Huggy Bear was a UK riot grrrl band that existed from 1991-1994. Outcast and outraged, they made a howling, squalling mess of punk, all the menace and freedom of flocking birds. The handful of records, zines, and memories that document this brief, bonfire lifespan sketch a blueprint for how to be in the world, for how to understand the forces of capitalism and patriarchy and capitulation and still resist. Huggy Bear was a group that let things be complicated, that considered themselves complicit, but never took that as a reason to surrender. There’s no band more important. Killed (of Kids) is a book by the five members of Huggy Bear. It reproduces all seven zines made by the band during their lifespan alongside photos, correspondence, flyers and ephemera from their three year existence. This archive is joined by new text drawn from two years of interviews with the band members, carefully assembled into an extensive dialogue about intention, surprise, distress, encouragement. Throughout Huggy Bear’s lifespan, they rejected major label advances and shunned contact with the music press. Following the band’s final concert, the members largely withdrew from public life. The subsequent 30 years has seen their legend bloom. And just as the warnings and incitements of their music continue to grow in relevance, the curiosity and distortion has also grown. Killed (of Kids) documents the chances taken, the psychic drains, the unique connections and the aftermaths of Huggy Bear. The book is a real reflection of the sharp edges and dissatisfaction and love that has always lived in the songs and the words. It is not a “rock biography.” There’s no swagger or grand narrative. It’s all small delight and protective energy. Drastic liberation. A reiteration of Huggy Bear’s propositions: It is always possible for people to trust their collaborators. It is always possible to make a song (book/painting/poem/dance/etc) about something that you’ve never heard anyone make a song about before. It is always possible to refuse to answer their questions.

The soundtrack to Murnau's Nosferatu composed / improvised / played by the trioof Emmanuelle Parrenin, Quentin Rollet and Jérôme Lorichon. The book accompanying the CD contains four versions of the Nosferatu story by four French artists: Marie-Pierre Brunel, Foolz, Caroline Sury and Alexios Tjoyas. The trio formed by Jérôme Lorichon (Buchla, trumpet, electronics, percussions), Emmanuelle Parrenin (hurry-gurdy, harp, voice, percussions) and Quentin Rollet (alto and sopranino saxophones, electronics) performed Nosferatu for the first time at La Cinémathèque Française on February 18, 2021.In 2022, Potemkine Films asked the trio to record the music for the DVD/BluRay released to mark the film's 100th anniversary, but ultimately they were not allowed to modify the soundtrack.This album, inserted in a 60-page illustrated book, is an edited version of the music so that it can be listened to as a complete musical journey.  

Peter Brötzmann explores the heroic life and revolutionary music of the pioneering German saxophonist, and the radical social and political convictions that informed them. Peter Brötzmann is the first ever, full-length, English-language biography of one of the most fascinating and inspiring personalities in the history of Western improvised music – and one of the key artistic figures to emerge from the socio-cultural tumult of the 1960s. Drawing on extensive interviews with Brötzmann and key associates, it traces the German saxophonist’s crucial role as a pioneer of European free jazz, his restless travels and collaborations and his eventual superstardom, examining the life and work of a fiercely uncompromising artist with a reputation for gruff intensity and total commitment. Digging deep into the history and aesthetics of free jazz in Europe and beyond, it provides detailed analysis of music by Brötzmann and other major figures, while positioning Brötzmann’s work – and the wider free jazz milieu – in the context of the revolutionary left-wing, humanist and utopian ideals that inspired and underpinned it. Both intimate and wide-ranging, it tells the story of a man and a music that changed the world.

A major work by one of the great public intellectuals of the twentieth century, The Question of Palestine was the first book to narrate the modern Palestinian experience in English. Edward Said’s project to ‘bring Palestine into history’ was unquestionably a success – there is no longer a question of whether Palestine had a history before colonization – and yet Palestinian self-determination is as distant as ever. With the rigorous scholarship he brought to his influential Orientalism and shaped by his own life in exile in New York, Said’s account of the traumatic national encounter of the Palestinian people with Zionism is still as pertinent and incisive today as it was on first publication in 1979.

An alternative occult and esoteric history of England told through one of its most popular cultural forms: the comedy sitcom. Code: Damp is a sometimes-comedic field report that charts an esoteric code hidden within the twin poles of 1970s sitcoms Rising Damp and The Fall and Rise of Reginald Perrin. Outlining how past cultural patterns condensate and repeat through technology, time is shown to be a damp condensation seeping through the centuries and out onto the telly. Interspersed with the author’s own photographs, prints, Holsten Pils cans, local newspaper entries and carrier bags, as well as a whole host of other characters, the work seems an antiquarian’s conceit that takes time travel as a metaphoric methodology. This is not media studies; more an allegory of all reality as (tele)visual recorded history, excavating the strata of haunted technology from which the fragile band of code comprising our sense of time is briefly emitted. Drawing connections between incidents of ancient and popular culture, from Mark E. Smith’s lyric— “They say damp records the past”—to Rising Damp’s (meta)physical structure of decay, the book finds damp’s temporal power manifest in everything from alchemy, mysticism, and parish folklore to pulp, Time Team, darts, the local newspaper and, of course, the sitcom. Merging the vast with the parochial, the occult with the comedic, Code: Damp tunes into the weird demands of damp as a time-traveling material at the intersections of comedy, myth and technology, taking all three as serious resources to better (dis)orient the ground we stand on.

Two-Headed Doctor is a forensic investigation into a single LP: Dr. John, the night tripper's Gris-gris. Though released in 1968 to poor sales and a minimum of critical attention, Gris-gris has accumulated legendary status over subsequent decades for its strangeness, hybridity, and innovative production. It formed the launch pad for Dr. John's image and lengthy career and the ghostly presence of its so-called voodoo atmosphere hovers over numerous cover versions, samples, and re-invocations. Despite the respect given to the record, its making is shrouded in mystery, misunderstandings, and false conclusions. The persona of Dr. John, loosely based on dubious literary accounts of a notorious voodooist and freed slave, a nineteenth-century New Orleans resident known as Doctor John, provided Malcolm Mac Rebennack with a lifelong mask through which to transform himself from session musician in order to construct a solo career.

This poetry book groups over a hundred texts published in three languages: Arabic, English and French. An anthology of women poets from Lebanon edited over the course of four years by Nada Ghosn and Paulina Spiechowicz, which aims to give a voice to those underrepresented in literary studies and the art world alike. This poetry book carves a path made of a plurality of voices: around sixty poets and over one hundred texts that tell, each in its own way, the many facets of a single country, like a kinetic atlas, a lyrical fresco carried by reading, traveling, translating, and contemporary art in the broadest sense. With poems by: Violette Abou Jalad, Etel Adnan, Sana Al-Bana, Hoda Al-Naamani, Susanne Alaywan, Manar Ali Hassan, Thérèse Aouad Basbous, Romy Lynn Attieh, Ritta Baddoura, Rita Bassil, Valérie Cachard, Huguette Caland, Elmira Chackal, Andrée Chedid, Majida Dagher, Ranim Daher, Frida Debbané, Amanda Dufour, Mireille Eid, Leila Eid, Jana Eid, Nada El Hage, May Elian, Tamirace Fakhoury, Claire Gebeyli, Rim Ghandour, Laure Ghorayeb, Hala Ghosn, Joumana Haddad, Katia-Sofia Hakim, Darine Houmani, Inaya Jaber, Mariam Janjelo, Edvick Jureidini Shayboub, Hana Khatoun, Vénus Khoury Ghata, Michèle Gharios, Nadine Makarem, Noha Moussawi, May Murr, Linda Nassar, Amal Nawwar, Myra Prince, Violaine Prince, Rouba Saba, Nohad Salameh, Christiane Saleh, Roula Saliba, Mo Maria Sarkis, Nada Sattouf, Maha Sultan, Yvonne Sursock, Samia Toutounji, Nadia Tuéni, Hyam Yared, Sabah Zouein, Afaf Zurayk Accompanied by artworks by: Etel Adnan, Laure Ghorayeb, Huguette Caland, Afaf Zurayk, Manar Ali Hassan, Jana Eid.

  A new book actualising Archie Shepp–Bill Dixon Quartet at the 8th World Festival of Youth and Students in Helsinki 1962. Including archive material and documents, commissioned theoretical and historical texts, and interviews, the book edited by Sezgin Boynik and Taneli Viitahuhta contextualizes politics of free jazz music in light of global decolonisation movements, anti-war activism, structures of racial capitalism, and forms of avant-garde music. By focusing on concerts of Shepp–Dixon Quartet, leading avant-garde jazz musicians from the US, in the socialist anti-colonial festival in Helsinki, the book is introducing complexities in the usual Cold War stories about the sixties, and pictures politics of jazz as something transcending boundaries of nation-state and capitalist market regulations. Apart from the theoretical and historical overview by its editors, the book includes testimonies of the collective and international spirit of the 1962 Youth Festival, translated documents from Finnish press, a new interview with Archie Shepp, commissioned text by Jeff Schwartz on the historical context of political engagement of free jazz musicians, and reproduction of three hard-to-find texts by Shepp.The book is designed by Ott Kagovere. It is 168 + 32 pages.

  "This book, the only history of free jazz in Japan, has been reprinted many times in Japan and is finally available to readers overseas in English translation. From its earliest stirrings in the 1960s until it reached international recognition in the 1970s and after, free jazz in Japan is a unique music that has found its perfect scribe. Teruto Soejima was a writer who fell in love with a music and devoted his life to it as promoter, critic, label owner, tour organiser, and much more. "If you like jazz at all, if you like the unique voices of Japan at all, this book will open your ears to many sounds you haven't heard, or heard of, before. "Introduction by Otomo Yoshihide. All new photos in this edition, none used from the original Japanese volume." - Publisher Public Bath "Soejima Teruta was a legend on the scene of jazz and improvised music in Japan ... Much more than a critical observer, Soejima-san was a tireless supporter of music and musicians, and will always be remembered for his brilliant mind and gentle soul."- John Zorn 

"Éliane Radigue is considered one of the most innovative and influential contemporary composers from her early electronic music through to her acoustic work of the last 15 years. Influenced by musique concrète and shaped by regular sojourns in the United States where she discovered analogue synthesizers, her work unfolds an intensity which is at once subtle and monumental. Through her deep reflections on sound and listening, not only her music but also her working methods have come to shape a widely resonating set of new parameters for working with sound as musical material. “In the long interview that forms the body of this publication Radigue talks about her work, her reflections and underlying research as well as her historical context. The publication also contains an annotated list of works and Radigue’s programmatic text on “The Mysterious Power Of The Infinitesimal”.” Edited by Julia Eckhardt with texts by Éliane Radigue and Julia Eckhardt. With 62 black and white illustrations. Julia Eckhardt is a musician and curator in the field of the sonic arts. She is a founding member and artistic director of Q-O2 workspace in Brussels for which she conceptualised various thematic research projects. As a performer of composed and improvised music she has collaborated with numerous artists and extensively with Éliane Radigue. She has performed internationally and released a number of recordings. She has been lecturing about topics such as sound, gender and public space and is (co-)author of The Second Sound, Conversation On Gender and Music, Grounds For Possible Music, and The Middle Matter, Sound As Interstice. ---  

Is it the computerization of the planetOr a loosening of my fidelity to sufferingI don’t understand the intensityI’ve hidden here but I know I despairedOf finding a physical place to keepMy tears. Now what. Seas that go turquoiseWhen you stop looking at them . . .   Wrestling with the mind of war, at times shocking in its self-analysis, Wave of Blood is a furious and sincere essay, an eclipse notebook, a family chronicle, all told in the poetry of witness.

Everyone is asking about his identity. Gay? Muslim? French? Moroccan? Instead of choosing a side, he writes a book. A book about the forest and the city, Paris and Tangiers, shame and forgiveness, dating apps and spiritual discovery. A book about growing up as a diaspora kid in rural France, with desires that want to emerge at any cost. Told in mesmerising prose, How to Leave the World is a beautiful non-answer.

"Dear Miss Maxfeld . . . What I’m really afraid of is that I am a homosexual human being. I wish you were one too but I don’t think it’s possible there could be so many in one school, do you? Probably there is only one person who is homosexual in one place at one time and that one person (I am afraid) is me . . .   After sixteen-year-old Lynn writes her thirty-seven-year-old English teacher a letter they embark on one of the funniest and saddest love affairs in fiction, shrouded in secrecy and guilt. Set in the year Kennedy was shot, all Lynn knows about “lezbos” is that they wear their hair in crew cuts, buy suits like her father’s, and sprout mustaches over their upper lips. Trying to pass, Lynn continues to neck with her boyfriend and make bigoted jokes with her friends. Feigning innocence with her parents, each night she checks the mirror for tell-tale signs of perversion. Profound, witty, poignant, and highly charged, In Thrall is the first in Jane DeLynn’s trilogy of novels on sexuality and authority. It is as believable in its depiction of a closeted teen as it is heartbreaking.With an introduction by Colm Tóibín

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

Cage’s passionate, distraught and affectionate letters to Cunningham provide a vivid portrait of the start of their life together These early letters from John Cage to Merce Cunningham will be revelatory, for while the two are widely known as a dynamic, collaborative duo, the story of how and when they came together has never been fully revealed. In the 39 letters of this collection, spanning 1942–46, Cage shows himself to be a man falling deeply in love. When they first met at the Cornish School in Seattle in the 1930s, Cage was 26 to Cunningham’s 19. Their relationship was purely that of teacher and student, and Cage was also very much married.It was in Chicago that their romantic relationship would begin. Cage was teaching at Moholy-Nagy’s School of Design when Cunningham passed through town as a dancer with the Martha Graham Company, appearing on stage on March 14, 1942. Cage’s letters, which begin in earnest a week later, are increasingly passionate, distraught, romantic and confused, and occasionally contain snippets of poetry and song. They are also more than love letters, as we see intimations that resonate with our experience of the later John Cage.​Love, Icebox takes its shape from these letters—transcribed, chronologically ordered, and in some instances reproduced in facsimile. Laura Kuhn, Cage’s assistant from 1986 to 1992 and now longtime director of the John Cage Trust, adds a foreword, afterword and running commentary. Photographic illustrations of their final 18th Street loft in New York City, as well as personal and household objects left behind, remind us of the substance and rituals of their long-shared life.  

How to maintain hope in the face of despairIn the struggle for a better world, setbacks are inevitable. Defeat can feel overwhelming at times, but it has to be endured. How then do the people on the front line keep going? To answer that question and to help readers roll with the punches, Hannah Proctor draws on historical resources to find out how revolutionaries and activists of the past kept a grip on hope.Burnout considers former Communards exiled to a penal colony in the South Pacific; a young Bolshevik fleeing the city in despair; an ex-militant on the analyst’s couch relating dreams of ruined landscapes; a trade union organiser seeking advice from a spiritual healer; and a group of feminists padding a room with mattresses to scream about the patriarchy. Jettisoning therapy talk and its stranglehold on our language, Proctor offers a different way forward - neither denial nor despair. Her cogent exploration of the ways militants make sense of their own burnout demonstrates that it is possible to mourn and organise at once, and to do both without compromise.

Deep Listening: A Composer's Sound Practice offers an exciting guide to ways of listening and sounding. This book provides unique insights and perspectives for artists, students, teachers, mediators and anyone interested in how consciousness may be effected by profound attention to the sonic environment. Deep Listening® is a practice created by composer Pauline Oliveros in order to enhance her own as well as other's listening skills. She teaches this practice worldwide in workshops, retreats and in her ground breaking Deep Listening classes at Rensselaer Polytechnic Institute and Mills College. Deep Listening practice is accessible to anyone with an interest in listening. Undergraduates with no musical training benefit from the practices and successfully engage in creative sound projects. Many report life changing effects from participating in the Deep Listening classes and retreats. Oliveros is recognized as a pioneer in electronic music and a leader in contemporary music as composer, performer, educator and author. Her works are performed internationally and her improvisational performances are documented extensively on recordings, in the literature and on the worldwide web. 

On October 27, 2003, Adnan received a post card of a palm tree from the poet Khaled Najar, who she had met in the late seventies in Tunisia, sparking a collection of poems that would unspool over the next decade in a continuous discovery of the present moment. Originally written in French, these poems collapse time into single crystallized moments then explode outward to take in the scope of human history. In Time, we see an intertwining of war and love, coffee and bombs, empathetic observation and emphatic detail taken from both memory and the present of the poem to weave a tapestry of experience in non-linear time.