Self-Published 280 x 180mm 20 pages Risograph throughout Saddle stitch, Card cover Released: 2022#10 is a conversation with Barby Asante. Barby is a London-based artist, curator, educator and occasional DJ. Her work is concerned with the politics of place, space memory and the histories and legacies of colonialism. The work is collaborative, performative and dialogic, often working with groups of people as contributors, collaborators or co-researchers. This issue focuses on her live work, from South London community intervention Noise Summitto her intricate, iterative project Declaration of Independence. The interview explores the crucial role of ‘contributor-performers’ and the challenges of presenting performances online.

280 x 180mm 24 pages Risograph printed throughout saddle stitch, Card cover Released: 2019TALKER is a self published interview zine about performance by musician, artist & writer Giles Bailey --- Issue #7 of Talker features a conversation with director, choreographer and performer Jo Fong. Though her background is as a dancer, performing as part of Rosas, Rambert Dance Company, Mark Bruce Company and National Dance Theatre Wales among many others, she also works across film, theatre and the visual arts. Her own work is distinguished by an open, self-aware process and an innovative and expansive approach to research and rehearsal. This interview begins with her ongoing project Ways of Being Together, a series of workshops, discussions and performances centered on the idea of belonging. Jo goes on to share insights into her working methods and discusses her complex relationship to dance, the difficulty of speaking and the impulse to do so. ---

amaican dancehall has long been one of the most vital and influential cultural and artistic forces within contemporary global music. Wake the Town and Tell the People presents, for the first time, a lively, nuanced, and comprehensive view of this musical and cultural phenomenon: its growth and historical role within Jamaican society, its economy of star making, its technology of production, its performative practices, and its capacity to channel political beliefs through popular culture in ways that are urgent, tangible, and lasting.Norman C. Stolzoff brings a fan’s enthusiasm to his broad perspective on dancehall, providing extensive interviews, original photographs, and anthropological analysis from eighteen months of fieldwork in Kingston. Stolzoff argues that this enormously popular musical genre expresses deep conflicts within Jamaican society, not only along lines of class, race, gender, sexuality, and religion but also between different factions struggling to gain control of the island nation’s political culture. Dancehall culture thus remains a key arena where the future of this volatile nation is shaped. As his argument unfolds, Stolzoff traces the history of Jamaican music from its roots in the late eighteenth century to 1945, from the addition of sound systems and technology during the mid-forties to early sixties, and finally through the post-independence years from the early sixties to the present. Wake the Town and Tell the People offers a general introduction for those interested in dancehall music and culture. For the fan or musicologist, it will serve as a comprehensive reference book.

Paperback, 544 pp, English/German Edition. Wolke Verlag, Berlin, 1998 In 2002 Christian Wolff was a guest composer at the Huddersfield Contemporary Music Festival and during the course of the festival he was interviewed by Christopher Fox and by James Gardner. Fox's interview took place before an audience in the Lawrence Batley Theatre on 25 November; Gardner's interview was recorded in private in the George Hotel, Huddersfield on 27 November, and edited excerpts from that recording were subsequently used in a programme produced by Radio New Zealand. The conversation presented here has been compiled by James Gardner from his transcriptions of the two interviews and presents a wide-ranging discussion of Wolff's musical preoccupations across every phase of his compositional career, from the early piano pieces of the 1950s, to his involvement with indeterminacy in the 1960s, to the political concerns evident in his music after 1970, to the works of the last three decades in which indeterminate and determinate methods of composition are combined.

Softcover, 432pp, Bilingual Edition (German & English) Wolke Verlag, MusikTexteThis volume documents the work of Alvin Lucier, one of the key figures in 20th-century experimental music. Through conversations, essays, interviews, prose scores, and introductory texts, a unique sonic universe unfolds, revolving around themes such as resonance, space, perception, and reduction. From classics such as I am Sitting in a Room and Music for Solo Performer to installations, diary entries, and collaborations with John Cage, the book shows how Lucier repeatedly pushed the boundaries of hearing. Forewords by Pauline Oliveros and James Tenney

Comprises scholarly engagements with the various outputs of the prolific Berlin based German artist Ulrike Ottinger born in Constance in 1942 to a Jewish mother and a non-Jewish father both of whom were protected from the Nazis by the paternal grandmother. The book consists of thirteen contributors, one commentator and 5 interviews. 20 b&w; illus.

From her childhood in Detroit to her professional career in New York City, American composer Lucia Dlugoszewski (1925–2000) lived a life of relentless creativity as a poet and writer, composer for dance, theater, and film, and, eventually, choreographer. Forging her own path after briefly studying with John Cage and Edgard Varèse, Dlugoszewski tackled the musical issues of her time. She expanded sonic resources, invented instruments, brought new focus to timbre and texture, collaborated with artists across disciplines, and incorporated spiritual, psychological, and philosophical influences into her work. Remembered today almost solely as the musical director for the Erick Hawkins Dance Company, Dlugoszewski's compositional output, writings on aesthetics, creative relationships, and graphic poetry deserve careful examination on their own terms within the history of American experimental music.

Coiled Verbal Spring: Devices of Lenin’s Language brings together the first English translation of the Russian Formalist and Futurist writings on Lenin’s revolutionary language. The book includes the Russian Formalists’ (Viktor Shklovsky, Boris Eikhenbaum, Yuri Tynyanov, Boris Tomashevsky, Lev Yakubinsky, and Boris Kazansky) most ‘political’ texts, first published in 1924 in the journal of the Left Front of the Arts (edited by Mayakovsky). Together with this collection, the publication also includes Futurist poet Alexei Kruchenykh’s Devices of Lenin’s Speech, from 1925. Indispensable for any serious research dealing with the relationship between revolutionary politics and artistic forms, these writings had remained a marginal note, both in studies on avant-garde art, and in much literature on Formalist theory.The publication is edited by Sezgin Boynik, who wrote an extensive introduction to the translations by contextualising the experiments of the Russian avant-garde through theories of conjuncture, or more precisely, the theory of contemporaneity within the revolutionary moment. Darko Suvin in his afterword discusses the actuality (and limits) of Lenin and Formalists in the shadow of never-ending warfare.With this book, Rab-Rab Press is proud to present the first English translation of the most interesting project of political Formalism and avant-garde theory in the twentieth century.210x140mm, 366 pages, Black and white offset printed throughout, Perfect bound, Ed. of 1000 Published by Rab-Rab Press, 2018

"Dokkiri! tells the history of a remarkable complex of musical subcultures that developed in Japan from the mid-1970s. Starting with a discussion of the earliest rumblings of punk and new wave, all types of independently produced music are covered in more detail than has ever appeared in English before. Punk, art music, noise, hardcore, psychedelic, dance music and more." - Public Bath Press This book fills in the gaps in my own appreciation of the Japanese independent music scene and provides context for sounds, lyrics and personalities that were all opaque mysteries until now – Steve Albini "Knowledge, affection and respect for the music illuminate an incredible creative and innovative scene. The what. The why. The how" – Ian MacKaye "Hopkins is that rare scene historian who was there at the beginning: and he's still there, recounting the details and telling the stories that no one else can remember. Maniacs and beginners alike, start here!" – David Novak, author of Japanoise     Published by Public Bath Press, paperback, 296 pp, 2015

Cornelius Cardew was a musician of genius for whom Life and Art were as one. He was a radical, both artistically and politically, becoming a tireless activist and uncompromising Marxist-Leninist. Passion and imagination governed all he did: his boldness and humanity continue to intrigue and inspire. John Tilbury, whose close friendship with Cardew dates from their first concert together, in January 1960, has worked for many years on this biography, and brings his subject vividly to life. In doing this, he has drawn extensively from Cardew’s journals and letters, and obtained first-hand accounts from friends and colleagues. The handling of this material is thoughtful and meticulous. Tilbury is a master story-teller and this particular story is of epic scale and character. We begin in 1932, appropriately on May Day, with the first meeting of his parents. Later, we encounter the intrepid schoolboy and student, who impressed sufficiently at the Royal Academy of Music to receive funds to study in Cologne with Karlheinz Stockhausen. The narrative during this period is delightfully picaresque, a colourful prelude to the years of family responsibilities and extraordinary musical endeavour and achievement (AMM, Treatise, the Scratch Orchestra and The Great Learning). As events unfold, discussion of the music is given due weight, but is never unduly weighty. Towards the end, there is an implacable gain in momentum as Cardew’s political work makes increasing demands on his time and apparently limitless reserves of energy. A life unfinished? The final chapter is entitled “12/13 December 1981” and eloquently “vibrates in the memory”.Softcover, 1020pp, 1.5kg Copula Books, Harlow, 2008 Matchless Recordings

36 pages printed in Englandstaple bound14cm x 20cm

January 2023, English/German14×21 cm, 224 pages, 88 color ill., softcover with dust jacket Edited by SERGIO EDELSZTEIN, FANNI FETZER Texts by SERGIO EDELSZTEIN, FANNI FETZER, JEAN-PIERRE REHMRoee Rosen’s film Kafka for Kids is set as the pilot episode for a TV series that perversely aims to make Kafka’s tale “Metamorphosis” palpable for toddlers. In its title, the film Kafka for Kids implies that the intellectual great of modern literature will finally be presented in a way that is generally understandable. Roee Rosen wants to present Franz Kafka, of all people, with his contorted thought constructions, in a way that is even accessible to kids! But unfortunately, that’s not how things turn out: the star writer of the educated middle class is not simplified, but his story becomes much more complex, corresponding to reality, for reality is more complicated than we like to represent using biaxial graphs. Featuring the original script of the movie, readers are invited to dive into a magical story, followed by essays that give a deeper insight in the literary aspects of Roee Rosen’s oeuvre. A stowaway on the journey, Rosen playfully and with wonderful self-irony, does not negate the complexity of the present, but takes it to the next level by exploring how all things are interlinked. Rosen neither doubts the complexity of our reality, nor does he oversimplify to a fault.

ISBN: 9781904607762 Published: 25 Apr 2008 Format: Paperback 528pp Publisher: Birlinn Ltd  The Highland bagpipe has long been a central strand of Scottish identity, but what happened to the Highland bagpipe in the two centuries following Culloden? How was its music transmitted and received? This study presents contemporary evidence and uses a range of methods to recreate the changing world of the pipers as they influenced and were influenced by the transformation in Scottish society. This book is intended for pipers exploring the achievements and musical concerns of their predecessors; for the general reader interested in a music whose history is akin to that of Scotland's poetry and song; and for all students of the process of tradition.Combining newspaper and manuscript evidence from the pipers themselves with a wide range of historical sources, the author harnesses the insights of the practical player to those of the historian and provides a fresh account of the players and their musical traditions, which have previously been the subject of much myth-making. This is the first history of the musical culture of the worldwide piping community.

Paperback, 240 x 180mm, 176pp. Prototype, 2024 With contributions by Galia Admoni, Louis Bailey, Eloise Bennett, Jen Carter, Imogen Cassels, Kat Chimonides, Helena Fornells Nadal, Miruna Fulgeanu, Zsuzsanna Gahse (trans. Katy Derbyshire), Eiffel Gao, Mica Georgis, Matthew Halliday, Jordan Hayward, Hasib Hourani, Aria Hughes-Liebling, Dominic J. Jaeckle, Rozie Kelly, Alex Mepham, Lucy Mercer, Duncan Montgomery, Angélica Pina Lèbre, c.f. prior, Oisín Roberts, Rochelle Roberts, James Rodker, Jacqueline Rose, Leonie Rushforth, Irina Sadóvina, Agnieszka Szczotka, Maya Uppal, Stephen Watts, Jack Young and Kate Zambreno.The sixth instalment of Prototype’s annual anthology: a space for new work, open to all and free from formal guidelines or restrictions. Poetry, prose, visual work and experiments in between.

published by Tenement Press & Prototype, 2023 Paperback; 140 x 216mm; 444pp; black-and-white images throughout Mario Dondero, Erica Baum, Jess Cotton, Rebecca Tamás, Raúl Guerrero, Stephen Watts, Helen Cammock, Salvador Espriu, Lucy Mercer, Olivier Castel, Lucy Sante, Ryūnosuke Akutagawa, Ryan Choi, John Yau, Nicolette Polek, Chris Petit, Sascha Macht, Amanda DeMarco, Mark Lanegan, Georgia May Jaeckle, Vala Thorodds, Richard Scott, Jonathan Chandler, Joshua Cohen, Sandro Miller, Hannah Regel, Nick Cave, Matthew Shaw, Daisy Lafarge, Jeffrey Vallance, Holly Pester, Matthew Gregory, Emmanuel Iduma, Joan Brossa, Cameron Griffiths, Levina van Winden, Imogen Cassels, Hisham Bustani, maia tabet, Aram Saroyan, Velimir Khlebnikov, Natasha Randall, Edwina Attlee, Jason Shulman, Aidan Moffat, Lesley Harrison, Oliver Bancroft, Lauren de Sá Naylor, Yasmine Seale, Will Eaves, James Hugunin, Glykeria Patramani, Cass McCombs, Will Oldham, Antonio Tabucchi, Elizabeth Harris, Nina Mingya Powles, Isabel Galleymore, Preti Taneja, Stanley Schtinter, Sophie Seita, Ralf Webb, Wayne Koestenbaum, Iain Sinclair, SJ Fowler, David Grubbs, Agustín Fernández Mallo, Pere Joan, Thomas Bunstead, John Divola, Adrian BridgetSeven Rooms brings together highlights from Hotel, a magazine for new approaches to fiction, non-fiction & poetry which, since its inception in 2016, provided a space for experimental reflection on literature’s status as art & cultural mediator. Co-published by Tenement Press and Prototype, this anthology captures, refracts, and reflects a vital moment in independent publishing in the UK, and is built on the shared values of openness, collaboration, and total creative freedom.

A4, 32 pages#contemporarycomics #comicart #poetrycomics #musiccomics #noaudienceunderground #graphicpoetry #graphicpoem #experimentalcomics #freejazz #noisemusic

16 essays in English, 10 in German, with musical examples,296 pp, paperback  wolke, 2012Cage & Consequences brings together analytical essays by scholars of different disciplines, artists“ contributions, and conversations with composers and associates of John Cage. They represent the diversity of Cage“s spheres of influence on the following generations of artists, as well as his significance for musicology, art theory, and media studies. The contributions are presented in their original language, English or German.

edited by M.J. Grant and Imke Misch 164 pp., Pb Wolke, 2018Karlheinz Stockhausen was one of the most influential and prolific composers of the twentieth century. His legacy extends far beyond his extensive catalogue of musical works to his achievements as a pioneer of electronic music, as a writer and thinker on music, and as a teacher. In this volume, various aspects of Stockhausen“s legacy are discussed, including his influence on the creative work of others, and the influences he likewise derived from some of his closest associates. Central theoretical tenets of his work are revisited and new evaluations made regarding the significance, impact and potential of Stockhausen“s contributions in this area. Compositions discussed in the volume extend across the whole span of the composer“s life, with several essays dealing explicitly with the musical, conceptual and theatrical background to Stockhausen“s work from the opera cycle LICHT onwards. Interdisciplinary in approach and drawing on a number of recent studies of Stockhausen“s music, many of which are not otherwise available in English, the volume is a significant contribution to Stockhausen scholarship which—looking forward—provides new impetuses for the future understanding of his musical legacy.