Hardback, 7.10(w) x 9.70(h) x 1.00(d), 280pp A24, December 2024     This book is jam-packed with over 100 kid - and adult - approved movie night recommendations that span decades, countries, and genres, with chapters for Preschoolers, Little Kids, Big Kids, and Tweens, featuring an introduction by Julian Shapiro-Barnum, host of Recess Therapy; an illustrated symbol system that flags age-inappropriate elements like scary characters or bad language; special sections dedicated to beloved genres and directors; fun activities and how-tos, including “How to Watch and Talk About Movies”; and a family film tracker to log your loves, likes, and mehs.

Paperback, A4, 80pp smallest functional unit, 2025Welcome to the fourth edition of Graphème: a collection of scores by composers and artists intent on sharing and collaborating with performers in the realisation of adventurous and creative sonic experiences.The pieces presented in this edition range from simple to complex. Some are more open to freedom of interpretation and some are more specific, but all are offered in the spirit of collaboration with the performer who interprets the work.The scores within this volume draw on compositional concepts that are as varied as they are imaginative. Featuring photo-montage, graphs, illustration, timelines and grids, each piece offers the performer the chance to explore their own interpretation of the structural frameworks suggested by the composer. Representing kaleidoscopic approaches to sound and the gestural organisation of materials, these works, each different in their own way, share a sense of cooperation with the performer, which, while becoming more prevalent in contemporary music, is still quite removed from the more traditional relationship between composer and interpreter.The thematic and timbral materials offered for exploration are a true collage of ideas, motives and themes. They represent a meeting of creative initiations and responses, composed with rigour and, often, humour.Time is also represented in multi-faceted ways, whether linear, spatial or cyclical, offering the performer various ways to navigate the ideas: to overlay concepts of time as well as material, contributing to a kind of open and imaginative expression of time, material and space.Each composer’s score can be seen then, as a starting point, suggesting ways to begin: works unfolding as they are performed — often neither fully concrete, nor free of form or trajectory.Today more than ever it seems we need to reassess what it means to create, to collaborate and to find new ways of working together. These ideas of music composition and performance move towards new models through which we can truly come together as creative forces, not only with reflection and refinement, but also with spontaneity and freedom.The works in this volume, as in the previous three volumes, are here to be performed. Play them, explore them and realise them in any way you find imaginable. We are excited by the possibilities of performers creating a collaborative space between the composer and – in the rendering of these works – with audiences and listeners.

N.H. Pritchard didn’t see the fruit of his labor during his lifetime, but now is recognized as a predecessor of the Rap and Language poets. -Ishmael Reed   Norman Henry Pritchard was born in New York City in 1939 and studied at New York University and Columbia University. His work has been published in two collections: The Matrix Poems: 1960–1970 (1970) and Eecchhooeess (1971). His poetry was featured in the journals Umbra and The East Village Other, performed on the jazz poetry compilation New Jazz Poets (1967), and anthologized in The New Black Poetry (1969) and In a Time of Revolution: Poems from Our Third World (1969). Pritchard taught poetry at the New School for Social Research and was a poet-in-residence at Friends Seminary. He died in eastern Pennsylvania on February 8, 1996.   Paperback, 152pp Primary Information, October 2024The Mundus is Norman Pritchard’s magnum opus, a mysterious work that is both visual and poetic, literary and mystical. The work was composed between 1965 until at least July 1971, a six-year period during which the author refined and reworked its pages, seeking out new literary forms alongside personal transcendence. As Pritchard mentions in a letter to Ishmael Reed in 1968, “Literature in and of itself doesn’t seem to have a broad enough scope for me anymore.” Despite its ambitions and grand scope, The Mundus has gone unpublished for over fifty years. Subtitled “a novel with voices,” The Mundus combines Pritchard’s earlier poetic innovations with his growing interest in theosophy, exploring a spiritual terrain he enigmatically dubbed the transreal. Appropriately, this lost masterpiece represents some of Pritchard’s most challenging work, with the text proceeding in small leaps and sublime fractures, stuttering across the page with sonic and visual momentum as it threads through an immersive, textual mist comprised solely of the letter “o”. Pritchard found early success with his books The Matrix and EECCHHOOEESS, experimental texts that, in part, bear the imprint of the avant-garde arts, music, and poetry communities of the late 1960s, in particular the Umbra group, a collective of Black poets of which he was a leading member. But The Mundus finds Pritchard at his most radical and revelatory, putting forth a profound act of negation, while it delves readers into a primordial soundscape populated by language’s essential building blocks. An early pillar of Black poetics and a world unto itself, The Mundus must be sounded out not only with the mind, but also with the mouth, body, and soul.

Softcover, 18 × 15 cm, 202 pp Blank Forms, 2021Interviews by Alan Licht with Vito Acconci, ANOHNI, Cory Arcangel, Matthew Barney, Glenn Branca, Rhys Chatham, Tony Conrad, the Dream Syndicate’s Karl Precoda, Richard Foreman, Henry Flynt, Milford Graves, Adris Hoyos, Ken Jacobs, Jutta Koether, Christian Marclay, Phill Niblock, Alessandra Novaga, Tony Oursler, Lou Reed, Kelly Reichardt, The Sea and Cake, Suicide, Michael Snow, Greg Tate, Tom Verlaine, Rudy Wurlitzer, and Yo La Tengo’s Georgia Hubley and Ira Kaplan. Introduction by Jay Sanders. For the past thirty years, Alan Licht has been a performer, programmer, and chronicler of New York’s art and music scenes. His dry wit, deep erudition, and unique perspective—informed by decades of experience as a touring and recording guitarist in the worlds of experimental music and underground rock—have distinguished him as the go-to writer for profiles of adventurous artists across genres. A precocious scholar and improvisor, by the time he graduated from Vassar College in 1990 Licht had already authored important articles on minimalist composers La Monte Young, Tony Conrad, and Charlemagne Palestine, and recorded with luminaries such as Rashied Ali and Thurston Moore. In 1999 he became a regular contributor to the British experimental music magazine theWirewhile continuing to publish in a wide array of periodicals, ranging from the artworld glossies to underground fanzines. Common Tones gathers a selection of never-before-published interviews, many conducted during the writing of Licht’s groundbreaking profiles, alongside extended versions of his celebrated conversations with artists, previously untranscribed public and private exchanges, and new dialogues held on the occasion of this collection. Even Lou Reed, a notoriously difficult interviewee, was impressed. Alan Licht is a writer, musician, and curator based in New York City. He is equally known for his guitar work in the underground rock bands Run On and Love Child and in the experimental groups the Blue Humans and Text of Light. He has released eight solo guitar albums and more than a dozen duo and trio records of improvised music. Licht is a contributing music editor at BOMB magazine and his essays and reviews have appeared in Artforum, Parkett, the Wire,the Believer, Sight & Sound, and many other publications. He is the author ofAn Emotional Memoir of Martha Quinn, an extended personal essay about coming of age as a rock fan and musician;Sound Art: Beyond Music, Between Categories, the first full-length study of sound installations and sound sculpture to appear in English; and Sound Art Revisited,an updated version of the latter, published last year; and he is a co-author of Will Oldham on Bonnie ‘Prince’ Billy, a collection of interviews with Will Oldham,andTitle TK 2010–2014, a compilation of concert transcriptions, with Cory Arcangel and Howie Chen.

Softcover, 456pp Penguin, 2026Motherhood is a political state. Helen Charman makes a radical case for what liberated mothering could be, and tells the story of what motherhood has been, from the 1970s to the 2010s.When we talk about motherhood and politics together, we usually talk about isolated moments - the policing of breastfeeding, or the cost of childcare. But this is not enough: we need to understand motherhood itself as an inherently political state, one that has the potential to pose a serious challenge to the status quo.In Mother State, Helen Charman uses this provocative insight to write a new history of Britain and Northern Ireland. Beginning with Women's Liberation and ending with austerity, the book follows mothers' fights for an alternative future. Alongside the mother figures that loom large in British culture, from Margaret Thatcher to Kat Slater, we meet communities of lesbian squatters, anti-nuclear campaigners, the wives of striking miners and teenage mothers protesting housing cuts: groups who believed that if you want to nourish your children, you have to nourish the world around them, too.Here we see a world where motherhood is not a restrictive identity but a state of possibility. 'Mother' ceases to be an individual responsibility, and becomes an expansive collective term to organise under, for people of any gender, with or without children of their own. It begins with an understanding: that to mother is a political act.

Paperback, 80pp Nightboat, 2024Amidst the violence of capitalism and state and imperial power, there is Nat Raha’s apparitions (nines) in its “charred golden minidress,” ushering us into a space of grief and resistance, the embodiment and intimacy of queer, trans, and diasporic Black and brown people. Written as a series of  “niners,” a poetic form consisting of nine nine-syllable lines, apparitions (nines) is at once a brash and subversive rejoinder to the Anglophone sonnet, as well as an ode to beauty, collectivity, and tenderness which emerges from—and far surpasses—constraint.

trans. Lara Vergnaud A rare book that depicts the isolation and poetry of rural life. Annie Ernaux Paperback, 112pp Divided, September 2024 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.

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

Softcover, 259pp Verso, 2024How 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.

Jawbone Press, 2023  Paperback, 288ppAlong with Factory, Mute, and Creation, Some Bizzare was the vanguard of outsider music in the 1980s. The label's debut release reads like a who s who of electronic music, featuring early tracks from Soft Cell, Depeche Mode, Blancmange, and The The, while over the next decade its roster would include artists such as Marc Almond, Cabaret Voltaire, Einsturzende Neubauten, Foetus, Swans, Coil, and Psychic TV. For a time, Some Bizzare was the most exciting independent record label in the world, but the music is only half of the story. Self-styled label boss Stevo Pearce s unconventional dealings with the industry are legendary. Sometimes they were playful (sending teddy bears to meetings in his place), other times less so (he and Marc Almond destroyed offices at Phonogram and terrorised staff). Despite this, he was a force to be reckoned with. His preternatural ability to spot talent meant his label was responsible for releasing some of the decade s most forward-thinking, transgressive, and influential music. The Some Bizzare story spans the globe: from ecstasy parties in early 80s New York to video shoots in the Peruvian jungle, from events in disused tube stations to seedy sex shows in Soho. There were million-selling singles, run-ins with the Vice Squad, destruction at the ICA, death threats, meltdowns, and, of course, sex dwarves. For a time, Stevo had the music industry in the palm of his hands, only for it all to slip through his fingers. But he and Some Bizzare left a legacy of incredible music that still has an influence and impact today.

The Gould Collection, 2023Hardcover, 108pp280 x 180mm   The Gould Collection is a series of books that brings together contemporary photographers with writers. The series is published in memory of Christophe Crison, a photobook collector from Paris who died tragically in July 2015 at the age of forty-five. The Gould Collection is co-edited by Laurence Vecten (Paris), Russet Lederman (New York City) and Yoko Sawada (Tokyo).For The Story We Used to Tell, volume seven of The Gould Collection, the human condition, memory and how we view one another shape the pairing of photographs by Chris Marker with a short story by Shirley Jackson. Although seemingly quite different at first glance—Jackson was an American author known for her dark and suspenseful stories, while Marker was a French avant-garde filmmaker and photographer who used experimental techniques—both use ordinary moments to twist time and reality in a psychological examination of human behavior and social interactions. In Marker’s photographs, a selection surveying his work from the 1950s to 2011, which includes images from his Crush Art, Passengers, Koreans and Staring Back series, individuals return the photographer’s gaze in an acknowledgment of the limitations of the medium and the subject’s brief entrapment by the camera. Digitalized in the 1990s and later, inherent in these images is a low-resolution, early digital aesthetic purposefully embraced by Marker. Similarly, Jackson uses the entrapment of two women in a picture in “The Story We Used to Tell” to explore the unknowingness and irrationality of human emotions. Both Jackson’s story and Marker’s photographs purposefully leave many open questions as they probe the human condition within a psychologically malleable and distorted reality.

Blank Forms, November 2024 352pp, paperback Spencer Gerhardt is a composer and mathematician. His music engages constructive, introspective, and romantic traditions. For more than twenty years, Gerhardt has written solo piano music, piano-based songs, and works of minimalism. He studied raga with La Monte Young and Marian Zazeela, piano performance with Sung-Hwa Park, and has collaborated with artists such as Thomas Ankersmit and Charles Curtis. Gerhardt has a record forthcoming on Blank Forms Editions. Gerhardt is an Assistant Teaching Professor of Mathematics at the University of Southern California. His research focuses on algebraic groups, often viewed in connection with problems in finite group theory and representation theory. Prior to his work in algebra, he studied logic and philosophy in the Brouwerian tradition at the University of Amsterdam, where he received a Master of Science. Gerhardt has written about art and music in this context, in particular the philosophical underpinnings of minimalism.Noted composer and mathematician Spencer Gerhardt presents Ticking Stripe, a groundbreaking collection of essays linking notions of continuity and construction across the boundaries of math, art, music, and philosophy. Gerhardt offers new, and deeply informed interpretations of musical minimalism and the 1960s avant-garde, viewed through the lens of trailblazing artists such as La Monte Young, Marian Zazeela, Catherine Christer Hennix, Henry Flynt, and Tony Conrad. Ticking Stripe pairs the spirit of L. E. J. Brouwer—a mathematician who brilliantly, and controversially, sought to reconstruct the continuum in his own philosophical terms called intuitionism—with the ambitions of pioneering minimalists who combined continued constructions, idealized processes of introspection, and conceptual world-building with a host of philosophical, scientific, and spiritual concerns. Informed by his own work as a professional mathematician and composer, Gerhardt explores the depths of these disparate traditions, finding unlikely areas of commonality. Spanning more than two decades, these essays feature rich historical explorations of minimalist music, writing on contemporary art, and work in logic and algebra, all approached with clarity and technical aplomb.

“To give truth the colour and narrative force of fiction,” this was Truman Capote’s ambition when he wrote ‘In Cold Blood’, the true account of a quadruple homicide in 1960s Kansas. It is the starting point for Non Fiction, a work of lyrical documentary that explores the porous boundary between fact and fiction in photography. Since its beginnings, photography has had a complex relation to truth: even the most ‘objective’ portraits will necessarily involve decisions relating to location, light and pose. In Non Fiction, this tension is pushed to its extreme through a variety of visual strategies e.g. staging, off-camera flash, subverting cinematic clichés. Images based on rumours, local news stories and chance encounters accumulate and coalesce, to form a narrative that is fluid and multidirectional.

191 x 248mm, 292pp, perfect bound, B&W; printed interior onto gloss stock, B&W; printed cover onto Colorplan stock with fluro sticker affixed, 2024 TGIGITFFY—037 / September 2024Asparagus Piss Raindrop (the book, this book) gathers a (near) complete history of the crytpo conceptual science fiction anti climax band of the same name. Active between the years of 2012 — 2017 and broadly based in Glasgow and its experimental music scene, the group performed at gigs, festivals, artist-led spaces and institutions internationally. Gathered here are artefacts and evidence of the group’s activity up to the original date of publication, including but not limited to scores, email correspondence, reflective texts, photographs, drawings and planning documents. Across more than twenty chapters, significant, durational projects are surveyed alongside the partial, speculative and improvisatory. Asparagus Piss Raindrop’s work arises from the questions: How can we do things otherwise? What musical forms arise from and inform our daily experience? Performances typically draw on such things as recycled children’s games, group therapy, shapeshifting, declarations of ridiculous texts, geology, architectural intervention, gender theory, site specificity and slug reproduction. Asparagus Piss Raindrop re-publishes the August 2017 edition of the book, which was produced in a limited run with Publication Studio Glasgow and Good Press, and includes a new chapter on the group’s final performance R&R; Rat Race at the Witch Hazel School from November 2017.

Published: Lenka Lente published in September 2024 French edition 10 x 15,5 cm (softcover) 42 pages + mini CDPlease note this edition is in FrenchTwo revenant stories by Léon Bloy, with music by Nurse With Wound. Léon Bloy (1846-1917) was a French novelist and pamphleteer, friend and disciple of Jules Barbey d'Aurevilly, close to Paul Bourget, François Coppée, Joris-Karl Huysmans and Jean Richepin, and famous for his partly autobiographical novel "Le Désespéré". A British music project formed in 1978 by Steven Stapleton, John Fothergill and Heman Pathak, Nurse With Wound (now Stapleton's variable geometry project) is an essential figure of English experimental and industrial music since the early 80's. With more than 150 releases, alone or with other musicians, Stapleton has swept widely different musical styles, from industrial music to mambo, through electronics, improvisation, electroacoustics, with a lot of humor.

Published: Tochnit Aleph published in April 2016 English edition CD + 20 pages booklet (21 x 29,7 cm)Dorothy Iannone tells her Fluxus Story in a Berlin recording from 1979. “There, Maciunas and I looked deeply but impassively into each other's eyes, not knowing then that we would meet again on these pages. Perhaps he was thinking, ‘Who is this woman?'. Perhaps it might even have amused him, somewhere far back in his mind, to know that I am she who is the Fluxus woman artist who is not the Fluxus woman artist.”Dorothy Iannone Limited edition of 270 copies.   For more than six decades, American artist Dorothy Iannone (1933, Boston–2022, Berlin) attempted to represent ecstatic love, the union of gender, feeling, and pleasure. Today her oeuvre, which encompasses painting, drawing, collage, video, sculpture, objects, and artist's books, is widely recognized as one of the most provocative and fruitful bodies of work in recent decades in terms of the liberalization of female sexuality, and political and feminist issues. As Fluxus artist Robert Filliou declared as early as in 1972, "She is a freedom fighter, and a forceful and dedicated artist, skillfully blending imagery and text, beauty and truth. Her aim is no less than human liberation." A narrative element fed with personal mythologies, experiences, feelings, and relationships runs through all of her work, unified by her distinctive colorful, explicit, and comic book style.Active from the 1960s to the early 2020s, her work has been recently exhibited at the Louisiana Museum of Modern Art, Humlebaek (2022); the Centre Pompidou, Paris (2019); the Serpentine Pavilion, London (2018); the Swiss Cultural Center, Paris (2016); MAMCO, Geneva (2017); the Migros Museum für Gegenwartskunt, Zurich, and the Berlinische Galerie, Berlin (2014); the New Museum, New York (2009).

Published: Nero Presspublished in May 2024 English edition 16 x 23 cm (softcover) 76 pages (ill.)A new poem composed by the legendary dancer, artist and choreographer Simone Forti. New Book is the title of a new poem composed of three existing poems re-edited by Simone Forti. As reading this poem, one moves forward with wonder amid everyday memories, recollections of life, a sense of civic duty, glimpses of a precarious world, the beauty of nature, melancholy, a rage to live.   American dancer and choreographer Simone Forti (born 1935 in Florence, Italy) has been a leading figure in the development of contemporary performance over more than fifty years. Artist, choreographer, dancer, writer, Forti has dedicated herself to the research of a kinesthetic awareness, always engaging with experimentation and improvisation. Investigating the relationship between object and body, through animal studies, news animations and land portraits, she reconfigured the concept of performance and dance. Forti emigrated from Italy with her family via Switzerland to Los Angeles in 1938, where she subsequently studied for four years with choreographer Anna Halprin and has since spent most of her life. She joined the experimental downtown art scene in New York during the emergence of performance art, process-based work and Minimal Art and spent a fruitful time in Rome in the late 1960s, where she used the spaces of L'Attico to study and perform. Her work is seen as a precursor of the famous Judson Dance Theater—a group of artists experimenting with dance, including Trisha Brown, Steve Paxton, and Yvonne Rainer—and Minimal Art, although she prefers to be referred simply as a "movement artist."Forti has worked with artists like Dan Graham, Robert Whitman, Allan Kaprow and Claes Oldenburg and composers like Charlemagne Palestine, Peter Van Riper, and La Monte Young.

Self Published: 2024A5 Saddle-Stitched Booklet24 pagesA true crime / noir fiction novella by 43 year old Hitchin resident Russell Walker. ‘Walker is like the anti-Nick Cave.’ - The Quietus.‘A non-league Derek Raymond.’ - Matt Atkinson, book lover.