, 140pp, perfect bound, hand stamped cover, 2019.New project from Matthew Walkerdine: The Grass is Green in the Fields for You. A small press publisher investigating the unsung corners of music culture, its participants and subculture fandom. Releases shun exaggerated self-opinion instead favouring collaboration, community and conversation. In the early 1980's, in the small town of Rugby in the centre of England, three teenagers began melding early blues with feedback, one-chord drones, booming drums, smashing cymbals, gospel, Turkish Saz and two-note melodies. Natty Brooker, Pete Kember and Jason Pierce were Spacemen 3. On 3 August, 1985, they played a gig in the backroom of the Black Lion pub on St. Giles Street in the nearby town of Northampton. All these years laters, it is still the best gig I’ve ever seen. It is also the gig that led directly to the band’s first-ever recording deal. As a teenager growing up in Rugby in the '80s I saw Spacemen 3 play in many pub backrooms. They were, and remain, an incredible band and over the years, their reputation has spread far beyond those sticky floored, fag ash filled, grubby backrooms. Sometime in the early part of the 21st century, in a house in the south of France, I rediscovered a shoebox filled with photos, posters, tickets, flyers and cassettes from the mid-'80s and I tipped the lot out onto the floor. In among the ephemera were the photographs and cassette recording from that gig on 3 August 1985, the earliest Spacemen 3 gig for which there was a recording and photographs. And I wondered: where were all the people who were at the gig that night? And did they remember it too?

Print run: 600 Size: 11 x 17 cm Softcover, 48 pages June, 2022The first volume in bie bao series dedicated to militant zaum investigations of Ilya Zdanevich - Iliazd (1894-1975). Zdanevich was a poet, designer, typographer, theoretician, and publisher who developed a new philosophy and methodology from zaum (trans-sense) experiments.

Publisher ‏ : ‎Scb Distributed Publishers (6 July 2017)Language ‏ : ‎EnglishPaperback ‏ : ‎288 pagesISBN-10 ‏ : ‎1941576249ISBN-13 ‏ : ‎978-1941576243Dimensions ‏ : ‎12.7 x 1.75 x 17.78 cmThe Other Night at Quinn's is an uncommon and engaging portrait of people gathering to make and embrace deeply personal art in the age of new media. In early 2014, Mike Faloon sees jazz legend Joe McPhee perform at Quinn's, a recently reopened diner turned club in Beacon, New York. Faloon soon realises he's stumbled across a vibrant scene - 'small, local, and brave as hell' - that is at once unique and universal. --- Foreword: Joe Mcphee --- Scb Distributed Publishers, 2017

"[This Woman's Work] strikes a chord: "We can't help but surrender to what moves us in the sound even if it seems contradictory or irrational; in fact, our experience of music is full of contradictions," Heather Leigh writes in the introduction. The result is a collection worth tuning in to." - Publishers Weekly "By inhabiting the sound worlds these women create, we get to engage with a vast range of ideas, to consider profound concepts of liberty and oppression, of joy and terror. Always there are the notes between, of the unexpected, the nuanced, the bold. . . This Woman's Work is an important collage of tenses, disciplines, perspectives, borders and experiences." - The QuietusThis Woman’s Work: Essays on Music is edited by Kim Gordon and Sinéad Gleeson and features contributors Anne Enright, Fatima Bhutto, Jenn Pelly, Rachel Kushner, Juliana Huxtable, Leslie Jamison, Liz Pelly, Maggie Nelson, Margo Jefferson, Megan Jasper, Ottessa Moshfegh, Simone White, Yiyun Li and Zakia Sewell.Published to challenge the historic narrative of music and music writing being written by men, for men, This Woman’s Work seeks to confront the male dominance and sexism that have been hard-coded in the canons of music, literature, and film and has forced women to fight pigeon-holing or being side-lined by carving out their own space. Women have to speak up, to shout louder to tell their story – like the auteurs and ground-breakers featured in this collection, including: Anne Enright on Laurie Anderson; Megan Jasper on her ground-breaking work with Sub Pop; Margo Jefferson on Bud Powell and Ella Fitzgerald; and Fatima Bhutto on music and dictatorship.This Woman’s Work also features writing on the experimentalists, women who blended music and activism, the genre-breakers, the vocal auteurs; stories of lost homelands and friends; of propaganda and dictatorships, the women of folk and country, the racialised tropes of jazz, the music of Trap and Carriacou; of mixtapes and violin lessons.

Listening into writing, reading into writing take shape in F.M.R.L. through a collection of short texts, fragments and ‘deranged essays’, with attention to pacing and linguistic derives. An archive of books, notebooks, events and records prompts the texts in these pages, responding to encounters with Michel Leiris’s autobiographical fictions; concerts and events at Café Oto and the Swedenborg House in London; visits to museums such as the Pitt Rivers in Oxford and exhibitions such as Ice Age Art at the British Museum, among the others. F.M.R.L. is a book constructed across sonic patterns, assonance, repetitions, comprising texts that intermittently drift from sense to sound and to nonsense and back. A flip from the immateriality of sound to the sounds of letters and words as material, a call from reading to voicing.