MAGAZINE is the inaugural issue of Blank Forms’ journal, bringing together a combination of never-before published, lost, and new materials that supplement our live programs. It is envisioned as a platform for critical reflection and extended dialogue between scholars, artists, and other figures working within the world of experimental music and art.
Following “Let Freedom Fry”—a short statement by Joe McPhee drawing out the contemporary political climate in relation to his practice as a creative improviser—the magazine is bookended by four texts surrounding the practice of pioneering sound artist Maryanne Amacher; an essay by Bill Dietz on his collaborations with Amacher and his work with her archive; an unpublished 1988 interview highlighting Amacher’s ideas around her Long Distance Music and Mini Sound Series; a conversation between Marianne Schroeder, Stefan Tcherepnin, and Lawrence Kumpfrevealing the archival questions raised by Amacher’s work; and science fiction writer Greg Bear’sshort story Petra, a tale of gargoyles coming to life and breeding with humans in a post-apocalyptic Notre Dame, from which Amacher’s 1991 piece got its name.
This issue also includes Branden Joseph’s interview with The Dead C’s Bruce Russell, accompanied by Russell’s essay exploring the Situationist tradition of ‘mis-competence’ in New Zealand electronic music. Charles Curtis contributed notes on the interpretive challenges posed by a posthumous performance of Terry Jennings‘ minimalist classic Piece For Cello And Saxophone. Shelley Hirsch, Richard Skidmore, and Dennis Hermanson provide a series of writings on and remembrances of the late Ralston Farina, whose scarcely documented “visual poetry” was an important precursor to what we now call “performance.” And from her own 2016 performances at the Emily Harvey Foundation, Dawn Kasper supplies her original proposal document and score notes for an improvisational interpretation.
MAGAZINE features two new French-translations: an excerpt from François Bonnet’s book of phenomenology, The Infra-World, translated by Robin Mackay, and a Christophe Broquainterview with enigmatic huntress of sounds Anne Gillis, translated by Adrian Rew. Ian Nagoski’s rare 1998 conversation with Éliane Radigue, conducted and largely ignored at a time when there was little interest in her music, provides one of the clearest overviews of the visionary composer’s early work and life. Supplementing the texts are numerous archival photos and documents, plus “Dark Matters,” a poem by Joe McPhee.
Edited by Lawrence Kumpf and Joe Bucciero with contributions by Greg Bear, François Bonnet, Bill Dietz, Dennis Hermanson, Shelley Hirsch, Branden W. Joseph, Dawn Kasper, Joe McPhee, Ian Nagoski, Adrian Rew, Bruce Russell, and Richard C. Skidmore
Blank Forms - Magazine
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.
Cesura//Acceso - issue 2 Book
* This book is a monster. It's huge. Hence price and postage. So you know...
free improvisation: what goes on? how does it work?
how can you write about it?
Musicswas published, from 1975 to 1979, by musicians and artists on the London scene of free improvisation, focusing on the most innovative participants of their generation. Steve Beresford, David Toop, Annabel Nicholson, Evan Parker, David Cunningham, Lindsay Cooper, Eddie Prevost, John Russell, Derek Bailey, Hugh Davies, Peter Riley and many, many others contributed to the writing, graphics and photography.
Musicswas a blueprint for the interdisciplinary activities of sound art, field recording, free improvisation, live electronics, 20th century composition & audio culture. It came out six times a year and ran for twenty-three hand-assembled issues. The journal covered improvised and non-western music alongside performance art, reflecting the broad interests of the so-called “second generation” of London’s improvisers, and provided a convivial focus point. Overlapping with thelondon musicians’ collective (lmc), the publication first launched in Spring of 1975, with the tagline:an impromental experivisation arts magazineand a manifesto that proposed the destruction of artificial boundaries, and linked Free Jazz, the academic ministrations of John Cage, Cornelius Cardew and K. Stockhausen and indigenous and non-European music.Musicswas significant in the discussion of traditional Asian instruments as paths of equal value for the performance of musics.
Produced by what was effectively an anarchist collective with few publishing skills and no support, the magazine’s roughness, marginality and scarcity has kept it from those who are active, even prominent in the field. Musicsis an entree to the arcane world of the 1970s London improviser’s scene and presents scores, dialogues, debates, positioning, arguments, accolades, critiques, absurdist/dada notions, and a bit of pranksterism - all with collective enthusiasm.
Founding Editor David Toop: “with rose-tinted affection I recall mass paste-up sessions with spray mount… a page of reviews of electronic music by women, written by Lily Greenham in 1978… in the same issue are five beautifully written and illustrated pages about listening in Greece. An Aural Sketchbook by Dave Veres was just one example of pieces about listening practice and field recording; others include Found Sounds by Michael Leggett, Sounds in Kyōdo by Kazuko Hohki, New York Sounds by Fred Frith and Sounds Heard at La Sainte-Baume by Hugh Davies. There are also invaluable accounts of groups such as The People Band, Feminist Improvising Group, CCMC, Los Angeles Free Music Society, MEV and the Dutch musicians associated with Instant Composers Pool. Interspersed among all this loamy archival material are a few essays of grinding tedium, snarky barbs of wit, barely decipherable photographs…”
Introduction: Steve Beresford / Foreword: David Toop
isbn: 978-0-9972850-5-5 / Publisher:ecstatic peace library
Pub date: 1 September 2016
Flexi-bound cover, Swiss-bound, 800 pages
Expanded and revised hardback 2nd edition of this legendary Ra artefact.
All will be shipped immediately on receipt of stock late-November.
Twenty years after its first publication, ART YARD are proud to present the fully revised 2nd edition of Hartmut Geerken’s long unobtainable Omniverse – Sun Ra, a definitive hitch-hiker’s guide to the Sun Ra galaxy. The new, completely revised edition features: - unpublished photographs of Sun Ra and the Arkestra by Hartmut Geerken and Val Wilmer- a fully revised discography by Chris Trent, co-author of The Earthly Recordings of Sun Ra- articles by Geerken, Amiri Baraka, Chris Cutler, Robert L. Campbell, Salah Ragab, Gabi Geist and others- new full colour images of hundreds of Sun Ra album covers, posters, handbills and ephemera, including reproductions of rare hand drawn and coloured LP sleevesFor five decades, Sun Ra brightened planet Earth with his unique, provocative and esoteric musical philosophy. Touring the world with his formidable Arkestra, he represented and affirmed a new vision of Black history and culture, embodied and spread a new and powerfully influential Black philosophy, and revolutionised music with sounds from beyond the purple star zone. Ra accepted no limitation imposed on him by earthly powers: his vista was the universe, his travel was interplanetary, his music borne along the spaceways as he delivered messages of light to a sleeping world. Now more than ever, the value and radicalism of his protean musical inventiveness, his socially collective self-determination, and his philosophical and poetic profundity can be seen. Where Ra went, we are slowly going, and we will find his message for us waiting there. The new edition of Omniverse – Sun Ra is a major contribution to Sun Ra studies, and a dazzling overview of its subjects astonishingly productive career on Earth - the definitive companion to the many worlds of Sun Ra.
Omniverse – Sun Ra by Hartmut Geerken and Chris Trent Book
“Far to the North. past the towns, beyond the forests, and more distant than most have dared to go, there lies a small group of islands that against all the odds survive amongst the rocks and brine at the very edge of everything.”
The Nuckelavee is a fresh re-telling of an old Orcadian folk story, written and illustrated by Oliver Barrett in this new edition from Tartaruga Press. Set across one stormy island night, The Nuckelavee follows Tammas Kelpy as he braves the wild elements and fearsome terrain, whilst something terrifying and ancient awaits him in the darkness... .Featuring stunning hand-drawn ink and pencil illustrations throughout and a hand-screenprinted dust jacket, The Nuckelavee is available in an edition of 250 numbered copies. .Oliver Barrett is a musician and illustrator whose work has featured on various prints, posters and records (both his own as Petrels as well as numerous others). This is his first book.
Oliver Barrett – The Nuckelavee
Published by New DocumentsEdited by Will Holder, Alex Waterman.
American composer Robert Ashley (born 1930) has taken contemporary opera beyond the opera theater and into the television screen. Ashley’s operas draw an elegant cosmology of American consciousness out of storytelling, short phrases, ranting, chanting, profanity and the linguistic textures that make American speech musical. Working with the same four speakers/singers (Joan La Barbara, Sam Ashley, Tom Buckner and Jacqueline Humbert) for 30 years, Ashley has developed a collective, operatic form of storytelling whose production is almost entirely oral. Little exists on the page by way of a fully notated score, leaving the singers to fill in musical nuance and inflection through a process of “character development” that exists more off the page than on. Yes, But Is It Edible? is the culmination of activity and research around Ashley’s notational style that the editors have developed through a series of “rehearsals” and public readings ongoing since 2009.
Robert Ashley - Yes, But Is It Edible? Book
Compost and Height is pleased to announce the publication of Patrick Farmer’s new book, Yew Grotesque.
Farmer has been working on this book for the last year as part of a joint commission from Sound and Music and Forestry Commission England. It was developed during a series of week-long residential trips to Grizedale Forest, Cumbria, where Farmer resided in a log cabin and spent time walking the forested area between Coniston Water and Lake Windermere. This direct relationship between the forest and the book is veiled, though the underlying presence is integral to its makeup.
Yew Grotesque completes a series of works, comprising Farmer’s previous books try i bark and wild horses think of nothing else the sea. Together the three books offer both a direct and indirect textual engagement with listening. The relationship between these publications is typified by the words of Jack Spicer, a poet who felt that his own works “echo and re-echo against each other”, “create resonances” and can’t “live alone anymore than we can”.
The undertow of Farmer’s preceding books, found in the knots and temporary dichotomies of the external and internal, now find their opposite in the publication of Yew Grotesque. The new book’s underlying personality and its observation of the many divergent angles and qualities of listening was prevalent from its conception, but its role in sealing and joining the three books together was only made apparent towards its end. It is a perverse book of praise that attempts to lay itself out flat by concerning itself with the tools that can make the object, rather than the object itself.
Yew Grotesque opens on the morning of a symposium, observing the protagonist as he moves through a series of exercises in a hotel room, whilst intently listening to his inner speech rehearse a speculative conversation between two dead artists.
Patrick Farmer – Yew Grotesque (Book)
"In May 1977 Derek Bailey gave me a press ticket for Company Week - a series of concerts of improvised music in London. I made some notes at the time, but there seemed to be nowhere suitable to publish the extended commentary I eventually produced. So I wrote it into a dummy book and it to Derek. Most of it is reproduced here." Peter Riley 1994
Original copies of this rare and invaluable document.
Peter Riley - Company Week
What is experimental music today? This book offers an up to date survey of this field for anyone with an interest, from seasoned practitioners to curious readers. This book takes the stance that experimental music is not a limited historical event, but is a proliferation of approaches to sound that reveals much about present-day experience. An experimental work is not identifiable by its sound alone, but by the nature of the questions it poses and its openness to the sounding event. Experimentation is a way of working. It pushes past that which is known to discover what lies beyond it, finding new knowledge, forms, and relationships, or accepting a state of uncertainty. For each of these composers and sound artists, craft is developed and transformed in response to the questions they bring to their work. Scientific, perceptual, or social phenomena become catalysts in the operation of the work. These practices are not presented according to a chronology, a set of techniques, or social groupings. Instead, they are organized according to the content areas that are their subjects, including resonance, harmony, objects, shapes, perception, language, interaction, sites, and histories. Musical materials may be subject, among other treatments, to systemization, observation, examination, magnification, fragmentation, translation, or destabilization. These restless and exploratory modes of engagement have continued to develop over recent decades, expanding the scope of both musical practice and listening
We have needed a reformulation of what experimental music now means, i.e., what has become since Michael Nyman took stock of it in 1974and this book beautifully fulfills that requirement. Jennie Gottschalk takes a fresh and independent look at experimental music of the last forty years, finding both points of continuation from the previous era and many novel and heartening developments. It is also an adventure story with surprising twists and a panoramic cast of characters, like a novel in which works and ideas are the central figures, seemingly with a collective life of their own. --Michael Pisaro, Composer and Faculty Member, Composition and Experimental Sound Practices, California Institute of the Arts, USAReading Experimental Music Since 1970 it is impossible not to be dazzled first by the range and imagination of experimental music and sound art that is being made today, and second by the way in which Jennie Gottschalk has described and catalogued so much of it, so lucidly. Impeccably and authoritatively researched, by a writer who is both a practitioner and an astute observer, it deserves to be the go-to reference for years to come. --Tim Rutherford-Johnson, author of 'Music After The Fall: Modern Composition and Culture Since 1989', UKThis book is a unique achievement. Without catering to current fashions or well-worn academic assumptions, it transcends the limits of both journalism and traditional musicology to be both comprehensive and insightful. Reading it has helped me to ask new questions about a history that I thought I knew quite well. --David Dunn, Assistant Professor of Music, University of California Santa Cruz, USA
About the Author
Jennie Gottschalk (born 1978 in Stanford, CA) is a composer based in Boston. She holds a bachelor's degree in composition from The Boston Conservatory (2001), and a masters degree and doctorate from Northwestern University (2008). Teachers have included Larry Bell, Yakov Gubanov, Jay Alan Yim, Augusta Read Thomas, and Aaron Cassidy. Recent performances in Los Angeles (Dog Star Orchestra) and Chicago (Northwestern University Symphony Orchestra and Contemporary Music Ensemble). Her dissertation and current work explore connections between American pragmatist thought and experimental music. Current projects include a string quartet, a childrens book, an experimental music blog (soundexpanse.com), and a residency at the Conway School of Landscape Design. For additional resources related to this book, please visit the authors website at soundexpanse.com.
Jennie Gottschalk - Experimental Music Since 1970 Book
In this first installment of acclaimed music writer David Toop's interdisciplinary and sweeping overview of free improvisation, Into the Maelstrom: Music, Improvisation and the Dream of Freedom: Before 1970 introduces the philosophy and practice of improvisation (both musical and otherwise) within the historical context of the post-World War II era. Neither strictly chronological, or exclusively a history, Into the Maelstrom investigates a wide range of improvisational tendencies: from surrealist automatism to stream-of-consciousness in literature and vocalization; from the free music of Percy Grainger to the free improvising groups emerging out of the early 1960s (Group Ongaku, Nuova Consonanza, MEV, AMM, the Spontaneous Music Ensemble); and from free jazz to the strands of free improvisation that sought to distance itself from jazz. In exploring the diverse ways in which spontaneity became a core value in the early twentieth century as well as free improvisation's connection to both 1960s rock (The Beatles, Cream, Pink Floyd) and the era of post-Cagean indeterminacy in composition, Toop provides a definitive and all-encompassing exploration of free improvisation up to 1970, ending with the late 1960s international developments of free music from Roscoe Mitchell in Chicago, Peter Brötzmann in Berlin and Han Bennink and Misha Mengelberg in Amsterdam.
David Toop Into the Maelstrom: Music, Improvisation and the Dream of Freedom before 1970
SFO Super Shuttle VS Hollywood Town Car; Byron Coley & Thurston Moore: Bull Tongue column; Rej T Broth: A Field in England; Michael Hurley: The Accountant; Chris D: Alain & Romy; Alan Bishop: Another Victory for the World's Greatest Game; Leah Singer: Louis Armstrong House; Tom Givan: Best Sellers; Marie Frankland: Big Berghain; Scott Foust: The Big Bluff; Tara Young: David Bowie live at Fort Apache; Tosh Berman: David Bowie & Scott Walker Punched; Mats Gustafsson: Polly Bradfield Solo Violin Improvisations; Matt Krefting: Call Me Lucky; Todd Abramson: Candlewood Suites, Jersey City; Kendra Smith: Chirgilchi Collectible; Ariella Stok: Ornette Coleman's Funeral; Trevor Block: Compilation Albums; Samara Lubelski: Keith Connolly interview; Bruce Russel: Guy DeBord Panegyric; Barbara Manning-Vargas: Die Art Fuer Immer und Ewig; Brigid Pearson: DOOB3D; Sharon Cheslow: Dust on the Nettles; Tesco Vee: Fanzines, Bomdage, Death Threats & the FBI; Suzy Rust: Five-and-a-half Tragic Cleaning Ladies; Ray Farrell: John Fogerty; Beans McCuttone: Romain Gary The Talent Scout; Jessi Leigh Swenson: Get in the Car, You Herbs; Naomi Yang: Girls About Town; Richard Meltzer: Greater and Grander; Brian Turner: Alexander Haacke interview; Chris Stigliano: Hawkwindlive Birmingham; Bree: Hermitage; Andrea Feldman: Ilitch & Ruth; Phil McMullen: In Gowan Ring The Serpent & the Dove; Dylan Nyoukis: Joe Jones Solar Music at Sierksdore; Todd Abramson: Two Paragraphs about Bob Lawton; Charles Plymell: Mirian Linna Down Today; Tony Rettman: Ross Lomas City Baby; John Sinclair: Steve Mackay; Bree: Medicaid; Joe Carducci: Alexander Medvedkin and Chris Marker; Ashley Meeks: Melancholia; Irene Dogmatic: Claire Messud The Last Life; Hisham Mayet: Musical Genres Researched in 2015; Michael Layne Heath: Night Final: a Short Story; Nick Mitchell: No Form; Georganne Deen: Lewis Nordan Wolf Whistle; Lili Dwight: November Sundays; Christina Carter: Novitate Phenom; Alex Behr: Observations on a Miscarriage; Emma Young: On Side A; Gregg Turner: Open Mike; Tom Greenwood: Open Space Preserve; Tom Lax: Pass the Ronco I Think I'm Popeil; Suzy Rust: Rags October 1970; Tom Lax: Regurgitations of a Ruminant; David Greenbereger: The Rise to Power of the Letter U; Eddie Flowers, Pamela Beach-Plymell, Georganne Deen & Ira Kaplan: Rock-a-Rama short format reviews; Orchid Spangiafora: Rocket from the Tombs live at Johnny Brenda's; Andy Schwartz: Otis Rush & Albert King; John Sinclair: Rollins/Monk More Than You Know; Emily Hubley: Room; Karen Consytance: Selbe Gehort Musik; Rej T Broth: Nina Simone at Montreux; Owen Maercks: Some Notes on the Guitar; Donna Lethal: Spell M-A-N; Joanne Robertson: Lucy Stein interview; Erika Elizabeth: The Suburban Homes; Sharon Cheslow: Eva Svankmajerova; Maria Kozic: Svengoolie; Marc Masters: Carter Thornton Mapping the Ghost; Hisham Mayet: Trinidad; Gerard Cosloy: Wendy's SF; Lisa Marie Jarlborn: What Do Women Want; Angela Jaeger: What's Your Sign?; Nigel Cross: Wilde Flowers; Bree: Writing Books of Poetry.
BULL TONGUE REVIEW No. 5 MAG
This is the first comprehensive overview of the life and work of the pioneering British concrete and sound poet Bob Cobbing (1920–2002). Boooookaddresses all aspects of Cobbing’s rich career, with new essays detailing his key roles in London Film-makers’ Co-op, Better Books, abAna, as well as his involvement in the Destruction in Art Symposium, Fylkingen, and his publishing imprint Writers Forum.
Edited by William Cobbing and Rosie Cooper – and illustrated with numerous reproductions of artworks, documents, posters, poems and film stills from the Bob Cobbing family collection – Boooook features contributions by Adrian Clarke, William Cobbing, Rosie Cooper, Arnaud Desjardin, Sanne Krogh Groth, Will Holder, Gustav Metzger, Marc Matter & Tris Vonna-Michell, David Toop, Steve Willey, Andrew Wilson and Maxa Zoller.
Edited by William Cobbing and Rosie Cooper17 x 24cm, 208 p., soft cover with flaps, full colour
Boooook: The Life and Work of Bob Cobbing Book
Stereo Sanctity is a large and personal selection of Thurston Moore's poems and lyrics, both with Sonic Youth and as a solo artist, written between 1981 and 2014 and appearing in published form in 2015 for the first time.
Signed and numbered by Thurston MoorePublished by Ecstatic Peace LibrarySoftcover, 304 pages152 x 229 mm
Thurston Moore Stereo Sanctity Lyrics & Poems Book
A Quarterly Journal of Post-Rock Cultural Pluralism, edited by Byron Coley. Issue no. 4. In this issue: Alex Behr: Junior High Reviews; Tosh Berman: Tom Phillips IRMA the Opera; Alan Bishop: Pink Floyd Animals: Trevor Block: Rowdy Roddy Piper; Karla Borecky: Antonin Artaud: Pour en finir avec le jugement de dieu; Bree: Kōbō Abe Woman of the Dunes; Benoit Chaput: Plume Latraverse; Sharon Cheslow: Stand-up Comedy; Byron Coley: Column; Karen Constance: Igor Wakhevitch Hathor; Nigel Cross: Jeff Cloves; Chris D: Humanity of Femme Fatales; Georganne Deen: Chinatown L.A. + Cathy Ward; Lili Dwight: Farscape; Erika Elizabeth: Mark Sten All Ages; Ray Farrell: Charles Bukowski; Andrea Feldman: Mix Tape Memories; Eddie Flowers: Review Column; Scott Foust: Jewel Robbery; Tom Givan: Matthew Stokoe; David Greenberger: Danny Kaye; Tom Greenwood: Quiet Music Festival; Mats Gustafsson: Sperm/Samsa Trio; Michael Layne Heath: Andrew Matheson Sick on You; Tim Hinely: George Foster's 1977 Season; Michael Hurley: Jackpine Jamboree; Lisa Marie Jarlborn: Bob Dylan 'Sad Eyed Lady'; Danielle Jelley-Rettman: Trenton Punk Rock Flea Market; Ira Kaplan: Steve Miller Band; Maria Kozic: Curing a Migraine with Two Movies; Matt Krefting: Ndegeocello/Sawyer/Krimsky Trio; Tom Lax: Review Column + reviews; Heather Leigh: Hot Gossip; Ted Lee: Illustrations; Donna Lethal: YouTube Reviews; Alan Licht: Peter Stampfel live; Owen Maercks: How I Listen; Marc Masters: Bromp Treb Stickless; Hisham Mayet: Tommy Jay Tall Tales of Trauma; Phil McMullen: The Amazing Picture You; Richard Meltzer: Better; Phil Milstein: Bull Tongue 1-3; Nick Mitchell: Nine Invisibles Pureheadspace; Thurston Moore: Column; Bill Nace: Farscape; Dylan Nyoukis: Red Brut Rebirth; Gary Panter: Funny Animals Portfolio; Brigid Pearson: Avocado; Charles Plymell: Deborah Davis The Trip; Tony Rettman: Rode Grey; Joanne Robertson: Sean Nicholas Savage Other Death; Bruce Russell: Second Hand Records; Suzy Rust: Book Signing for Thelma Blumberg + Woolaroc; Savage Pencil: Cameron Jamie; Andy Schwartz: Mark Ribowsky Dreams to Remember; John Sinclair: The Way You Look Tonight; Leah Singer: Gary Panter interview; Orchid Spangiafora: Allen Ravenstine Pharoah's Bee; Chris Stigliano: Mother #2 & 3; Brian Turner: Liimanarina + Ornerys; Gregg Turner: The Present; Tesco Vee: Collecting & the Voices Within; Valerie Webber: Your Ideal Love Mate; Tara Young: Mötley Crüe live.
BULL TONGUE REVIEW No. 4 MAG
Includes specially-compiled 60 minute CD of field recordings from the Gruenrekorder label.
An excellent primer for aficionados and newcomers alike. This may be the first prose collection that pays as much attention to recorded works as it does to the concepts behind the recording and the science behind the sounds. A Closer Listen
DO ANIMALS SPEAK TO EACH OTHER?WHAT DO THEIR SONGS MEAN?WILL WE EVER BE ABLE TO UNDERSTAND THEM AND TALK BACK?
Ever since the accidental discovery of whale song in 1967, the idea of complex animal sentience has been gaining strength within the scientific community. A growing number of researchers and academics are exploring the idea that animals enjoy music on a similar level to human beings.
Animal Music is the first anthology to present an overview of the current state of this vital debate. Its authors have spoken to the leading scientists, researchers and musicians in the field to uncover hidden meanings and new perspectives. They visit the world’s largest library of animal sounds, hack into the mysterious sonic world of shrimps, travel back in time to the point where animal and human songs diverged, and decode the latest neuroscientific findings about animal music and communication.
The book includes exclusive interviews with Chris Watson, Jana Winderen, Yannick Dauby, Slavek Kwi and Geoff Sample as well as features on Bernie Krause, David Rothenberg and Olivier Messiaen and many more.
Includes specially-compiled 60 minute CD of field recordings from the Gruenrekorder label.
01 Tikal Dawn – Andreas Bick, Germany02 hermetica – Daniel Blinkhorn, Australia03 Amazons & Parrots – Rodolphe Alexis, France04 Grand Canal Springs (Excerpt) – Tom Lawrence, Ireland05 seals – Martin Clarke, United Kindom06 BOTO (extract) -ARTIFICIAL MEMORY TRACE, Ireland07 Adélie_penguins (Excerpt) – Craig Vear, United Kindom08 Pilot Whales (Excerpt) – Heike Vester, Norway/Germany09 Brame, septembre 2011 – Marc Namblard, France10 formica aquilonia, sweden – Jez riley French, United Kindom11 Schwebfliegen – Lasse Marc Riek, Germany12 central mongolian high mountain range habitat – Patrick Franke, Germany13 Otus spilocephalus – Yannik Dauby, France14 untitled#292 – Francisco López, Spain15 Summer Sunset 01 – Eckhard Kuchenbecker, Germany16 Waldkauz-Balz – Walter Tilgner, Germany17 WHAT BIRDS SING – David Rothenberg, United States of America
Animal Music rides in on a wave of energy that fuses the worlds of science and art in an accessible and engaging way. A definite page turner if ever there was one. Caught by the River
Animal Music - Sound & Song in the Natural World Book+CD
Epiphanies: Life-changing Encounters With Music is a new anthology of essays drawn from The Wire’s monthly Epiphanies column, which has been running in the magazine since issue 167 (January 1998). The book includes more than 50 essays in which a wide range of musicians, authors and critics detail their personal experiences of music’s transformative powers.
Contributors include Little Annie, Jerry Dammers, Geeta Dayal, Paul Gilroy, Michael Gira, Kenneth Goldsmith, Jonny Greenwood, David Grubbs, Adam Harper, Stewart Lee, Lydia Lunch, Momus, Ian Penman, Genesis Breyer P-Orridge, Nina Power, Simon Reynolds, Sukhdev Sandhu, Robert Wyatt and more. Subjects covered range from Sun Ra to Kate Bush; Fugazi to Ligeti; South Africa’s World Cup vuvuzelas to Hungarian prog rock; noisy street protests to the deathly silence inside an anechoic chamber.
The book has been edited by The Wire‘s Editor-in-Chief & Publisher Tony Herrington and designed by the magazine’s Art Director Ben Weaver, with illustrations by Sculpture’s Reuben Sutherland.
Epiphanies - Life Changing Encounters With Music Book
Post-Rock Cultural Pluralism, edited by Byron Coley.
Issue no. 3. 68 pages.
In this issue:
- The third issue of the Bull Tongue Review, a quarterly journal of post-rock cultural pluralism.
- Contributors include Alan Bishop, Sharon Cheslow, Mats Gustafsson, Michael Hurley, Ira Kaplan, Matt Krefting, Samara Lubelski, Marc Masters, Hisham Mayet, Richard Meltzer, Dylan Nyoukis, Savage Pencil, Brian Turner, and many more, plus "Bull Tongue" column by Byron Coley & Thurston Moore.
- Illustrated by Gary Panter & Ted Lee.
BULL TONGUE REVIEW No. 3 MAG
Foreword by Sonny Rollins.
Henry Grimes recorded and toured with some of the most imaginative American jazz musicians including Sonny Rollins, Cecil Taylor, and Albert Ayler. This book examines the bassist’s long but turbulent musical career, recounting his continuously creative artistic life as bassist, violinist and poet.
Henry’s a giant. – Cecil Taylor, 2000.
On the records he was on, he stood out. He had a big sound, and it really punched out whatever ensemble he was in. – William Parker, 2003.
I am so happy to hear that Henry is playing again. He is one of the great individualists, and his absence left a space that nobody else could fill. – Dave Holland, 2003.
Henry has always been a serious, intense, and fearless musician whose personal life reflected those exceptional qualities. I admire him greatly. – Sonny Rollins, 2007.
Henry Grimes is among the greatest improvisers living in the world today. His playing is exquisite. – Roscoe Mitchell, Mills College, 2010.
Barbara Ina Frenz, born in 1961 in Zurich, Switzerland, is a German historian, author and copywriter living in Frankfurt am Main. Frenz grew up in a jazz-loving family, studied history, philosophy, and art history in Frankfurt, and gained her PhD with a study on equality in the Middle Ages. Frenz was a research associate at the Universities of Frankfurt and Würzburg from1989 to ’99 undertaking historical studies sponsored by various foundations. Since 2001, after further education in creative writing, she has worked in the creative areas of advertising and as a writer of poetry, texts in history and culture, and contributions to the German jazz magazine Jazzpodium.
Music to Silence to Music: A Biography of Henry Grimes