I grew up watching films with my mum. One of the most affecting was Mike Leigh’s Secrets and Lies. We laughed and cried, whilst watching a mother and daughter, on their respective sofas, watch tv and smoke fags. My dreams are the offbeat moments in these fictions where I smoke with my mum. I yearn for the imperfect feelings of familial harmony in Secrets and Lies, a meal eaten at a table, unacquainted people brought together. It hurts, I said. It’s like the storm in my head broke the thunder directly above my flat, the lightning half a second before. Suppose A Collapse arranges moments between two cities, each viewed through the lens of the other, intimately mapping the interiors of a fourth floor flat in Madrid and the childhood bedroom of a three-bed semi in Belfast. Memoir, poem and essay combine to form a collection of experiences based on the author’s changing relationship with her absent father, extended ‘(non)family’ and mother, while film and art inform the movement between lucidity and a fracturing present. How many times can we fold up our lives into smaller and smaller shapes until there’s no room anymore, only the one that we’re in? Lucie McLaughlin is an artist from Belfast, Northern Ireland. Her work has been published in Faultline Journal of Arts and Letters, California, performed at Raven Row, London and exhibited at Lily Robert Gallery, Paris. She is currently on the MLitt Art Writing at Glasgow School of Art.

128 x 182mm, 101 pages, Colour printing, Perfect bound, Softcover, 2022  Organising the book’s chronology around the time log of a public event, Anne Tallentire invites us into the activity of plotting a number of (1:1) diagrams of domestic rooms across the emptied-out ICA theatre in London.Upon this joyous illumination of the stains of past productions and mass gatherings appears a new assembly of enactors, who summon the social sediment of the ICA as a spirit of communal activity. This new event butts against the extremities of the room. A laser level and tape measure cut across the seams of dusty bricks, the patchwork painted floorboards, a leftover bass bin, electric cables, and plywood stage to inscribe abstractions of interior spaces in builder’s graphic tape.These ambiguously intentioned drawings gain political purchase when we imagine ourselves residing within the cramped dimensions being unfolded. We remember the premise of our lives upon the buildings that we have subsided into, and those responsible for them. This act of contextual comparison is a key leverage of the book. A socialist motivation that ignites the agency of our collective imagination to participate in the language and critique of housing provision.

Book sewn with open spine. 170 x 239mm. 192pp. 1+1 Pantone 546C, 120 gsm offset paper inside, 300 gsm offset paper covers. Texts by:Johan Arrias, Elsa Bergma, Nadine Byrne, Erik Carlsson, Scott Caza, Jon Collin, Mats DimmingNiklas Fite, Marta Forsber, Joel Grip, Mats Gustafsso, Carl Michael von Hausswolff, Isak Hedtjär, Karin Hellqvist, Per Åke Holmlander, Martin Küche, Andreas Hiroui Larsson, Anna Linda, Eva Lindal, Kajsa Magnarsso, Sten Sandell, Em Silé, Marja-leena Sillanpää, Susana Santos Silva, Mattias Ståhl, Cara Tolmie, Elena Wolay, Torbjörn Zetterberg.Photos by Mats Äleklint.Bilingual: English & SwedishI left London eight years ago today. It was time to go. I was completely exhausted by the job I’d been doing — running the concert programme at Café OTO — and couldn’t really imagine finding something better to do there whilst simultaneously being pushed further out of the city by the crazy cost of living. Stockholm seemed to be the best option. We could get somewhere affordable to live. I got a grant that paid off my debts. And so we moved.I always rejected the idea that I would start some kind of OTO-equivalent here in Stockholm, but that hasn’t stopped me trying to imagine what such a place could be. There is a special confluence of things that makes OTO work in its own strange way and there is little point in trying to copy it. But one thing I keep coming back to are the windows onto the street. Everything that happens there is visible (and often audible) to the outside world. There are no secrets. The windows suggest an opening to and connection with. That it is possible to participate. I decided that my fantasy space would also need to have such windows out to the street and it would be called Fönstret (The Window). A physical space will remain fantasy, but I decided to make Fönstret real, to make space via a series of online and physical publications, and do if but a small cut of the work that a physical space might do. At the same time, I’d been reading Fred Moten and Stefano Harney’s The Undercommons, trying to think through the meaning of such spaces and the meetings and relationships they facilitate. How informal, unaccredited knowledge is made through these connections and what/how much that means for how we live in the world (as artists, as people). For the first of these missives, I made three short ‘portrait’ films where the subjects talked about someone else or some place else: Lisa Ullén about Fylkingen, Leif Elggren about Lennart Af Larsson and Raymond Strid about Roland Kejser. I also asked a whole stack of people I felt have some connection to Stockholm if they could write something along these lines. It should be someone or place they knew personally rather than a remote influence, but that otherwise they could be as loose as they liked with the brief. 29 people took me up on the ask and these contributions have finally been collected in a book — a mix of memoir, oral history, love letters, and poetry — a small window into a small part of Stockholm. Forever grateful to everyone for their honesty and for trusting me with their texts and happy to now make them available to the outside world. — John Chantler, Stockholm

165 x 235mm, 184 pages, Colour printing, Perfect bound, Softcover, 2022Premodern acoustic traces as the basis for new communities of thought in the present (a project responding to the work of the self-taught acoustic archaeologist Umashankar Manthravadi). Coming to Know asks how listening to the past together might transform our sense of the knowledge held in common. It sets aside the visual techniques of the archaeological site, the museum, and the larger project of colonial modernity, and instead constitutes itself as a resonant structure—a future-oriented monument to historically situated listening bodies as well as a dwelling place for community now. This book was conceived in relation to the programme Coming to Know, accompanying the exhibition A Slightly Curving Place at Haus der Kulturen der Welt in Berlin in 2020. It is the second in a series of volumes titled An Archaeology of Listening.

Paperback: 70 pages Published: August 1st 2013 by Ugly Duckling Presse  ISBN: 1937027023 (ISBN13: 9781937027025) Third in the Emergency Playscripts series, NOT KNOWING bounces between video and live actors to deduce how history is made, how therapy rewrites personal history, the role of jokes in collective memory and the vast unacknowledged reams of material The Wild One and "The Wild Duck" have in common. Vaudeville Ibsen, Marlon Brando stuck in an attic in Norway, a psychiatrist who can't decide between healing and fetishizing his patient, and live video footage that clearly supports whatever reality is currently in session. If you can't fix it feature it.

84 Pages6 x 9.5 inchesPaperbackIn Identity Pitches, artists Stine Janvin and Cory Arcangel have composed conceptual music scores based on the knitting patterns for traditional Norwegian sweaters known as Lusekofte. Utilizing three of the most popular designs (Setesdal, Fana, and the eight-petal rose of Selbu) of this ubiquitous garment, Janvin creates scores for both solo and ensemble performers by mapping the knitting patterns onto the harmonic and subharmonic series and integrating the tuning principles of traditional Norwegian instruments. These scores are further manipulated by Arcangel using a custom, “deep-fried” coding script to create a series of image glitches. A foreword and an interview between the two artists provides context for the work, delving into the history of Norwegian folk music tunings and the Lusekofte sweater and their intersection with the cultural identity of the country over the last millennium. Stine Janvin is a vocalist, performer, and sound artist based in Stavanger, Norway. Janvin works with the extensive flexibility of her voice, and the ways in which it can be used to channel physicality of sound. Often drawing from electronic music, folk music, and contemporary media, she creates audio visual works for variable spaces from theaters, to clubs and galleries, and more recently websites and digital platforms. Recent presentations include Performa Telethon, New York; Munch Live and CADS, Munchmuseet, Oslo; Deutschlandradio Kultur, Daadgalerie, and CTM Festival, Berlin; Kunsthall Stavanger, Stavanger; Rokolective, Bucharest; Wiener Festwochen, Vienna; Issue Project Room, New York; and INA GRM,  Paris. Cory Arcangel is an artist based in Stavanger, Norway. Arcangel explores, encodes, and hacks the structural language of video games, software, and machine learning. In 2014, he established the merchandise and publishing imprint Arcangel Surfware, which opened its flagship store in Stavanger, Norway in 2018. His work has been exhibited in solo exhibitions at the Whitney Museum, New York; Carnegie Museum of Art, Pittsburgh; Barbican Art Centre, London; Reykjavik Art Museum, Iceland; Hamburger Bahnhof, Berlin; and Museum of Contemporary Art, Miami.

Publisher :Uniformbooks ( 31 Oct. 2016)Language :EnglishPaperback :224 pagesISBN-10 :1910010138ISBN-13 :978-1910010136A survey of the work of Michael Gibbs whose activities included poetry, performance, film, and publishing, and his immersion in “a genuinely 'underground' culture... which owed nothing to the official art establishment". As well as visual poetry and texts, the book includes his major study of blank books 'All or Nothing', written in 2005, a selection of critical writing that originally appeared in Kontexts, and Artzien, journals that he edited and published, as well as articles from the photography journal Perspektief, and Art Monthly, for which he wrote a regular column. Examples of his visual and concrete poems, books, photography and films are reproduced, along with documentation of performances, edited by Gerrit Jan de Rook & Andrew Wilson, with --- 64 pages of black and white illustrations, critical commentaries about aspects of Michael Gibbs' work by: Gerrit Jan de Rook: concrete poetry and language art, Guy Schraenen: books and publishing, Marga Van Mechelen: performance works, John Held: mail art, Henriette Dingemans: the internet work, Rob Perree: the later photographic works, Bas Vroege. --- Uniform Books, 2016

From scouring flea markets and eBay to maxing out their credit cards, record collectors will do just about anything to score a long-sought-after album. In Vinyl Freak, music writer, curator, and collector John Corbett burrows deep inside the record fiend’s mind, documenting and reflecting on his decades-long love affair with vinyl. Discussing more than 200 rare and out-of-print LPs, Vinyl Freak is composed in part of Corbett's long-running DownBeat magazine column of the same name, which was devoted to records that had not appeared on CD. In other essays where he combines memoir and criticism, Corbett considers the current vinyl boom, explains why vinyl is his preferred medium, profiles collector subcultures, and recounts his adventures assembling the Alton Abraham Sun Ra Archive, an event so all-consuming that he claims it cured his record-collecting addiction. Perfect for vinyl newbies and veteran crate diggers alike, Vinyl Freak plumbs the motivations that drive Corbett and collectors everywhere.   About the Author:   John Corbett is a music critic, record producer, and curator. He is the author of Microgroove: Forays into Other Music and Extended Play: Sounding Off from John Cage to Dr. Funkenstein, both also published by Duke University Press, and A Listener’s Guide to Free Improvisation. His writing has appeared in DownBeat, Bomb, Nka, and numerous other publications. He is the co-owner of Corbett vs. Dempsey, an art gallery in Chicago.

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 280 x 180mm 16 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 3 of Talker features a conversation with the director and playwright Richard Maxwell. Since 1999 he has worked with his company New York City Players producing theatre work for the stage, for galleries and moving image. His plays are set in the everyday environments of lobbies, living rooms, karaoke bars and highway intersections. Often non-professionals, his actors portray American archetypes through spare, stylised dialogue and occasionally sing. Recent productions include Queens Row at ICA London, Paradiso at Greene Naftali Gallery and Good Samaritans at Abrons Arts Centre

Self Published 280 x 180mm 24 pages Risograph throughout Saddle stitch, Card cover Released: 2020TALKER is a self published interview zine about performance by musician, artist & writer Giles Bailey --- Issue #9 of Talker is a conversation with artist Clifford Owens. He is based in Jersey City, New Jersey, and his work focuses on the body in relation to the power dynamics of race, masculinity, class and the fragility of social structures. It also closely examines the significance of photography in performance making and its histories. His project Anthology responds to the absence of a performance history that includes Black artists by soliciting and performing scores from Black artists working today. In Photographs with an Audience those attending the performance are invited to respond to prompts and questions by making a commitment to the moment and history by standing before the camera and having their picture taken. ---

Published by The Grass is Green in the Fields for You 130mm x 195mm, 228pp, perfect bound, hand stamped cover, oversize A6 risograph printed tip-in flyer, open edition.‘Dude, you wrote an essay!’ he told me, ‘how do you expect us to sell it in one sentence if you can’t even describe it in one page?’ I was horrified, embarrassed, immediately offered to write a new one and send it. ‘No,’ he explained, ‘you’re being taught a lesson. Do better with the next release.’ I was too surprised to be angry. I also didn’t learn my lesson, and they didn’t carry the next record we put out either. The lesson I did learn, maybe not for a long time, is that I only really care about the records that take pages to describe. The Grass is Green in the Fields for You is overjoyed to present a project which has been in the making—and mind—for some time: Fix The Mirrors by Ethan Swan. This collection, which starts itself in the year of 2000, collects writings on music and DIY activity from Swan’s back-catalogue. Musically it is broad, we begin with Meltdown moving to Shudder To Think; singular considerations on tracks by Tracey Thorn, Unrest and Jane’s Addiction. Further focuses on Saturday Looks Good to Me, Roy Harper, Panax, Slick Rick. There are documentary works and interviews covering Felix Kubin, The Homosexuals, Graham Lambkin & Spencer C. Yeah, Cass McCombs, and Bridget Cross. An expansive amount of ground is covered in this single collection, and this isn't the start of the wealth Swan has created. The writing is immediate, thoughtful, touching and honest—just like Ethan. Meticulously crafted, the painstaking layout is accompanied by photographs by Lisa Anne Auerbach documenting 1980’s Chicago punk shows.

Double A-Side comic from two of Scotland’s most innovative images and narrative makers, Rob Churm and Malcy Duff (Usurper). Black and white throughout and both with their own sense of approach to time, space and density. A very special project. Self-published A4, 60 pages, black and white printing with full colour cover, saddle stitched, 2021

This is the first English monograph of legendary French musique-concrete pioneer Luc Ferrari (1929-2005). Founding member of Groupe de Recherches (GRM) with Pierre Schaeffer-the group and studio were dedicated to the electronic medium that changed composition forever. This sumptuous volume includes facsimiles of Ferrari's original compositions, notebooks, and the first English translations of his writings, including poetry and fictional works and correspondence, as well as a special full-colour section that includes the composer's own collage artwork. Ecstatic Peace Library. 406 pages

Limited number of copies found in the lockdown clean up! Issue 2 of the Cesura//Acceso, journal of music, politics and poetics. Featuring work by Paul Abbott, Larne Abse Gogarty, Kim O'Neil, Danny Hayward, David Morris, Nathaniel Mackey, Federica Frabetti and Mark Fell, Irene Revell and Annea Lockwood, ESW, Abject Subject Ensemble, Sophie Hoyle, Hannah Black, Naroder Bourniki, Paul Rekret, Clair Potter, Sacha Kahir, Byron Peters and Tyler Coburn, Pil and Galia Kollectiv and Verity Spott.

Restock expected to ship 3rd August Guest edited by Shawn Jaeger, the Lee Hyla issue features remembrances and appreciations of the deeply missed composer by Stephen Drury, Rhonda Rider, David Rakowski, Bryan Hayslett, Chris Fisher-Lochheed, Eliza Brown, Scott Wheeler, and Ben Hjertmann. As well as articles by or with Jerome Harris on Jaki Byard, Charissa Noble on Johanna Beyer, Rick Moody on Stephen Malkmus, Sam Amidon on Son House, Colin Stetson on Henryk Górecki, Claire Chase, Kate Soper, and Eric Wubbels. Also photos from Katherine Desjardins and exquisite corpse from Shawn Jaeger. --- 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.

2xLP; DVD, libretto, large 16p Booklet in printed cardboard box A music drama composed by Sven-Åke Johansson and Alexander von Schlippenbach, performed and recorded at Hebbel Theater, Berlin, 12.11.1994 In the programme, Johansson describes his observations of construction workers who "spend a good part of their lives – when it rains or snows, while changing clothes and so on – in these so-called construction wagons, usually set up in the immediate vicinity of the construction sites." The drama thus at the core employs an approach very typical of him: observing everyday activities and reinterpreting them artistically. What makes it unique is the combination of art forms: (absurd) theatre, dance, song and free jazz all are equal parts. Never, one of these becomes a simple accompaniment of the other. They alternate and mix, eventually leading to a Babylonian confusion that becomes meaningful in itself. Despite or maybe even because of its uniqueness, this opera is one of Johansson's key works. "... Über Ursache ..." was performed three times between 1986 and 1994. The audio recording of the premiere at the Stuttgart State Opera was released by FMP as a standard double LP in 1989. The 1994 audio and video recordings from the Hebbel Theatre in Berlin are presented here for the first time, packaged as a lavish box set with two LPs, a DVD, a 16-page booklet with photos and liner notes by Johansson, Konrad Heidkamp and Peter Ablinger, plus 20-page libretto – an edition that this spectacular work has deserved for a long time.  Cello – Tristan Honsinger Harp – Anne Le Baron Percussion, Drums – Paul Lovens Piano – Alexander von Schlippenbach Saxophone, Clarinet – Wolfgang Fuchs Saxophone - Dietmar Diesner Vocals – Shelley Hirsch Vocals, Accordion – Sven Åke Johansson Libretto-text by Sven-Åke Johansson & Shelley Hirsch Design by Teresa Iten Cover and Drawings by Sven-Ake Johansson

2021 228 p. 19.5 x 12.8 cm. paperback The book is the complete collection of Simone Forti’s News Animations, one of the works that best reveal her artistic practice. The news and, more broadly, the most pressing issues of the global socio-political situation, are used to explore the potential of language, its dimensions, and its combination with dance, movements, words, images, and music. Simone Forti has always “danced” the news, it’s the way she tells them. But, above all, it’s the way she internalizes them, feels them, and processes them. Through a stream of consciousness, the artist grants voice and body to thoughts about the world, its conflicts, war, injustices, and inequalities. The volume collects Simone Forti’s News Animations from 1980 to 2018 – through the transcriptions of the performances, images, and drawings – seeking to capture their spirit, their poetic stance and, mostly, understand how they manage to describe the society and the world we live in.