Please 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.

A collection of quotations from Thelonious Monk, organized as an alphabet book. More than a hundred entries based on the testimonies of musicians (Steve Lacy, Sahib Shihab, Henri Renaud) and journalists (Leonard Feather, Ira Gitler, Val Wilmer…). “I never have dreamed. I would like to, but how?” New revised and augmented edition of the book first published in 2017  Jacques Ponzio is a French writer and musician, and a leading specialist on the works of Thelonious Monk.

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).

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.

Gender, voice, language, and identity in musical composition and experimental sound practices. How do we get to imagine the music we make? Where and how is it grounded? What is the relationship between the art and its maker, and what and who does music represent? Gender, voice, language, and identity are four important notions for musical creation, for the shaping of a canon, and for the interactions in the field. All four notions are strongly contextual and carry an inherent sense of paradigm and otherness. Other and self are defined via orientation and history, expressed via voice, and confirmed in language. In this publication, these four core notions serve as a set of lenses permitting different perspectives on one another. However much the field of the sounding arts might pretend to be tangential to such affections, they provide important grounds for musical creation. Some twenty artists have created a variety of outputs—as different in form, strategies, approach, and language, as they are rooted in a variety of sub-fields within the sounding arts. --- Edited by Julia Eckhardt. Contributions: AGF aka Antye Greie, Andrea Parkins, Aurélie Lierman, Bonnie Jones, Cathy Lane, Electric Indigo aka Susanne Kirchmayr, Felicity Ford, Heimo Lattner, Jaume Ferrete Vázquez, Judith Laub, Julia Eckhardt, Marc Matter, Marijs Boulogne, Marion Wasserbauer, Myriam Van Imschoot, Pali Meursault, Peter Westenberg, Richard Scott, Romy Rüegger, Susan McClary, Suzanne Thorpe. --- Errant Bodies, 2018  

This is the only authorized facsimile edition of a scarce pamphlet written and distributed by master jazzman Charles Mingus in 1972. The CAT-alog features Nightlife the cat and outlines Mingus's unique toilet-training program for felines. “Mingus was as broad and inventive a thinker as he was a musical genius. Here's hoping this pamphlet leads to his timeless music as well as a cleaner, litter-free home.” —Ashley Kahn, jazz author & fan of cats One of the most important figures in twentieth century American music, Charles Mingus was a virtuoso bass player, accomplished pianist, bandleader and composer. Note: The CAT-alog is a historical curiosity, not veterinary advice! Do not attempt this method without consulting a vet.

A 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.

The life and work of Maryanne Amacher are as vast as they are little known. In this volume, Amy Cimini and Bill Dietz offer a heterodox and idiosyncratic selection of largely unpublished documents spanning the breadth of the papers included in the Amacher Collection. The chronologically grouped documents, ranging from private writings and letters to program notes, manifestos, and proposals for unrealized projects, are framed by interviews in which Amacher discusses corresponding periods of her life. This structure leads readers carefully into the composer’s musical thought as it develops and transforms over time, while working  strenuously against the definitiveness associated with “collected” writings. This study of a still-unfolding body of work approaches its materials as provisional, promissory and open-ended. Here, Cimini and Dietz have compiled a volume full of staggeringly rich primary documents, while probing the issue of what it means to assemble these materials while the question “who was Maryanne Amacher?” remains so open. This collection invites the reader to answer. Because Amacher worked across nearly every imaginable media format, this book will be be of interest to theorists and practitioners of urban design, contemporary art history, media and communications, music and sound studies, film, radio, art criticism, and performance studies—in short, a configuration of disciplines that we might call an Intermedial Humanities. At the same time, this collection challenges any area of music, sound, or media studies that might be remade through the recovery of understudied figures. This volume is about doing things a different way. It is organized to foreground Amacher’s voices and soundworlds  so that—whatever future musical and social constellations might join the ongoing excavation of this practice—readers can experience her work in, and through, her own words. At the time of this writing, the Maryanne Amacher Collection is currently being processed at the New York Public Library, stewarded by Blank Forms and the Maryanne Amacher Foundation. Maryanne Amacher (1938 – 2009) was a composer of large-scale, fixed-duration sound installations, and a highly original thinker in the areas of perception, sound spatialization, creative intelligence, and aural architecture. She is regarded as a pioneer of what has come to be called “sound art,” although her thought and creative practice consistently challenged key assumptions about the capacities and limitations of that genre. Often considered in light of post-Cagean art practices, her work anticipated some of the most important developments in network culture, media arts, acoustic ecology, and sound studies. Bill Dietz is a composer, writer and co-chair of Music/ Sound in the Bard MFA program. Amy Cimini is a musicologist, violist and Assistant Professor of Music at UC San Diego. Her first book, Wild Sound: Maryanne Amacher and the Tenses of Audible Life, is forthcoming in Spring 2021 with Oxford University Press.  

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.

An essential book about the corruption of the medical establishment and its historic roots in witch hunters.Barbara Ehrenreich and Deirdre English raise an exposé on the demonization of women healers and the political and economic monopolization of medicine. This quick history brings us up-to-date, exploring today’s changing attitudes toward childbirth, alternative medicine, and modern-day witches.“This booklet will open your eyes. Barbara Ehrenrich and Deirdre English show how, for reasons of class politics, women’s suppression and naked greed, wealthy men discredited, persecuted and outright killed the wisewomen healers, leaving themselves to be the sole practitioners of their ‘scientific’ medicine. The information presented here gives a whole new perspective to medical history and points to some of the causes underlying our current healthcare mess.” —WomanSource Catalog & Review

“If the object identified as a barred-spiral galaxy in drawing #37 really is a barred-spiral galaxy, it would seem to imply that either the ancients had high-powered telescopes or that advanced beings visited earth! I personally feel that such is not very likely, due to the lack of appropiate artifacts. Yet suppose a worldwide civilization existed in the past, which was fragmented by planets in collision in historical times?Then the object might well be the two-horned, comet-planet Venus. Since the Mayans held that their savior-creator god Quetzacoati had turned into Venus after ascending from a three day stay in Hades, it would not be inconceivable that he might be deemed to, in fact, constitute the fundamental building blocks of the universe.” - from the postscript

Major Gentl and the Achimota Wars by Kojo Laing + a supplementary essay: ‘To Win the War, You Fought It Sideways: Kojo Laing's Major Gentl and the Achimota Wars’ by Kodwo Eshun Originally published in the influential African Writers Series in 1992, Major Gentl and the Achimota Wars is a science fiction novel about the city of Akkra, Ghana in the year 2020. It is the most sustained science fiction yet written in which the futurity of the African continent constitutes the object and the stake of warring forces. Laing envisions the year 2020 as an era in which one power fights for the right to project themselves into a futurity from which they will be expelled by the victory of their enemy. ‘To Win the War, You Fought It Sideways: Kojo Laing's Major Gentl and the Achimota Wars’ by Kodwo Eshun is included with permission from the author.    

Hazrat Inayat Khan (1882 – 1927) was an exemplar of Universal Sufism and founder of the “Sufi Order in the West” in 1914 in London. Later, in 1923, the Sufi Order of the London period was dissolved into a new organization called the “International Sufi Movement”. He initially came to the West as a representative of classical Indian music, having received the title of ‘Tansen’from the Nizam of Hyderabad but soon turned to the introduction and transmission of Sufi thought and practice. “Music” is a compilation of lectures given by Hazrat Inayat Khan. It conveys an insight into the deep knowledge of Indian mysticism and music in a very simple language. His teachings on sound present a vision of the harmony which underlies and infuses every aspect of life; science of breath, law of rhythm, the creative process, healing power and psychological influence of music.

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.

I wasn’t questioning what I thought was happening though. I also thought I knew the extent of it: the voice. Thought that the ghost might on some days be something that attached itself physically like a node on my vocal chords, or was vocal chords, the extra thick ones I’d need to produce that sound, like in films about puberty you get shown in science classes in school.Roy Orbison in Ruins stages an imagined correspondence between a young hospitality worker on a road trip, and the musician David Berman. Unfolding over a series of four unanswered letters and karaoke interludes, we learn that our narrator has been possessed by the voice of Roy Orbison. Accompanied by her chorus of Roys, she slowly transforms into his image as she writes about dreaming, leisure time, haunting and ventriloquism from the rest stops, bars and motels of Florida.

Ltd Edition 32 page zine with FREE download featuring the essay by ROBIN PURVES in which he discusses 4 pieces of drone music through time, starting with the composer La Monte Young's "Trio For Strings", Joan La Barbara’s Voice Piece: One Note Internal Resonance Investigation; ‘Bass Pulse in Open Air’ in Floating Frequencies: Intuitive Synthesis III – Phase Two by Eleh; and Keiji Haino’s ‘Wisdom That Will Bless I, Who Live in the Spiral Joy Born at the Utter End of a Black Prayer’. "..in discussing these works, the following questions will be considered: What do these works mean? Do these works mean? If they can mean, in what ways do they bear their meanings? What are they for if they do not mean?  

TALKER 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.

#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.