Published: Amphetamine Sulphate Paperback,144 pages Published October 19th 2018It’s comedy night on the terminal ward. Jason Williamson returns with thirteen all-new short stories from a grim and desperate world where everything is either ‘knackered and shit or new and shit.’ Sound familiar? Here you’ll meet roaming loners, twats in fast cars, hard men telling porkies, strong women who know the score, various music maniacs and sex-addled, whizz-infested pub warts galore. But it’s not all abject fucking misery, Williamson’s characters come alive and somehow manage to conjure some happy days from the endless, panicked slog of caged poverty and bad choices. So settle down for some porn barks, crap nature, terrible housing and dogging hotspots. Life à la fuckin sniff innit. Jason Williamson is, of course, in the Sleaford Mods. He is also the author of ‘Grammar Wanker’ (2015) and  ‘Slabs from Paradise’ (2017).Release Date: 19/10/2018

Ceramic Hobs’ Simon Morris's book is a nightmarish vision of bad sex and bad art in a grim UK. Published by the ever disturbed Amphetamine Sulphate ---Release Date: 15/06/2018

Restock expected to ship 3rd August. The Alien Issue features writing on the alien and alienation by Sarah Hennies, Franklin Bruno, inti figgis-vizueta and James May on listening to ourselves and each other, Marc Hannaford, Nicole Kaack in conversation with Jeremy Toussaint-Baptiste, Charmaine Lee and id m theft able on building a home, Matana Roberts, Jacob Wick, Wendy Eisenberg, Chris Pitsiokos and Ben Young on WKCR and Triple Point Records, a contribution to the 2019 exquisite corpse series by Lester St. Louis, and more. The print edition includes very special full color reproduction of Charles Gaines's Librettos. Sound American is A quarterly journal founded in 2012 by Nate Wooley, providing in-depth interviews and essays, Sound American starts from a simple desire to open the doors of experimental music to a wider audience. Sound American believes that music is for everyone and should be shared on the most basic human level. Sound American aims to accomplish this by creating a direct intellectual, social, and emotional bridge that links audiences and artists. Advisory board: David Grubbs, Rebekah Heller, Taylor Ho Bynum, Zeena Parkins, Matana Roberts, and Ken Vandermark. ---   published in 2020   English edition

Publisher: Primary Information 88 pages 8.25 x 10.8 inches Paperback Edition of 1500 January 2021 ISBN: 9781734489767First published in 1971, A Documentary HerStory of Women Artists in Revolution documents the efforts of a group of women artists, filmmakers, writers, critics, and cultural workers organized around advancing women in the art world. Women Artists in Revolution (W.A.R.) was founded as the women’s caucus of the Art Workers’ Coalition and was active from 1969 to 1971. This publication gathers manifestos, statements, and declarations by W.A.R. members; articles and reports about gendered and racialized discrimination in the arts; pro-abortion fliers and protest ephemera; and grant applications and reports detailing the founding of the Women’s Interart Center in spring 1970. Also included are documentation of key actions, including the 1970 Artists’ Strike against Racism, Sexism, Repression, and War; and correspondence with officials at the Whitney Museum of American Art, the Guggenheim Foundation, and the Museum of Modern Art calling for 50 percent gender equity in exhibition programming, increased grant and fellowship support for women, and structural representation at the management and curatorial level, among other demands. A Documentary HerStory of Women Artists in Revolution was originally printed at the Women’s Media Center in 1971 by Women Artists in Revolution. A second edition, published in 1973 by Women’s Interart Center,  features a preface and addendum with retrospective reflections on the history and activities of W.A.R. and the publication itself, two years after the group’s dissolution. It is this second edition that is reproduced here in facsimile form. Members of W.A.R. included Juliette Gordon, Sara Saporta, Therese Schwartz, Muriel Castanis, Cindy Nemser, Dolores Holmes, Betsy Jones, Silvia Goldsmith, Jan McDevitt, Lucy Lippard, Grace Glueck, Poppy Johnson, Brenda Miller, Faith Ringgold, Emily Genauer, Agnes C. Denes, Doloris O’Kane, and Jacqueline Skiles. ---

Publisher: Strange Attractor Press ISBN: 9781907222825 Number of pages: 364 Dimensions: 194 x 137 mm Paperback bookForeground Music is the result of a lifetime’s passion for gig-going by one of British television’s most individual writers.  From a Cliff Richard gospel concert at the age of 10, to his first rock show aged 14, where The Jam play so loudly he blacks out, to a Joy Division gig which erupts into a full-scale riot. Vivid, insightful and very funny, each chapter covers a different gig, including Primal Scream headlining Glastonbury at the height of Screamadelica, and the troubled reformation of The Velvet Underground. Taking in the first UK headline gig by The Strokes in a room above a pub, and the final arena tour by David Bowie. Along the way Duff experiences pub-crawls with Mark E. Smith of The Fall, convinces Paul Weller to undertake his first acting role and attempts to interview Genesis P. Orridge of Throbbing Gristle whilst tripping on LSD. Foreground Music captures the power of life-changing gigs, whilst tracing the evolution of 40 years of musical movements and subcultures. But more than that, it’s an honest, touching and witty story of friendship, love, creativity and mortality, and a testimony to music’s ability to inspire and heal. Introduction by Mark Gatiss --- Graham Duff is a British TV comedy and drama scriptwriter whose credits include Ideal and The Nightmare Worlds of H.G. Wells. As an actor he has appeared in, among other things, two Harry Potter films, Alan Partridge, and Dr. Who. --- Strange Attractor Press, 2019

Self-Published 28 x 18 cm, 24 pages, Black & white digitally printed Saddle stitch, Softcover, 2017  TALKER is a self published interview zine about performance by musician, artist & writer Giles Bailey --- The first issue of talker is a conversation with artist, writer and curator of film, Ian White. The interview took place in 2012 and focuses on Ian's live work - from early experimental collaborations to his landmark solo triology Ibiza Black Flags Democracy and hybrid curatorial projects. --- Ian White (1971-2013) was an artist, working mainly in performance.Since 2007 he was the Facilitator of the LUX Associate Artists Programme and from 2001-11 was Adjunct Film Curator for the Whitechapel Gallery, London. Independent curatorial projects include Kinomuseum, Internationale Kurzfilmtage Oberhausen, 2007; The Secret Public (Associate Curator; Kunstverein Munich & touring, 2006/7), The Artists Cinema (Coordinator; Frieze Art Fair, London, 2005/6) and Emily Wardill at De Appel (2010), with a co-authored publication, We Are Behind (De Appel/Bookworks, 2010). His artistic practice includes collaborations with Jimmy Robert (Art Now, Tate Britain, 2004; STUK, Leuven & De Appel Amsterdam & touring, 2007 on) and Emily Roysdon (Chisenhale Gallery, London, 2010), a performance of Yvonne Rainer's Trio A at the Museum of Modern Art, New York (2009) and a solo show Ibiza Black Flags Democracy, daadgalerie, Berlin (2010) with a publication of the same title.

Self-Published 280 x 180mm 20 pages Risograph throughout Saddle stitch, Card cover Released: 2018.TALKER is a self published interview zine about performance by musician, artist & writer Giles Bailey--- Issue #6 of Talker features a conversation with Spanish artist Dora Gracía. For over 18 years García has worked with performance as a way of dealing critically with relationships between artworks, audiences, and places. Her projects are often developed in response to works by others and deploy performers as intermediaries in ambiguous or even subversive roles as undercover agents, prophets, guides or spies. In this conversation, she traces the origins of her performance practice from diverse creative community in Brussels in the early 2000s to the Happenings by Argentinian polymath Oscar Masotta happening again in her recent work Segunda Vez (2018)".” ---

Edited by Lawrence Kumpf with Joe Bucciero and Mark Harwood. Contributors include Henning Christiansen, Thomas Groetz, Diedrich Diederichsen, Dick Higgins, Lars Morell, Per Kirkeby, Bjørn Nørgaard, Helmer Nørgaard, Thorbjørn Reuter Christiansen, Anton Lukoszevieze, Hans-Jørgen Nielsen, Michael Glasmeier, Ute Wasser- mann, Stíne Janvin Motland, Mark Harwood, Lucy Railton, Graham Lambkin, Áine O’Dwyer, Lia Mazzari, Ursula Reuter Christiansen, Francesco Conz, and Emily Harvey.  The third issue of Blank Forms’ journal is released in conjunction with Freedom is Around the Corner, a retrospective exhibition and performance series devoted to the work of pioneering Danish composer and artist Henning Christiansen (1932–2008). Perhaps best known for his collaborations and artistic affinities with notable artists such as Joseph Beuys and Fluxus members like Nam June Paik and Dick Higgins, Christiansen, who worked primarily on the remote Danish island of Møn, moved beyond his Fluxus roots to create a vast, often ineffable body of work that spanned music, performance, film, and visual art over the course of a fifty-year career. Yet Christiansen’s work has remained under the radar, even in the ten years following his death: only a few of his recordings were available until recently, and his prolific compositional and visual outputs have rarely been performed or exhibited in the United States. Freedom is Around the Corner—the exhibition, the performance series, and the journal—seek to present Christiansen’s life and work in a holistic manner that befits his dynamic practice. Like previous issues of the Blank Forms journal, Freedom is Around the Corner collects a combination of newly discovered, never-before published, and newly translated materials; in this case, many of the materials were found in the Henning Christian- sen Archive during the exhibition’s curatorial process. The issue begins with the first of four newly translated interviews with Christiansen himself, conducted circa 2006 by the German writer Thomas Groetz. Two others, conducted by Francesco Conz and Michael Glasmeier in the 1990s, come later in the issue; together these three interviews, which had only existed as audio recordings before, offer a well-rounded picture of the late-career Christiansen through his own, good-humored lens. The fourth interview, a more experimental text conducted by Helmer Nørgaard, was originally published in Danish in the magazine DMT, in a 1986/87 issue devoted to Christiansen. In this issue we’ve created a translated facsimile of that DMT issue, which also featured texts on Christiansen by his prominent Danish collaborators, the writer Lars Morell and the artists Per Kirkeby and Bjørn Nørgaard. We hear from other Christiansen collaborators through correspondence—including in transcribed letters from Emily Harvey and Dick Higgins, whose messages to and from Christiansen were recently discovered in the Archive—and through interviews, including newly conducted interviews with his wife and longtime collaborator, Ursula Reuter Christiansen; Bjorn Nørgaard, who spoke with Christiansen’s son Thorbjørn Reuter Christiansen; and later musical collaborators Werner Durand and Ute Wassermann. Except Nørgaard, these collaborators will all speak or perform as part of the Freedom is Around the Corner programming; a section of this issue features many of the other performers as well, younger artists who have grappled with Christiansen’s legacy. Represented through interviews (Lucy Railton), original artworks (Graham Lambkin, Áine O’Dwyer, Stíne Janvin), and essays (Mark Harwood, Anton Lukoszevieze of Apartment House), these artists demonstrate the lasting and diverse impact of Christian- sen’s work on today’s musical landscape. Lukoszevieze’s essay introduces a newly translated libretto for Dejligt vejr i dag, n’est-ce pas, Ibsen, a 1964 opera with music by Christiansen and libretto by Hans-Jørgen Nielsen which Apartment House, commissioned by Blank Forms, will perform twice during the run of the exhibition. Taken together—and even more, in conjunction with the exhibition and performances—the texts in this journal provide an in-depth look, previously unavailable, especially in the United States, at a towering but overlooked figure in the postwar musical as well as artistic avant-garde. Support for Freedom is Around the Corner comes from the Nordic Culture Point, the Nordic Culture Fund, Snyk, the Danish Arts Foundation, the Royal Norwegian Consulate, Goethe-Institut, the Danish Consulate General, Music Norway, and Ultima Contempo- rary Music Festival.

Published by Rab-Rab Press. 210x140mm, 64 pages, Brown and white offset printed throughout, Perfect bound, Ed. of 600, 2019.“Marx in the Woods presents the first English translation of Jacques Rancière’s early philosophical text “The Dialectic of Reason and Private Interest”, originally published in 1963. Written under the influence of Louis Althusser, the text is discussing the forms of law in Karl Marx’s writings on the “debates on the law on thefts of wood”. As a break from the idealist philosophy, Marx’s writings on thefts of wood is considered to be a turning point in the history of communist theory.In his text, Rancière does not only discuss the complex structure of Marx’s early concepts, but he does this by such ‘wild formalism’ that opens the communist horizon towards unfamiliar realms.Defending this approach still today, Rancière in the new introduction written to the book gives also some clues about his difficult relationship with Althusser.The book is translated by Jussi Pamussari, who also wrote an afterword where he discusses the way Rancière subjects time and history to a certain formalisation through spatiality.”

Published: Infinity Land Press Second edition of 100 copies - Book + CD Softbound with flaps 238 pages // 103 illustrations 148 x180mm ISBN 978-0-9927366-8-2Hector Meinhof has written a book that is both beautiful and cruel. His poetic prose and the doom-laden pictures from his extensive collection of vintage photographs have bled into one tortured, corporeal unity. All these pictures have played a significant part in the writing of Three Nails, Four Wounds. Meinhof has used a tableau of chosen images to keep the narrative flowing, each chapter being concentrated around a specific set of photographs. This is the illustrated scripture for the new dark ages, it will be read and beheld again and again - Martin BladhOn the outskirts of a small town, on top of the mound called Wolf Hill, lay the insane asylum. It was a neo-gothic edifice made of brick, with long winding corridors and a hundred and eleven rooms: sterile rooms, electric rooms, padded rooms, interrogation rooms with one-way mirrors, a kitchen, a large dining room and a photographic studio in the attic.In conjunction with the asylum there was a small chapel, a mortuary, staff quarters and a barn. Behind the barn, beside a forest of spruce and fur, the patients’ cemetery stretched itself across the north side of the mound. It was as though the area had been struck by a peculiar curse. Strange incidents kept occurring, acts of insanity, abuse of animals, unexplained disappearances.

Paperback,144 pages Published 2020 by Book Works ISBN13: 9781912570058 Edition Language English Chalk, gorse, old coppice, redundant dew ponds, a crossroads formed by the intersection of a B road and an ancient fisherman’s track. It’s August. The rain shows no sign of stopping. Licorice, a reclusive middle-aged filmmaker, has only a brief window of opportunity to realise her long-cherished film project about the story of Nan Kemp. A grisly story of infanticide, cannibalism and rough justice remembered on the map: local kids have dared and scared each other to run round ‘the witch’s grave’ since way back when. The rebuilt windmill provides a hypothetical link between the time from which Nan’s ‘story’ springs and the present. For Angie, Licorice herself is something of a legend. Angie’s ex-lover Roy, sees Licorice as a bully and potential rival. Pete, co-directing the film, is consumed with unrequited lust for Angie… While Angie and Roy are definitively not speaking to each other, Pete and Licorice argue endlessly over how to shoot scenes and the direction the film is going to take. But Licorice has a secret only Pete knows. Well-worn tropes lifted from films such as The Mask of Satan, The Blair Witch Project and Irma Vep give this narrative about failing to create a narrative its shape. The idea of folk horror intrigues Licorice. As events spiral out of control, and growing mistrust and exhaustion take their toll on all four filmmakers, the horror tropes they’re working with contextualise an immediate, inescapable sense of unease. Bridget Penney is a writer based in Brighton. Her previous books are Honeymoon with Death and Other Stories (1991), and Index, published by Book Works (2008, 2nd edition, 2015) as the opening entry in the Semina series of experimental novels, guest edited by Stewart Home. Her stories and non-fiction have appeared in magazines and online.

Book Works (2017, Fourth Edition, 2020)Softcover, 164pp113 x 179mmThe quieter you become, the more you are able to hear – Lao TzuDrawing together communiqués, covert interviews, oral and underground history of introvert struggles (Introfada), here for the first time is a detailed documentation of the political demands of shy people.Radicalised against the imperial domination of globalised PR projectionism, extrovert poise and loudness, the Shy Radicals and their guerrilla wing the Shy Underground are a vanguard movement intent on trans-rupting consensus extrovert-supremacist politics and assertiveness culture of the twenty first century. The movement aims to establish an independent homeland – Aspergistan, a utopian state for introverted people, run according to Shyria Law and underpinned by Pan-Shyist ideology, protecting the rights of the oppressed quiet and shy people.Shy Radicals are the Black Panther Party of the introvert class, and this anti-systemic manifesto is a quiet and thoughtful polemic, a satire that uses anti-colonial theory to build a critique of dominant culture and the rising tide of Islamophobia.

Published: Atlas Press, 2016 ISBN: 978-1-900565-73-8, Pages:274pp Type: hardback with decorated endpapers, illustrated in colour and b+w.German translation by Malcolm Green, introduced by Alastair Brotchie and Malcolm Green. “Since my first reading I have been convinced that An Anecdoted Topography of Chanceis one of the great books of the century, a comic masterpiece that touches significantly on many areas of human thought. It is a maquette for a realisation of the dream that human intelligence might take any fragment of the world and reconstruct the universe from the evidence it provides.” — Richard Hamilton inThe Spectator An Anecdoted Topography of Chance is now acknowledged as the most important, and most entertaining “Artists’ Book” of the post-war period, and this edition is the definitive appearance of a unique collaborative work by four artists associated with various avant-garde art movements, including Fluxus and Nouveau Réalisme. What is theTopography? Hard to explain an idea so simple yet so brilliantly executed. Following a rambling conversation with his dear friend Robert Filliou, Daniel Spoerri one day mapped the objects lying at random on a table in his room, adding a rigorously scientific description of each. These objects subsequently evoked associations, memories, anecdotes, not only from the original author, but from his friends as well: a beguiling creation was born, and each time a new edition of the book appeared it grew larger and more elaborate. Many of the principal participants in Fluxus make an appearance, and texts by Higgins, Jouffroy, Kaprow, Restany and Tinguely are included, among others. It is a novel of digressions in the manner of Tristram Shandy, an archaeological game, a poem to the arbitrary, an encyclopaedia, a cabinet of wonders, but above all else, it is a celebration of friendship and creativity. The Topography both personifies and pre-dates the spirit of the Fluxus movement, and constitutes one of the strangest and most compelling insights into the artist’s life. From out of the banal detritus of the everyday a virtual autobiography emerges: of four perceptive, eloquent and engaging members of the human species.

Published: Atlas Press, 2013, ISBN: 978-1-900565-43-9 Pages: 176pp Type: hardback with decorated endpapers, illustrated in b+w.Introduction by Dawn Ades and commentaries by Dawn Ades & Alastair Brotchie, translated by Chris Allen. The story of the triangular relationship between Marcel Duchamp, Henri-Pierre Roché and Beatrice Wood in New York in 1917 is here related through various texts.The main one being the first English translation of Roché’s “novel” Victor, an account of his friendship with Duchamp (nicknamed Victor by his close friends at that time). Although unfinished, Roché’s text offers a unique first-hand account of New York Dada, all of whose principal characters and events duly make an appearance: Francis Picabia, Arthur Cravan, the Arensbergs and theirsoirées, the Blind Man’s Ball and the scandal of Duchamp’sFountainand its rejection from the Independents exhibition, a pivotal moment in modern art. There are also interesting insights into the sexual politics of the period, when a woman could be arrested, or blackmailed, for spending the night with a man to whom she was not married. Victor is followed by a complete facsimile of the Dada magazine produced by these three:The Blind Man, the second issue of which was devoted to the controversy surrounding theFountain. Beatrice Wood’s account of these events follows, taken from her memoirs. Marcel Duchamp needs little introduction, being one of the most influential artists of the last century. Roché, a lifelong friend of his, appears to have been something of a devotee of triangular relationships; he wrote a rather more famous autobiographical novel on the topic, Jules et Jim, which became an emblematic film by François Truffaut. Wood went on to become a celebrated ceramicist, dying in 1998, aged 105.

Published: Bookworks 128 p, ills colour & bw, 13 x 24 cm, pb, EnglishRecalling the short-lived Bureau de Recherches Surréalistesof 1924−1925 − part information centre and ‘public relations’ office, and part surrealist archive − Mark Dion has trawled the Manchester Museum’s own collections and found the raw material for this book and a new installation in the museum. Museums’ attempts to classify and present the world in miniature inevitably mean that much of their collections are forgotten and marginalized. Renowned for his work exploring taxonomy, archaeology and ecology, Mark Dion, in his Bureau documents his opportunistic encounters with the Museum of Manchester’s neglected drawers and overlooked recesses that are home to redundant labels, orphaned mounts, defunct teaching models, botanical freaks, Egyptian fakes and the minutiae that have fallen through the cracks of museum practice and lain abandoned. Dion’s Bureau of the Centre for the Study of Surrealism and its Legacy is both a repository for the detritus of museum life and a working process, classifying the museum’s un-classifiable whilst exploring the bureaucratic workings of the institution. Essays by Anna Dezeuze, Julia Kelly and David Lomas Published as part of Book Works Opus Projects (Opus 4) by Book Works and The AHRB Research Centre for the Studies of Surrealism and its Legacies in association with Alchemy/The Manchester Museum, The University of Manchester

PiblishedFaber & Faber ISBN 9780571232079 Published 03/05/2007 Format PaperbackFrom Morrissey and Nick Cave to The Streets and Kanye West, this is the book that explores the links between hip-hop and rock. Reynolds has focused on two strands: white alternative rock and black street music. He's identified the strange dance of white bohemian rock and black culture, how they come together at various points and then go their own way. Through interviews he has carried out as a top music journalist for the last twenty years Reynolds is here able to tell a story of musical rivalry which no-one has told before. The approach is similar to Rip It Up and Start Again: a cultural history told through the music we love and the stars and movements that have shaped the world we live in.

PublisherFaber & Faber ISBN 9780571353729 Published 07/11/2019 Format HardbackThe title of this collection of essays refers to a tailor's mannequin that Alfred Brendel spotted in a shop window in Arezzo, a small Tuscan town. Who is this strange lady? What is she looking at? And why is she carrying an egg on her head? The mannequin now graces a room in the attic of Brendel's house in Hampstead. Her features convey great artistic seriousness in combination with absurd comedy: the epitome of his own musical and literary preferences. And so, in his delightful new collection, great masters of nonsense meet great masters of music.

Perhaps Cuba’s most important intellectual of the twentieth century, Alejo Carpentier (1904–1980) was a novelist, a classically trained pianist and musicologist, a producer of avant-garde radio programming, and an influential theorist of politics and literature. Best known for his novels, Carpentier also collaborated with such luminaries as Igor Stravinsky, Darius Milhaud, Georges Bataille, and Antonin Artaud. Born in Havana, he lived for many years in France and Venezuela but returned to Cuba after the 1959 revolution. ISBN 978-0-8166-3229-9 312 pages, 25 b&w; photos, 5 7/8 x 9, 2003Originally published in 1946 and never before available in an English translation, Music in Cuba is not only the best and most extensive study of Cuban musical history, it is a work of literature. Drawing on such primary documents as church circulars and musical scores, Carpentier encompasses European-style elite Cuban music as well as the popular rural Spanish folk and urban Afro-Cuban music. Music in Cuba sweeps panoramically from the sixteenth to the twentieth centuries. In a substantial introduction based on extensive original research, Timothy Brennan explores Carpentier’s career prior to the writing of his novels. Looking especially at Carpentier's work as a music reviewer, radio producer, and musical theorist, Brennan suggests new ways of thinking about the role of Latin American artists in Europe between the wars and about the central place of radio and music-club cultures in the European avant-gardes.