"Earth, ecology, catastrophe: perhaps Senyawa are themusical embodiment of catastrophe of the Anthropocene?Perhaps. That would be one way to appreciate Rully’scompound lyricism, but certainly not the only one. Thebeauty of poetic forms lies in their open nature. Findingone way in doesn’t meant that there aren’t many more toexplore. And that’s what this booklet is for: to presentRully’s lyrics for Senyawa, so now we can read, understand,and discuss as we listen."Translation of lyrics from experimental Indonesian band Senyawa Senyawa, the experimental Indonesian band formed by Rully Shabara and Wukir Suryadi, does not sound like anyone else… the combination of Wukir’s handmade instruments and Rully’s other-worldly vocals, channeling Javanese melodies with the intensity of punk and metal, with an avant-garde / DIY approach to constant experimentation and boundary pushing. Over the past ten years Senyawa have continually developed their sound, shifting in relation with the instruments Wukir builds. Unfortunately for people who do not understand the various Indonesian dialects used, while you can appreciate their music and performances, you can appreciate the aurality of Senyawa – the sheer force and wonder of their music – but not the lyrical content. This project is intended to rectify that, translating Rully’s lyrics for Senyawa into English for the first time.

Self-Published 280 x 180mm 20 pages Risograph throughout Saddle stitch, Card cover Released: 2023TALKER is an interview zine about performance. Issue #12 is a conversation with Agus Nur Amal PMTOH Agus uses household objects for storytelling performances and creates art objects to share ideas, knowledge, conflict resolutions and trauma healing. Collaborating with artists, photographers, videographers, and educators, he aims to entertain and educate through various methods. This interview traces the formation of his performance practice following his graduation from the theatre faculty at the Jakarta Institute of Arts and return to his hometown Weh Island (Aceh, Sumatra) where he researched and studied the art of Acehnese storytelling. We also discuss his involvement in community empowerment activities, trauma healing and peace building projects throughout Indonesia. His work was featured in a major exhibition in Kassel, Germany as part of Documenta Fifteen in 2022. Previous issues of TALKER have featured Ian White, Kate Valk, Richard Maxwell, Sue Tompkins, Spalding Gray with Kathy Acker, Dora García, Jo Fong, Paul Maheke, Clifford Owens, Barby Asante, Gustav Metzger and Miranda July. This issue is supported by a Connections through Culture UK-Southeast Asia 2022-2023 Grant from the British Council.

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

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

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

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

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

The pearls of the Gulf have stoked the imagination and desire of people around the world for centuries their magnificence matched only by the courage of the divers who found them. "Nahma : A Gulf Polyphony / نهمة: تعدد الغناء الخليجي" aims to honor the memory of these valiant free-divers, their culture and their music by the means of a transmedia object including: A 240 pages art book (Arabic – English) featuring the contributions from artist, writers and experts in this tremendously rich theme such as Monira al Qadiri, Talin Hazbar, Toufik Kerbage or Talal Mattar.

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

36 pages printed in Englandstaple bound14cm x 20cm

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

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

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

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

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

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

walter-wolfgang sparrer wolke, march, 2020 pp.304 deustch, korean, english large format hardback, 32cm x 30, weight 1.7kgThis book is the first pictorial monograph about the Korean-German composer Isang Yun, who was born in southern Korea in 1917 and died in Berlin in 1995. It was first in Germany, with influence from what around 1960 was then the avant-garde that he developed an individual musical language of his own. A little later Yun was drawn into the field of tension between political advocacy motivated by humanitarian, societal concerns and responding to ideological incitement, between imprisonment, torture, and reparation. It was in his compositional work that he found a place of refuge. His music proceeds from the primacy of melody and the sustained tone, which he found preformed in the traditional music of his native Korea and then succeeded in developing heterophonically and spatially. The resultant works were characterized by unusual intensity and rich tone colors.

Deutsch und Englisch160 S./pp., Fotos, pb., € 28.–, The Hungarian-Swiss pianist Géza Anda (1921-1976), together with Annie Fischer, György Cziffra and György Sebök, is regarded as one of the most important personalities of 20th-century pianism to emerge from the great tradition of the Hungarian school. Anda’s interpretations of the Classical, Romantic and modern repertoire, especially of the piano concertos of Mozart and Bartók, have long been regarded as authoritative. As a teacher, he had a lasting impact on subsequent generations of pianists. The Concours Géza Anda, founded in Zurich in 1979, has achieved worldwide renown while successfully continuing Anda’s legacy as an artist and a pedagogue. This book, published by the Géza Anda Foundation in Zurich to commemorate the 100th anniversary of Géza Anda’s birth, offers a panorama of his life, work and legacy based on many biographical documents, some of which are presented here for the very first time.