Paperback, 256pp Pluto Press, 2024    Nat Raha is a poet, and lecturer at Glasgow School of Art. She contributed to the collection Transgender Marxism. She has authored four books of poetry, numerous journal articles, and her writing has been translated into eight languages.  Mijke van der Drift is tutor at the Royal College of Art, London. Mijke’s work on ethics has appeared in various formats in journals, performances, and sound pieces. Together, Nat and Mijke co-edit Radical Transfeminism zine.‘Femme’ describes a constellation of queer, gendered expressions that uproot expectations of what it means to be feminine. Building upon experiences of transformation, belonging and harm, this book offers transfeminist contributions to movements for collective liberation. Trans Femme Futures envisions the future through everyday actions that revolutionise all of our lives. Nat Raha and Mijke van der Drift discuss struggles around trans healthcare, the need for collectives rather than institutions, the importance of mutual care, and transfeminism as abolition. The authors show how social change can be achieved through transformative practices that allow queer life to thrive in a time of climate, health, political and economic crises.

TRIPLE NEGATIVE, Spoilt health OUR CHEAP HEARTS ARE SHEENY SHELLSOUR FOULED HEARTS ARE SORRY CELLSOUR SOLD HEARTS DON’T SHOW OR TELLWHOSE CHEAP HEART HURTS Niente è più possibile ormai! Nothing is possible, it says so on the front of the book. FACE A Mentalhellth resort revamp: 3 former songs (from God bless the Death Drive and Return of the living dirt) obscenely sutured together on the Island of Dr. Jeanne Moreau. The fresh golem is better than those poor pure things. Tropique of concrete: the steel river barge Dr. Stephen Robinson uses as a drumkit* has offended him and he is punishing it atrociously. Mme Tlank [“Anja Büchele”]’s viol-bathosphere drags both down to the abyssal plain while Denis Velimirovich screams like a heartwrecked swift. Somewhere in the building, clinical wastemn [“Matthew Hyland”] is disowning a guitar again.[*yes really] The incoming: we feel way less bad than Patti Smith ever did about stolen money. There’s nothing not superficial about it. Teeth of my plastic skin: sounds of distress or alarm, liable to cause distress or alarm. FACE B Both hands lost on baby bonds bet: favors for the flinching strays, always weak and wide astray. Partly Fleurinette Pasifikaine 2 (same squirming around Mingus/Ellington/Roach’s 1 note each), but recorded at the bottom of the swimming pool on the cover of the Associates’ Fourth Drawer Down. Heute morgen Fliegen ficken Fliegen ficken: yacht rock ballad but the yacht is stranded somewhere in the Massif Central, near the Rodez Clinic where Captain Gaston Ferdière and First Inmate Artaud are fighting with ECT machines. Welfare check hotel*: Velimirovich just keeps immolating things all the time now. Sorry Elvis Presley and John Cale.[*Oh since we mentioned “welfare checks”: ¡¡¡ FREE NEIL HAGERTY !!!Send money to do that HERE:www.gofundme.com/f/suk3t-neil-hagerty-mental-health-legal-defense] Niemandsland: Mme Tlank x Rose Ausländer. If you don’t cry I will. Also if you do. ¡KRANKHEIT IM RECHT! clinical wastemn [“Matthew Hyland”] 12/perpetual winter/a yearINCLUDES THE BOOK: NOTHING IS POSSIBLENERVOUSNESS, OR IMMORALITYDON’T WAIT TO BE HUNTED TO HIDEby T.R.S.: The Fucking Terrible Receding Shapes, trading as TRIPLE NEGATIVE 250 pages128 x 165 mm248 pages (195 b&w; / 53 colour) AND the cassette TRIPLE NEGATIVE, Spoilt health. Edition of 100 copies Not obvious from any of the 3 front covers, but yes this is a Triple Negative product. T.R.S. is the eminence grease, the actual persons irresponsible. Before anyone else gets blamed: almost all writing/drawing is by Clinical Wastemn [“Matthew Hyland”], except for the best piece of writing (Down With Childhood & Adulthood, mostly by Mme Tlank [“Anja Büchele”]) and Best Picture (I IS FOR [YOU ARE NOT] IMPOTANT, by Adam Vass). Denis Velimirovich is right there from start to finish but blamelessly so. See back cover for group portraits [L-R Velimirovich, Tlank, Wastemn in both]. [2 weeks + 2.5 punitive migraines later] So —— the product is a compendium of bad bad grace/gratuitous disgrace, 1997-2022. Written 1998-2016; pictures made 2016-more or less now, apart from photocopied stickers/zine pages etc, which go back to 1997 (e.g. introuvable front/back covers of The Journal of Childish Psychology [*co-ed Naomi Rousseau, praised by the Sozialistisches Patientenkollektiv in a letter stating: only you have illness in your doing]). Other Zeichnungen are all accidence (i.e. opposite of Cagey “chance”). Media are colour pencil, ink, photocopiers, collage. More birds, sea, flowers and Tlank in them than you might think, along with usual utopian city ruins. All 2D going on 1. Even less clue what to write about written parts. Highlights of bathetic basso continuo? Full lyric sheet for Bad Emotional Investments (aggressive begging rebetiko on God Bless the Death Drive). 1998 thing about Artaud/Heaven’s Gate/workplace motivational psych [*1st pub. Semiotext(e) but handscrawled manuscript was so fucked the print version looked like they applied pre-millennial OCR]. Unpublished hommage to Aotearoa’s greatest living artist, Daniel S. Malone. Whole lot of B. Traven, Judge Schreber, Goya, Wm. Blake. Re-refutation of 1637 attempt by Massachusetts Bay Colony governor John Winthrop to refute Anne Hutchinson’s Antinomian heresies. Hymn of praise (described by Ben Watson as “craven”) to the late Robert Dellar/Ldn Mad Pride at large. 1 (one) actual love prose-poem, disguised by its 1st words being “T.J. Clark”, who is most definitely not the addressee.etc etc Whole text section is really just 20 years of trying & failing to write like the late Giovanni Intra [see, finally, www.semiotexte.com/pageee]. Some examples instead of more dysexplanation: Almost everything that befalls Schreber –- irritation by insects, violent headaches, fits of bellowing –- is attributed (with empirical evidence) to miraculous intervention. There’s no such thing as a single cause, there’s always something else behind it. – Nervousness, or Immorality [2004] ‘Non-verbal’ modes of communication are supposed to make life easier to understand and endure by breaking freight trains of language down into discrete, comfortable spaced signals. But each new ‘obstinate blockage’ is also a cryptic alarm. What can a smirk, an insistence, a flick of the wrist, be trusted not to mean other than endless conflicting demands and convolutions? If some people avoid being overwhelmed most of the time, that’s not because ‘non-linguistic’, ‘lateral’ thinking is tied to scientific progress, but because it plays to a bogus gallery of intuitions. – La vie pue, messieurs [1998] In him is the friend of bleeding.His boreholes are explicit and impressive.He would like to experience a Home InvasionAnd is almost afraid that Iwill commit that indiscretion. – Good Clean Dirt [2017] help mental illness to smoke and fume! an outpatient about towneyesore stomach and hidea hundred powers slumbering spoiled the carriagewayfor himself and others – Deforcement [2012] THERE’S NOTHING NOTSUPERFICIALABOUT IT! – Keys to the Street [2006] [clinical wastemn (“M.H.”), 21/4/2023]

Catalog for an exhibition held at Corbett vs. DempseyFebruary 19 - March 27, 2010Includes an introduction by Alan Warner Design by Kathi Bestecvsd0039 softcover, 36 pages, 9 x 7 inches

Catalog for an exhibition held at Corbett vs. DempseyOctober 26 - November 30, 2007Includes an essay by John Corbett Design by Kathi BesteSecond edition, reprinted 2012cvsd0017a softcover, 100 pages, 9 x 7 inches

Fred Vermorel is a pioneer of the in-depth study of celebrity and fan cultures, best known for his controversial "anti-biographies" of pop icons including the Sex Pistols, Kate Bush, Vivienne Westwood, and Kate Moss. Antenne Publishing, 2024Softcover, 160pp 205 x 140mm The Secret History of Kate Bush, first published in 1982 as Kate was on the verge of superstardom, is a daring and unorthodox dive into the world of music, fame, and cultural obsession. Written by Fred Vermorel—a close associate of Malcolm McLaren and Vivienne Westwood, and renowned for his subversive "anti-biographies"—the book shatters the boundaries of traditional celebrity profiles. Told from the perspective of a die-hard fan, it unveils the mystique of one of pop’s most elusive icons while exposing the capitalist machinery driving the entertainment industry. Part biography, part cultural critique, and entirely provocative, this is not just a book about Kate Bush but a rebellious manifesto against the commodification of art. Republished in 2022 by Le Gospel in France, this special edition goes even deeper with unpublished treasures from Vermorel’s personal archive. Featuring an exclusive interview with Kate’s father, Dr. Robert Bush, a razor-sharp foreword by novelist and musician Tony O’Neill (Digging the Vein), and Vermorel’s own afterword reflecting on his explosive work four decades later, this is a must-read for anyone fascinated by Kate Bush, the art of fandom, and the raw power of creative rebellion.

Da Capo Press, 2023 784pp, paperback   Based on more than 200 interviews with Rollins himself, family members, friends, and collaborators, as well as Rollins' extensive personal archive, Saxophone Colossus is the comprehensive portrait of this legendary saxophonist and composer, civil rights activist and environmentalist. A child of the Harlem Renaissance, Rollins' precocious talent landed him on the bandstand and in the recording studio with Bud Powell, Thelonious Monk, Charlie Parker, Miles Davis and Dizzy Gillespie, or playing opposite Billie Holiday. An icon in his own right, he recorded Tenor Madness, featuring John Coltrane; Way Out West; Freedom Suite, the first civil rights-themed album of the hard bop era; A Night at the Village Vanguard; and the 1956 classic Saxophone Colossus.Yet his meteoric rise to fame was not without its challenges. He served two sentences on Rikers Island and won his battle with heroin addiction. In 1959, Rollins took a two-year sabbatical from recording and performing, practicing up to 16 hours a day on the Williamsburg Bridge. In 1968, he left again to study at an ashram in India. He returned to performing from 1971 until his retirement in 2012.?The story of Sonny Rollins-innovative, unpredictable, larger than life-is the story of jazz itself, and Sonny's own narrative is as timeless and timely as the art form he represents. Part jazz oral history told in the musicians' own words, part chronicle of one man's quest for social justice and spiritual enlightenment, this is the definitive biography of one of the most enduring and influential artists in jazz and American history.

Philip Freeman is a veteran music journalist and the author of New York Is Now!: The New Wave Of Free Jazz, Running The Voodoo Down: The Electric Music Of Miles Davis, and Ugly Beauty: Jazz In The 21st Century. He lives in Montana. With a contribution by Markus Müller  Softcover, 344 pp, Fotos Wole Verlag, July 2024  For 60 years, Cecil Taylor’s music marked the farthest boundary of avant-garde jazz. His volcanic piano improvisations, delivered with astonishing technical command and unrelenting power at marathon length, were regarded as the ultimate in free jazz. But Taylor was much more than that: He was one of jazz’s (and America’s) great composers and arrangers, developing a unique and instantly recognizable compositional voice and a radical method of transmitting his ideas that in effect taught the members of his ensembles to speak an entirely new musical language. In the Brewing Luminous is the first full-length biography of Cecil Taylor. In the Brewing Luminous takes the reader from his birth in 1929 to his death in 2018 and beyond. It provides detailed analysis of his extensive body of work, which encompassed solo performance and ensembles of every size from duos to big bands, and included work meant to accompany dancers and theatrical performances. It also explores his poetry and the broader milieu of which he was a part. Taylor was not an island; he was a fixture on the New York cultural scene and welcomed with open arms in Germany, Italy, Japan and elsewhere. And he did not work in isolation — his bands were crucial collaborators, and his music was impossible to imagine without the contributions of players like alto saxophonist Jimmy Lyons, bassist William Parker, and drummer Andrew Cyrille, all of whom and many more are discussed here as well.

Hardback 336 pages241mm x 30mm x 160mm536g"Top of the Pops, December 1988. The world sat up as a young woman made her debut: gold bra, gold bomber jacket, and proudly, gloriously, seven months pregnant. This was no ordinary artist. This was Neneh Cherry.But navigating fame and family wasn't always simple. In this beautiful and deeply personal memoir, Cherry remembers the collaborations, the highs and lows, the friendships and loves, and the addictions and traumas that have shaped her as a woman and an artist. At the heart of it, always, is family: the extraordinary three generations of artists and musicians that are her inheritance and her legacy."

paperback, 124pp 87 press, 2024  Poets Audre Lorde and Pat Parker first met in 1969; they began exchanging letters regularly five years later. Over the next fifteen years, Lorde and Parker shared ideas, advice, and confidence through the mail. They sent each other handwritten and typewritten letters and postcards often with inserted items including articles, money, and videotapes. The Letters of Audre Lorde and Pat Parker 1974-1989 gathers this unique correspondence in which Lorde and Parker discuss their work as writers as well as the intimate details of their lives, including periods when each lived with cancer. These letters are a rare opportunity to glimpse inside the minds and friendship of two great twentieth century poets.

Hardback cover. 250 pages, richly illustrated. Aphex Twin: A Disco Pogo Tribute compiles interviews, essays and features from various music journalists, all exploring Richard D. James' decades-long career.

With a preface by the artist, libretti, and an essay by Anahid Nersessian.  Dafne Phono is published on the occasion of Nour Mobarak’s exhibition at The Museum of Modern Art, New York (October 26, 2024–January 12, 2025), with support from Sylvia Kouvali, London/Piraeus.   October 2024Document Series #11Softcover with jacket, 120 pages, 6.75 x 9 inchesEdition of 1000Nour Mobarak’s Dafne Phono is an adaptation of the first opera, Dafne, composed and written by Jacopo Peri and Ottavio Rinuccini in 1598. Drawing on the myth of Daphne and Apollo from Ovid’s Metamorphoses—a story of unrequited love, patriarchal possession, conquest, and transformation—Mobarak’s multimedia and multispecies reimagining splinters the opera’s Italian libretto. Alongside English and Greek versions, it is translated into some of the world’s most phonetically complex languages—Abkhaz, San Juan Quiahije Eastern Chatino, Silbo Gomero, and !Xoon—and Ovid’s original Latin. In this process, the narrative—and an artifact of Western culture—is dismantled, metabolized, and rendered into unruly utterances that shape the sensorium as much as they do the capacity for sense-making. These voices are given material form by a cast of mycelium sonic sculptures whose rhizomatic compositions and broadcasted recordings resemble the formation and mutation of language over time, reconstituting speech into a new, polyphonic body politic, composed of voices whose striking, poetic utterances transfix and transcend meaning.

edition of 500  You can access the paper version, or the digital version, by joining their Patreon:www.patreon.com/bewaretheradio'We're on the lookout for contributors for future issues, so if you have something in mind, get in touch!'A radio station is now a zine! It's the paper revolution. Here's the new quarterly zine from the minds behind freeform, progressive, non-profit Pacifica affiliate station Beware! The Radio. The 32 pages of Issue 1 are packed with articles, reviews, poetry, comic strips and fluff. Have a good scratch around.

translated by Ali SobatiAnd do not relinquish the search  For that limitless light So that in the street, stars Morph into comets ‍ Extract from 'This Place (...)' ‍ HAIRAN is a new anthology of poetry by Iranian women, compiled in the face of violent attacks on life and liberty that began with the death of Mahsa Amini in Tehran in September 2022. Amini was arrested and killed in police custody for not covering enough of her hair in public. ‍ Here are 75 poems from a diverse cross-section of contemporary Iranian voices, accompanied by ‘hair portraits’ taken by the poets. ‍ The impetus for the book and editing of the collection was led by Daoud Sarhandi-Williams. Alongside Sarhandi-Williams and Sobati, HAIRAN was edited by Sepideh Jodeyri, Sepideh Kouti, Anna Krasnowolska, Anahita Rezaei, and Abbas Shokri.

ContributorsLawrence Abu Hamdan, Lendl Barcelos, Justin Barton, Ben Borthwick, Angus Carlyle, Matt Colquhoun, Jessica Edwards, Kodwo Eshun, Steve Goodman, Ayesha Hameed, Eleni Ikoniadou, Lawrence Lek, Robin Mackay, Paul Nataraj, Emily Pethick, Iain Sinclair, Shelley Trower       Urbanomic, Nov 2024 paperback, 344 pp., 6 x 8 in, 16 b&w; illus.Explorations of the audio essay as medium and method. With contributors including Justin Barton, Angus Carlyle, Kodwo Eshun, Steve Goodman, Robin Mackay, Paul Nataraj, and Iain Sinclair, Sonic Faction presents extended lines of thought prompted by two Urbanomic events which explored the ways in which sound and voice can produce new sensory terrains and provoke speculative thought. Three recent pieces provide the catalyst for a discussion of the potential of the "audio essay" as medium and method, a machine for intensifying listening and unsettling the boundaries between existing forms: documentary, music, ambient sound, audiobook, field recording, radio play…. Kode9's Astro-Darien (2022) is a sonic fiction about simulation, presenting an alternative history of the Scottish Space Programme, haunted by the ghosts of the British Empire. Justin Barton and Mark Fisher's On Vanishing Land (2006) is a dreamlike account of a coastal walk that expands into questions of modernity, capitalism, fiction, and the micropolitics of escape. Robin Mackay's By the North Sea (2021) is a meditation on time, disappearance, and loss as heard through the fictions of Lovecraft, Ccru, and the spectre of Dunwich, the city that vanished beneath the waves. Alongside photographic documentation of the events and edited transcripts of the artists' discussions, Sonic Faction brings together contributors with diverse perspectives to address the question of the audio essay and to imagine its future.

From Lawrence English  "I am ceaselessly fascinated by how memory operates and, I’m regularly struck by how individually subjective a collective experience can be when recalled by its participants. Lynch’s Lost Highway comes to mind here, specifically Bill Pullman’s character Fred Madison who says “I like to remember things my own way. How I remembered them, not necessarily the way they happened.” Like Madison, I can’t help but sense that memory takes shape through an accumulative process that reflects how each of us have lived (and maybe even wanted to live) up to that point in time.  Going back to listen again to these recordings of which I was a part with David and Akio, I was surprised by what elements had stayed with me and what others had slipped into the eternal greying of my mind. I have vivid recollections of listening to a Lyre bird before recording the pieces together at Witches Falls. I remember both Akio and David finding musicality in decaying palm fronds. I remember Akio’s voice, amplified through his Analpos, bouncing off the stones and trees. I remember David’s flute, so quiet in the pitch black of the night forest as to appear like a hushed tone of wind or a distant animal calling. I also remember trying to match my modest hand held electronics with the pulsing and pitching of the insects around me.  Reading David’s text, which is included in the book published alongside this edition, he recounts several things I had forgotten. Conversations about memory, ironically enough, had vanished from my mind until reading his words. I also didn’t really remember my role as tick surgeon, removing a living insect from David’s ear. I do remember his cooking though, as does Akio (captured aptly in his drawings), no doubt a testament to David’s improvisational culinary expertise.  Breathing Spirit Forms represents a distinctive exchange between friends and collaborators. Tamborine commands a special presence and encourages a deep patience from those who are willing to give time to its varied environments. For the three of us, we were fortunate to share these moments together, fleeting in our lives as they might be, to sense the mountain’s unique qualities, to respond to them through our exchanges and to form memories (as disparate as they might be) we carry forward with us in time."

by Niki Elliott, Karen Hill, Jo Johnson, Chris Rowley, and Jon Slade. Edited by Ethan Swan & designed by Matthew Walkerdine. Published by JABS &  The Grass is Green in the Fields for You 190 x 250mm, 352 pages, Colour printing, Perfect bound, Softcover, 2024Huggy 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.

Book & CD published in July 2024     14 x 19 cm (softcover) 60 pages (ill.) + CD   The book comes with four different covers, randomly distributed.    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.

Edward W. Said Preface by Saree Makdisi Fitzcarraldo Classic No.7 | French paperback with flaps, 376 pagesPublished 21 November 2024 originally published, 1992A 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.