Blank Forms Editions, April 2021 Hardback Edition 6 x 8 inches 496 pages 138 Color and 86 B&W; images  --- The sixth journal from Blank Forms Editions presents archival documents and new writings on the intermedia collaborations of avant-garde jazz trumpeter Don Cherry and textile artist Moki Cherry --- Don Cherry and Moki Karlsson met in Sweden in the late '60s. They married and began to perform together, dubbing their mix of communal art, social and environmental activism, children's education and pan-ethnic expression "Organic Music." Their home in Tågarp became a locus of artistic production, attracting free-spirited musicians, poets, actors and artists with the promise of collective life. There, Keith Knox assembled Tågarp Publication Number One to document the collectivistic practices blooming under the Cherrys' guidance. Reproduced here, the text includes interviews with Terry Riley and Cherry, a piece on Pandit Pran Nath, a report on the Bombay Free School and a survey of the esoteric Forest University by Bengt af Klintberg. This book explores Don Cherry's work of the period through additional interviews by Knox, a piece on his Relativity Suite and an essay by Fumi Okiji. Moki Cherry's writings on her workshops are featured alongside full-color reproductions of her tapestries, used as performance environments by Don Cherry's ensembles. Cherry collaborators Bengt Berger and Christer Bothén contribute travelogues from the era. --- Edited by Lawrence Kumpf, Naima Karlsson, Magnus Nygren. Introduction by Lawrence Kumpf, Magnus Nygren. Text by Keith Knox, Rita Knox, Bengt af Klintberg, Iris R. Orton, Åke Holmquist, Pandit Pran Nath, John Esam, Michael Lindfield, Sidsel Paaske, George Trolin, Alan Halkyard, Moki Cherry, Don Cherry, Ben Young, Christer Bothén, Bengt Berger, Fumi Okiji. Interviews by Keith Knox & Rita Knox with Don Cherry, Terry Riley, Steve Roney.

Published; Duke University Press Pages: 360 Published: December 2017In Black and Blur—the first volume in his sublime and compelling trilogy consent not to be a single being—Fred Moten engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life. In these interrelated essays, Moten attends to entanglement, the blurring of borders, and other practices that trouble notions of self-determination and sovereignty within political and aesthetic realms. Black and Blur is marked by unlikely juxtapositions: Althusser informs analyses of rappers Pras and Ol' Dirty Bastard; Shakespeare encounters Stokely Carmichael; thinkers like Kant, Adorno, and José Esteban Muñoz and artists and musicians including Thornton Dial and Cecil Taylor play off each other. Moten holds that blackness encompasses a range of social, aesthetic, and theoretical insurgencies that respond to a shared modernity founded upon the sociological catastrophe of the transatlantic slave trade and settler colonialism. In so doing, he unsettles normative ways of reading, hearing, and seeing, thereby reordering the senses to create new means of knowing.

ISBN: 978-1-933254-75-3Trade PaperbackPerfect-bound. 50 pp, 5 x 8 inPublication Date: April 14 2011Distribution: SPDSeries: Emergency PlayscriptsA musical notation can either describe an event that has already happened or prescribe an event to be performed by the reader. No Collective's (You Nakai. et al.) Concertos, the second book in the Emergency Playscript Series, uses both description and prescription to notate a musical performance. The original Concertos premiered in 2008 in Tokyo, performed by four musicians, a dog, a bird, and several guests. The playscript evokes the original piece while embedding the experience of reading the playscript into any subsequent performances of the piece. No Collective (You Nakai, et al.) makes music performances which explore and problematize both the conceptual and material infrastructures of music and performance. Central to their endeavor is the generally unquestioned notion of people sharing "one" space and time at a music performance. In an attempt to dismantle this pseudo-truism, No Collective employ various strategies which extend from the tweaking of concert flyers (giving different starting time for each flyer, making three different flyers with different titles and designs but with the same date and place, etc), contrivances to make each person a “solo” audience (dragging each audience’s seat to different parts of the venue, controlling the sound volume in relation to the distance to a specific person, etc), to the pluralization of the framing of performance (packing all equipments during performance leaving only portable equipments carried by performers which continues to play as they head home with friends, etc). The basic objective of these temporal constructs is theoretical–ontological in that it examines what time is and the different ways it may be systematized, and practical-political in that it criticizes a singular ground to which all differences can be reduced, by foregrounding several incommensurate grounds.

"A fascinating and pacey read, stitched together painstakingly from over 90 original interviews and both public and private texts including Hodgkinson's extensive diaries. The combination of narrative background, musical analysis and critical insight should open the door for a new generation of listeners." – Phil England, The Wire "Exhaustive and illuminating." – Kurt Gottschalk, New York City Jazz Record “What was it all about, to me? Thinking. Henry Cow really thought about the why, the what, the appropriate methods of making music. Their riveting music was the sound of thinking out loud: Henry Cow seemed to be asking, ‘So, what is the significance of these sounds in our heads?’ And they were always witty: just look at the name of the band and the unwearable sock representing ‘the Henry Cow legend’. I am very glad this book exists. Henry Cow’s history – in all its inevitable turbulence – tells an inspiring story.” – Robert Wyatt “In this landmark monograph, Benjamin Piekut offers a stunning new theoretical framework for writing the history of ‘adventurous’ music in the late 20th century, realising that theory in practice by replicating in his graceful prose the improvised relation to the world he seeks to illuminate. Through his gripping account of the band Henry Cow, he reconstructs the cultural space of what he calls the ‘vernacular avant garde’, where musicians learn from records rather than in institutions, live uncertainty, cross genres, improvise responses to novel situations, work with and against record companies, and embrace avant gardism without negation. It is rare to finish a monumental monograph with a gasp. A must-read intervention and instant classic!” - Tamara Levitz, Professor of Musicology and Comparative Literature, University of California Los Angeles "In its open improvisations, lapidary lyrics, errant melodies, and relentless pursuit of spontaneity, the British experimental band Henry Cow pushed rock music to its limits. Its rotating personnel, sprung from rock, free jazz and orchestral worlds, synthesized a distinct sound that troubled genre lines, and with this musical diversity came a mixed politics, including Maoism, communism, feminism and Italian Marxism. In Henry Cow: The World Is A Problem Benjamin Piekut tells the band’s story – from its founding in Cambridge in 1968 and later affiliation with Virgin Records to its demise ten years later – and analyses its varied efforts to link aesthetics with politics. Drawing on 90 interviews with Henry Cow musicians and crew, letters, notebooks, scores, journals and meeting notes, Piekut traces the group’s pursuit of a political and musical collectivism, offering up its history as but one example of the vernacular avant garde that emerged in the decades after World War Two. Henry Cow’s story resonates far beyond its inimitable music: it speaks to the avant garde’s unpredictable potential to transform the world." --- Benjamin Piekut is Associate Professor of Music at Cornell University, author of Experimentalism Otherwise: The New York Avant-Garde And Its Limits and editor of Tomorrow Is The Question: New Directions In Experimental Music Studies.

Published by Joao Simoes 172 x 243mm 196 page  black and white printing perfect bound softcover with fold in flaps, Published: 2021A stunning marvel and the first text from the wild and wonderful mind of Henry Flynt, "Three Essays on Spirituality and Art", across 196 pages - issued in a beautifully produced edition of 500 copies - takes on a rarely explored subject in contemporary context, seeded in the anti-authoritarian positions that Flynt laid down at the dawn of Fluxus and has embraced ever since. Radical, vibrant, and fascinating, before us rests an essential illumination of the inner workings of one of the most important figures in experimental music that can't be missed. Running adjacent to the vast historical reappraisal instigated by the vinyl reissue market, over the last few years we’ve been graced by numerous crucial texts, illuminating the lives, ideas and practices of some of the most important artists - Julius Eastman, Don Cherry, Eliane Radigue, Sun Ra, Pauline Oliveros, Alvin Lucier, Maryanne Amacher, Robert Ashley, Jon Gibson, Joseph Jarman, Catherine Christer Hennix, etc. - within the field of experimental sound. Now, offering a much-needed entry within this growing context, comes Three Essays on Spirituality and Art, diving deep into the endlessly fascinating and engaging mind of Henry Flynt. Co-edited by Joao Simoes and Christian Xatrec, and beautifully printed and produced, the volume marks the first publication of writings by the legendary American philosopher, musician, activist, and artist to appear in years. Truly essential for any fan of experimental art and music, not to mention radical ideas.The narrative of Flynt’s creative life began unexpectedly in the mathematics departments at Harvard. It was there that he met Tony Conrad during the late 1950’s, and where the two like minds would embark upon a life in art and music that would change everything in their wake, eventually moving to NY, joining forces with George Maciunas, La Monte Young, Jack Smith, and a number of others, and forming the core of the dawning Fluxus movement, which Flynt, through writing and performances, is credited with laying down many of its central ideas.Flynt’s musical efforts - a fascinating hybrid that pull from everything from his experiences studying with Pandit Pran Nath to indigenous rural American folk music - despite not having been released in recorded form until the early '80s, lay at the very inception of Fluxus music, Minimalism, the deployment of text-based scores, and anti-authoritarian performance. He is also responsible for the ideas - initially drafted in 1961, and published within An Anthology of Chance Operations (issued by Jackson Mac Low and La Monte Young) in 1963, which gave way to all subsequent movements of conceptual art. For Flynt, the acts of creativity have never been purely intuitive, but rather the consequence of complex and interweaving ideas that grow from writing and text as much as action, making his latest and long-awaited volume, Three Essays on Spirituality and Art, a truly essential means to understand and enter his bodies of work that extend over numerous media.Three Essays on Spirituality and Art caries on from the anti-authoritarian positions that Flynt laid down at the dawn of Fluxus and have remained steadfast within his thinking over the years since, revealing a mind as contentiously invested in smashing institutionalized thinking within history and artistic practice as he was at the beginning. Taking the position that there are two forms of spirituality, the affirmative and the ruinous, Three Essays delves into Flynt’s ideas on affirmative spirituality, he begins with the ancient Indian theatrologist and musicologist, Bharata-Muni, as a precedent and nods to Aristotle’s Poetics, as he lays an analytical groundwork for the topic within the arts, ranging from the sensitization of artistic languages, splendor, the dubiously revered, and commercial successes.Heady, wild, and wonderful as Flynt always is, these essential texts illuminate the radical contemporary thinking of one of the most important figures in experimental music. Clocking in at 196 pages, and issued in a beautiful edition that has been co-edited by Joao Simoes and Christian Xatrec, this one is an absolute must.

Closed 220×312mm portrait, open 440×312mm376pp + 10 tip-ins from cultural contributorsThreadsewn with 8pp softcoverNew Age: Stonehenge to Jungle is a comprehensive collection of iconic UK rave, jungle, sound system and warehouse party flyers dating from the early 1973s to 2000. The book is sourced and curated from the Mott Collection – an extensive archive that gathers paper ephemera of British popular culture from punk to rave – curated by artist and collector Toby Mott. Crammed full of 575 entries of flyers and other collectables, New Age is a visual feast that charts the origins and progress of a series of youth rebellions that were to last for a generation. The book looks beyond the music into the fantastical visual language that propelled this subculture, offering a global perspective on how British party cultureshifted through the decades. New Age opens with an extensive array of iconic flyers created for the early 1970s free festivals of Stonehenge and Windsor. It then moves into the 1980s, when the boom of illegal London warehouse parties gave birth to acid house – visually embodied by its iconic smiley face, then evolved into sound system and dub clashes. As rave culture takes over, the designs of the flyers become more complex, unveiling a craving for dystopian experiences and surrealistic universes forged by the vision of mastersof flyer art, the likes of Pez and Junior Tomlin – also known as the Salvador Dalí of Rave. The book traces the rise of jungle music and more widely the aesthetic of the 1990s, digging into its Jamaican roots and bringing together reggae, rave and sound system culture, giving insight into the profound, and yet often overlooked, impact of the Black British community on rave music. Featuring interviews with influential flyer designers such as Pez, Kaos, Junior Tomlin, and Dave Little.Published by Corina Manu, Cultural Traffic and Dashwood Books 2022 Art and Design Direction: Jamie Reid Studio Source material © The Mott Collection

The fifth issue of We Jazz Magazine, "Amaryllis" for Mary Halvorson. 128 pages 174 x 250 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles presented IN ENGLISH. Stories include Mary Halvorson by Peter Margasak, Pi Recordings by Will Layman, Tyshawn Sorey by Marc Medwin, Women On the Syllabus by Tina Edwards, A Love Supreme Festival by Gareth Allen, Odysseus Festival by Dave Waller, Bob Rutman by Marialuisa Bonometti, Sarathy Korwar & Joanna Duda in conversation by Debra Richards, Tokyo Jazz Joints Vol. 3 by Philip Arneill, reviews, plus more.

Facsimile edition of the trailblazing periodical Art-Rite "Edited by Walter Robinson, Edit DeAk, and Joshua Cohn, Art-Rite was published in New York City between 1973 and 1978. The periodical has long been celebrated for its underground/overground position and its cutting, humorous, on-the-streets coverage and critique of the art world. Art-Rite moved easily through the expansive community it mapped out, paying homage to an emergent generation of artists, including many who were—or would soon become—the defining voices of the era. Through hundreds of interviews, reviews, statements, and projects for the page—as well as artist-focused and thematic issues on video, painting, performance, and artists’ books—Art-Rite’s sharp editorial vision and commitment to spotlighting the work of artists stands as a meaningful and lasting contribution to the art history of New York City and beyond. All issues of Art-Rite are collected and published here. Featured artists include Vito Acconci, Kathy Acker, Bas Jan Ader, Laurie Anderson, John Baldessari, Gregory Battcock, Lynda Benglis, Mel Bochner, Marcel Broodthaers, Trisha Brown, Chris Burden, Scott Burton, Ulises Carrión, Judy Chicago, Lucinda Childs, Christo, Diego Cortez, Hanne Darboven, Agnes Denes, Ralston Farina, Richard Foreman, Peggy Gale, Gilbert & George, John Giorno, Philip Glass, Leon Golub, Peter Grass, Julia Heyward, Nancy Holt, Ray Johnson, Joan Jonas, Richard Kern, Lee Krasner, Shigeko Kubota, Les Levine, Sol LeWitt, Lucy Lippard, Babette Mangolte, Brice Marden, Agnes Martin, Gordon Matta-Clark, Rosemary Mayer, Annette Messager, Elizabeth Murray, Alice Neel, Brian O’Doherty,Genesis P-Orridge, Nam June Paik, Charlemagne Palestine, Judy Pfaff, Lil Picard, Yvonne Rainer, Dorothea Rockburne, Ed Ruscha, Robert Ryman, David Salle, Carolee Schneemann, Richard Serra, Jack Smith, Patti Smith, Robert Smithson, Holly Solomon, Naomi Spector, Nancy Spero, Pat Steir, Frank Stella, Alan Suicide (Vega), David Tremlett, Richard Tuttle, Andy Warhol, William Wegman, Lawrence Weiner, Hannah Wilke, Robert Wilson, Yuri, and Irene von Zahn." 678 pgs, 27 × 21.5 cm, Softcover, 2019.

A conversation between Sam Amidon and David Mitchell on process, influence and music. The first publication on Lanterne Records.This first run of 200 copies is signed by both Sam and David.

“An obstinate clot of invention” is a phase coined by Rob Young to describe the London Musicians’ Collective (LMC), who were thus characterised as an impediment to the smooth flowing musical mainstream. Kick-started in 1976 by a group of young musicians, the LMC soon expanded to included artists from Europe and eventually from the world-wide pool of creative performers.  But the story of the LMC is more than that of merely a group of experimental musicians and associated artists. Its narrative flows along various currents of society, culture and politics. Over 32 years, the LMC and its many members were at the centre of a roller coaster ride, and its history is also one of a gritty avant-gardism across four decades of performative activity. From the UK’s hot summers of 1975/1976, to the world financial crisis of 2008, this is an enthralling account of a historically important project.  Trevor Barre is the author of two well received books about UK Free Improvisation - Beyond Jazz: The Golden Age of Free Music in London 1966-1972, and Convergences, Divergences & Affinities: The Second Wave of Free Improvisation in England 1973-1979.

Tom Bolton is a researcher, walker and photographer who lives and works in London. He writes regularly about the city and reviews theatre and music. Publisher ‏ : ‎ Strange Attractor Press (8 Sept. 2011) Language ‏ : ‎ English Paperback ‏ : ‎ 176 pagesLondon's Lost Rivers takes the reader on a series of walks along the routes of eight lost rivers, combining directions for walkers with richly detailed anecdotes outlining the history of each river s route, origins and decline. Tom Bolton reveals a secret network that spreads across the city, from picturesque Hampstead in the North to the hidden suburbs of South London, and runs beneath some of London s most iconic and historic sites. These London pasts are brought to vivid life, populated by characters both famous and infamous, including politicians, forgers, actors, architects, athletes, monarchs and murderers. Evocative, witty and engaging, London s Lost Rivers invites both visitors to the city and lifelong Londoners to explore another side of London and its rich history, whether on foot or in the imagination.

Publisher ‏ : ‎ Seagull Books (27 Oct. 2009)Language ‏ : ‎ EnglishPaperback ‏ : ‎ 328 pagesAlthough Theodor W. Adorno is best known for his association with the Frankfurt School of critical theory, he began his career as a composer and successful music critic. "Night Music" presents the first complete English translations of two collections of texts compiled by Adorno - "Moments musicaux", containing essays written between 1928 and 1962, and "Theory of New Music", a group of texts written between 1929 and 1955. In "Moments musicaux", Adorno echoes Schubert's eponymous cycle, with its emphasis on aphorism, and offers lyrical reflections on music of the past and his own time. The essays include extended aesthetic analyses that demonstrate Adorno's aim to apply high philosophical standards to the study of music. "Theory of New Music", as its title indicates, presents Adorno's thoughts and theories on the composition, reception, and analysis of the music that was being written around him. His extensive philosophical writing ultimately prevented him from pursuing the compositional career he had once envisaged, but his view of the modern music of the time is not simply that of a theorist, but clearly also that of a composer. Though his advocacy of the Second Viennese School, comprising composer Arnold Schoenberg and his pupils, is well known, many of his writings in this field have remained obscure. Collected in their entirety for the first time in English, the insightful texts in "Night Music" show the breadth of Adorno's musical understanding and reveal an overlooked side to this significant thinker.

Paperback 210mm x 148mm 336pp, 20 bw images ISBN: 9781907222559Presenting an interdisciplinary selection of twenty-five essays first delivered at Breaking Convention 2015, the third conference on psychedelic consciousness, culture, and clinical research, held at the University of Greenwich, London. Breaking Convention is the largest symposium of its kind, featuring more than 120 academic presentations biennially. Widely regarded as one of the foremost global platforms for serious research into psychedelic pharmacology, the conference has been instrumental in altering popular attitudes towards policy reform, with research focusing on the potential benefits that psychedelic therapies might hold in the treatment of depression, post-traumatic stress disorder, and in harm reduction among habitual substance abusers. Psychedelic Pharmacology for the 21st Century spans the sciences and humanities, from philosophy and neuroscience through chemical models of action to clinical use. This latest volume includes cross-cultural approaches exploring the global drug economy, clinical MDMA trials, histories of psychedelic literature, the enigma of the pineal gland, acid mediumship and psychedelic landscaping. --- Contributors include: Sam Gandy, Allan Badiner, Friedericke Meckel Fischer, Tharcila Chaves, John Constable, Lorna Olivia O’Dowd, Rick Doblin, Amanda Fielding, Mike, Crowley, Robert Dickins, Luke Goaman-Dodson, Ido Hartogsohn, Scott J. Hill, Will Rowlandson, David E. Nichols, Jennifer Lyke and Julia Kuti, Michael Montagne, Jonathan Newman, Carl A.P. Ruck, Dale Pendell, Alan Piper, Graham St. John, Bruce Rimmel, Iker Puente, Tim Read   Eds. Ben Sessa David Luke, Cameron Adams, David King, Amiee Tollan, Nikki Wyrd ---   Strange Attractor Press, 2017

Published: Random House Published: 30/03/2021 ISBN: 9780241503577 Length: 320 Pages Type: Paperback Dimensions: 222mm x 31mm x 144mmAn electrifying celebration of Black performances, cultures and communities in the United States, from the New York Times bestselling poet and critic Hanif Abdurraqib At the March on Washington, Josephine Baker reflected on her life and her legacy. She had spent decades as one of the most successful entertainers in the world, but, she told the crowd, "I was a devil in other countries, and I was a little devil in America, too". Inspired by these words, Hanif Abdurraqib has written a stirring meditation on Black performance in the modern age, in which culture, history and his own lived experience collide.With sharp insight, humour and heart, Abdurraqib explores a sequence of iconic and intimate performances that take him from mid-century Paris to the moon -- and back down again, to a cramped living room in Columbus, Ohio. Each one, he shows, has layers of resonance across Black and white cultures, the politics of American empire, and his own personal history of love and grief -- whether it's the twenty-seven seconds of 'Gimme Shelter' in which Merry Clayton sings, or the magnificent hours of Aretha Franklin's homegoing; Beyoncé's Super Bowl show or a schoolyard fistfight; Dave Chapelle's skits or a game of spades among friends.

Kristen Gallerneaux is an artist, curator, and sonic researcher holding a Ph.D. in Art Practice & Media History from UC San Diego, an MA in Folklore, and an MFA in Art. She is also the Curator of Communication and Information Technology at The Henry Ford Museum in Detroit, Michigan, where she continues to build upon one of the largest historical technology collections in North America. She has written for the Barbican Center, ARTnews, and the Quietus. She has published on wide-ranging topics like mathematics in midcentury design, the visual history of telepathy research, the world’s first computer mousepad, and car audio bass battles in Miami. Her forthcoming book, "High Static, Dead Lines: Sonic Spectres and the Object Hereafter," will be released in Summer 2018 via Strange Attractor Press and distributed by MIT Press in the US. In 2018, she appeared as a Future Thought speaker and premiered a short film about the mysterious sonic phenomena "The Hum," at Moogfest: A Synthesis of Art & Technology. In 2017, she spoke about the history of the Votrax text-to-speech synthesizer and taught a Muzak-remixing workshop at Pop Kultur Berlin. In 2016, she spoke at Moogfest and at Unsound Krakow: Dislocation. Forewordby Dave Tompkins Paperback 130mm x 205mm 320pp, fully illustrated in black and white ISBN: 9781907222665A literary mix tape that explores the entwined boundaries between sound, material culture, landscape and esoteric belief. Trees rigged up to the wireless radio heavens. A fax machine used to decode the language of hurricanes. A broadcast ghost that hijacked a television station to terrorize a city. A failed computer factory in the desert with a slap-back echo resounding into ruin. In High Static, Dead Lines, media historian and artist Kristen Gallerneaux weaves a literary mix tape that explores the entwined boundaries between sound, material culture, landscape, and esoteric belief. Essays and fictocritical interludes are arranged to evoke a network of ley lines for the “sonic spectre” to travel through—a hypothetical presence that manifests itself as an invisible layer of noise alongside the conventional histories of technological artifacts. The objects and stories within span from the mid-nineteenth century to the present day, touching upon military, communications, and cultural history. A connective thread is the recurring presence of sound—audible, self-generative, and remembered—charting the contentious sonic histories of paranormal culture. --- Kristen Gallerneaux is a writer, folklorist, and artist. She has published on topics as diverse as mathematics in midcentury design, the visual history of telepathy research, the world’s first mouse pad, and car audio bass battles in Miami. She is also Curator of Communications and Information Technology at the Henry Ford Museum in Dearborn, Michigan, where she continues to build upon one of the largest historic technology collections in North America. --- Strange Attractor Press, 2018

Publisher ‏ : ‎Pm Press; Illustrated edition (5 Sept. 2019)Language ‏ : ‎EnglishPaperback ‏ : ‎256 pagesISBN-10 ‏ : ‎1629637033ISBN-13 ‏ : ‎978-1629637037Dimensions ‏ : ‎15.24 x 2.03 x 22.86 cmPopular culture has woven itself into the social fabric of our lives, penetrating peoples homes and haunting their psyches through images and earworm hooks. Justice, at most levels, is something the average citizen may have little influence upon, leaving us feeling helpless and complacent. But pop music is a neglected arena where concrete change can occur - by exercising active and thoughtful choices to reject the low-hanging, omnipresent corporate fruit, we begin to rebalance the world, one engaged listener at a time. Silenced by Sound: The Music Meritocracy Myth is a powerful exploration of the challenges facing art, music, and media in the digital era. With his fifth book, producer, activist, and author Ian Brennan delves deep into his personal story to address the inequity of distribution in the arts globally. Brennan challenges music industry tycoons by skillfully demonstrating that there are millions of talented people around the world far more gifted than the superstars for whom billions of dollars are spent to promote the delusion that they have been blessed with unique genius. We are invited to accompany the author on his travels, finding and recording music from some of the worlds most marginalised peoples. In the breathtaking range of this book, our preconceived notions of art are challenged by musicians from South Sudan to Kosovo, as Brennan lucidly details his experiences recording music by the Tanzania Albinism Collective, the Zomba Prison Project, a witch camp in Ghana, the Vietnamese war veterans of Hanoi Masters, the Malawi Mouse Boys, the Canary Island whistlers, genocide survivors in both Cambodia and Rwanda, and more. Silenced by Sound is defined by muscular, terse, and poetic verse, and a nonlinear format rife with how-to tips and anecdotes. The narrative is driven and made corporeal via the authors ongoing field-recording chronicles, his memoir-like reveries, and the striking photographs that accompany these projects. Once read, youll never hear quite the same again. --- PM Press, 2019

With an Introduction by Sheila Heti and an Afterword by Marina WarnerA debutante frees a hyena from the zoo so that it might take her place at her coming-out ball; an artist paints a portrait of a man’s dead wife, but finds she has painted herself instead; a psychoanalyst must decide what to do with the gift of a team of Russian rats trained to operate on humans. In this first complete edition of Leonora Carrington’s short stories, written throughout her life from her early years in Surrealist Paris to her late period in Dirty War-era Mexico City, the world is by turns subversive, funny, sly, wise and disarming.

With an introduction by Ali Smith and a new Afterword by Nell DunnIn 1964, Nell Dunn spoke to nine of her friends over a bottle of wine about sex, work, money, babies, freedom and love. The novelist Ann Quin says she appears to be a 'singular girl, singular and single’ but questions the use she makes of her freedom. The Pop artist Pauline Boty reveals she married 'the first man I could talk very freely to’ ten days after meeting him. Kathy Collier, who worked with Dunn in a Battersea sweet factory, talks about what it takes to 'get out’ of a life that isn’t fulfilling. Edna O’Brien tells us about the time she inadvertently stole a brown georgette scarf and the lesson she took from it: 'Morality is not the same thing as abstinence.’ After more than fifty years out of print, Talking to Women is still as sparkling, honest, profound, funny and wise as when it was first published.