Strong, emphatically physical, and always a bit surreal, the French photographer Maxime Ballesteros (*1984) uses analogue images to present his view of a world in which borders are dissolving and a subjective reality comes to light. He lives to take pictures and work with his imagination. From the time he first picked up a camera as a teen, he hasn’t put it down. His photographs show a section of the world where day and night, dream and nightmare, the subjective and the objective are of equal importance. He shoots photographs in the moment, following his protagonists to parties, private apartments, and the beach at dawn—shimmering and excessive, sharp and always in style. The striking photobook Les Absents is his first monograph, produced in cooperation with the visionary culture and fashion network Sang Bleu in London, including various texts and poems by the artist himself.
Ed. Nadine Barth, text(s) by Maxime Ballesteros, Caroline Gaimari, John Isaac, graphic design by Sang Bleu London
2017. 272 pp., 217 ills.
17.00 x 25.00 cm
434 pgs. | Full Colour with over 400 images
Canadian micro-publisher Spectacular Optical is pleased to announce a new book focused on the career of French fantasy and horror filmmaker Jean Rollin, LOST GIRLS: THE PHANTASMAGORICAL CINEMA OF JEAN ROLLIN, edited by Samm Deighan and penned by all women critics, scholars and film historians. Set to be released in the summer of 2017, this collection of essays covers the wide range of Rollin’s career from 1968’s LE VIOL DU VAMPIRE through his 2010 swansong, LE MASQUE DE LA MÉDUSE, touching upon his horror, fantasy, crime and sex films—including many lesser seen titles. The book closely examines Rollin’s core themes: his focus on overwhelmingly female protagonists, his use of horror genre and exploitation tropes, his reinterpretations of the fairy tale and fantastique, the influence of crime serials, Gothic literature and the occult, as well as much more.
“Lost Girls is an exquisite book about the acclaimed French film director Jean Rollin, a master of the surreal and the poetic, whose classic films with their haunting images embody a dark playful female aesthetic. The essays in this fine collection capture Rollin’s love of the supernatural, the dreamlike, poetic gore and female vampirism – to mention a few of themes that Rollin subjects to his strange subversive eye. This outstanding collection pays tribute to Rollin’s world of surreal fairy tales, sadean narratives and disturbing journeys into the dark side of the soul. Lost Girls is a must for lovers of the cinematic underworld in which female characters reign supreme.” – Barbara Creed, author of The Monstrous-Feminine: Film, Feminism, Psychoanalysis
“No serious student of the cinefantastique will want to be without this beautifully illustrated collection of essays dedicated to the eerie, sensual cinema of Jean Rollin.” – Maitland McDonagh, author of Broken Mirrors, Broken Minds: The Dark Dreams of Dario Argento
The book features a foreword by Françoise Pascal, the star of Rollin’s beloved La rose de fer, and cover art by Jessica Seamans, known for her work with Landland and posters for MONDO.
EDITION OF 200
Printed Matter is pleased to announce the publication of Network, an artists’ project by Nicolas Jaar, co-published with his label Other People. Designed by Jena Myung and Maziyar Pahlevan, the book is the culmination of a multi-phase project from Jaar which takes the form of an online, semi-fictitious network of interlocking radio stations built around chance operations.
Network, like the web-based radio network which precedes it, is conceived in thirds and built from three primary threads:
i. new visual essays and text contributions from Lydia Lunch, Linda van Deursen and Nicolas Jaar
ii. poster artwork advertising 111 radio shows (across 333 stations) created by Pahlevan, Myung, and Jaar
iii. Loose transcriptions of each radio program, comprised of sprawling text culminating in a full-color section of manipulated images.
Invited in 2015 by the BBC to participate in a 6-month residency, Jaar instead set out to write a radio play which positioned an invented DJ at the helm of his own residency inside a fake BBC-style radio world. The program was ultimately deemed too far out and never realized. In its place Jaar approached programmer Cole Brown to collaboratively devise http://other-people.network, a website which would host the programs on continuous loop inviting users to sift through the stations with a radio like dial – and later – a random number inputting system, 1-333.
The stations are made up of more than 20 hours of Jaar’s own mixes as well as original music, among them his recently released album Sirens – the remaining are constructed “fakes”, conceptual audio works created with the help of voice actors. Billionaire FM counts down and offers commentary on the annual Forbes list of world’s top billionaires one by one. MATTA CLARK DEMOLITIONS is comprised of “noises” gathered from the structures which artist Gordon Matta Clark transformed into architectural cut-ups. Red Bull Sponsored Revolutions plays Mozart 24/7.
In its form and content, Network gives theoretical consideration to the inherent political possibilities of radio broadcast. The contributed texts and transcribed radio-chatter that filter through the book offer ways of resistance against entrenched power-structures (of political systems, of the mega-wealthy). Resistencia de Ayer Es La Resistencia de hoy, a station which plays exclusively Latin American Resistance music from the 60-70s, is one such example, though the work of the project is more broadly interested in the model/mechanism itself, a distribution system (in radio and publications alike) which is capable of operating ‘underground’, through pirate channels, and outside the reach of the State. Nicolas Jaar’s Network is looking for word of the revolution, but guarded against the fear it may come Red Bull-sponsored.
Network is 8 x 11 inches, 336 pages, otabound with smythe sewn signatures. The publication features fore-edge printing and includes a half-sheet bookmark. It is printed on 120 gsm Munken Polar Rough, in a first edition of 1100 copies.
Publisher :Printed Matter Inc., Other People
City: New York, NY
Pages: 336 p.
Binding: Sewn Bound
Process: Offset Printed
Color: Black-and-White, Color
– compiled “feverish #1” and “feverish #2” with early mission statement and other early zos kia / coil material (’83-’85)
– “they are going to take me away” (1984)
– artwork / photos / intimate writings / interviews / reviews (so good)
– tape delay interview zine
– coil info booklet #2
Richly illustrated (more than 250 illustrations and photos) and oversized monograph displaying the variety of Val Denham’s different styles, techniques and subjects from her early 70’s productions ’till now.
This is not a reprint but an entirely new book, with 80% previously unseen art and 20% indispensable highlights from the long sold-out first Val Denham book “Dysphoria”, making it an essential purchase for new and late-comers as well as those who already have the earlier book.
It also includes new texts: an appreciation by Graham “Ideal” Duff, an inside view by Gail Denham, and a spectacular seven page introduction by Genesis Breyer P-Orridge, plus some very amusing and enlightening texts by Val herself, and archives with poems and correspondence from Genesis P-Orridge and Jhonn Balance.
288 pages. Hardcover with gold foil-block printing. Limited to 300 copies
About the artist:
Val Denham is an artist, poet, musician and transgender icon from Yorkshire, England.
Born in 1957, she has been creating her own universe since being a little boy.
She seems to have inspired a lot of people. Either way she couldn’t care less.
She has been labelled an “Outsider artist” in some quarters. However, she describes herself as “A cleaning lady”. Val perfectly explains her modus operandi: “I employ a figurative and non-figurative semi surrealist symbolism…my art is a kind of therapy…the internal map of my neuroses, severe Obsessive Compulsive Disorder and Gender Dysphoria…analyse the surface of Tranart (Val’s name for her own art) and you glimpse neurotic hieroglyphs trying to describe what it is to be me…meanings are always masked in a kind of visual code within my work. Even now I employ obscuring patterns and imagery; though the reason to do so no longer exists…I no longer live a double life suppressing my true nature, but the code remains.”
She once did some record covers for Marc Almond, Throbbing Gristle, Psychic TV and a few others She also releases her own idiosyncratic songs for her ever growing fan base across the world.
Folklore Tapes Flexi-Disc Audio Book Series:
Rob St John / Sam Mcloughlin / David Chatton Barker
Lancashire Folklore Tapes Vol.III
Flexi-Disc Audio Book & DVD
Housed inside a handmade 18 page colour pamphlet.
Ltd Edition: 250
Originally conceived and realised as a new three minute film with pamphlet, this release is a more expanded version of a project which spilled over its vessel in content. With a seven inch containing the orginal score and narration as well as a patchwork of interviews and atmospherics captured during fieldtrips to Ginnels around Lancashire to investigate their heritage and current place in the modern world.
Ginnels are spaces in between: the paths and alleys that cut hidden channels through many towns in the north of England. Often following historical routes that pre-date urbanisation and are now squeezed by encroaching buildings, the dialect word for a ginnel varies across the north: snicket, gunnel, jinnel, twitchell, jitty, gitty, ten-foot, passage, shut. Ginnel and its variants are amongst a narrow set of dialect words which are still strong in daily life: a local knowledge of short-cuts and escape routes, yet to meet a linguistic dead-end.
In many cases, ginnels represent a tangle of lines: blurred spaces between what is safe and what is dangerous; what is natural and what isn’t; what is conserved and what is left to fall into ruin. Snickets cut nicks in the fabric of the town: routes to sneak along, cobbled channels trodden down. Moss on stone on moss on stone. Brambles tangled in barbed wire. Holly bushes poking through the dull, mottled metal of turnpike fences. Ragwort, buddleia and Japanese knotweed the ambitious upstarts amongst all the spikes and sharp edges. A quirk of planning laws mean that urban ginnels in Lancashire are managed by the countryside council, fertilising neglect and the growth of unruly nature: spaces for crime and twilight liaisons.
Bobby Brown exists beyond being. Bobby’s documented music covers a dynamic emotional and spiritual terrain, his vocals, ever prominent, traverse six octaves of sound. Bobby’s understanding of — and unbending faith — in physics and technology manifest in unbelievable instrumental and intellectual innovations. Bobby’s dedication to the fundaments of peace and love radiate across time and space.
Operating at the fringe of the early 70s psychedelic and folk spheres, his 1972 self-funded and released debut album, The Enlightening Beam of Axonda, demonstrates the many cosmic qualities of Bobby Brown. Beyond Bobby’s voice and message, the most beguiling aspect of Enlightening is “The Universal One Man Orchestra,” a 311 stringed instrument implementing aspects of the Irish harp, koto, sitar, thumb piano, dulcimer, drums and flute and “designed to be as small as possible and placed on racks so as to be be played from one spot.”
Bobby’s description of the instrument (“primitive, contemporary, and futuristic”) may also serve as a description of the album itself. At once an intimate invocation and a universal journey of earthly and otherworldly proportions, the album ruminates on the vacillating cultural climate of its time and a prayer for a more peaceful place and existence, Axonda.
The following two albums, Live, which was performed solely to his dog ‘Mom’ and recorded after Bobby opened in concert for Fleetwood Mac 1978, and 1982‘s Prayers of a One Man Band, which added hints of popular flavor with a more outward social commentary and comedy, continue along Brown’s illuminated path, spinning tales of his spiritual home in Hawaii, of love, and of total religious unity.
Almost thirty years later, Bobby and RVNG’s Matt Werth struck up a friendship on the back of an e-mail introduction fromDouglas Mcgowan of Yoga Records. After years of correspondence, Bobby and Matt revisited some of the many stories they’ve exchanged at the Berkeley Art Museum on an invitation from David Wilson to participate in a multi-dimensional residency, The Possible. Bay Area artists Kaitlyn Aurelia Smith and Austin Cesear complimented the discussion with new musical interpretations of Bobby’s work.
A recording of Smith and Cesear’s performances alongside Bobby and Matt’s talk and a compassionate array of photos taken by Aubrey Trinnaman have been collected as a limited cassette and art book edition available from RVNG Intl.
A recent arrival on D.C.’s indie publishing scene, HIGHWAY is small but mighty.
The magazine is deliberately pocket-sized, says its creator, Maryland resident Vicente Gutierrez. But its first issue, which came out in October 2014, is thick with content ranging from archival band photos to long-form interviews with people on the fringes of independent music — some of whom don’t actually make music.
Gutierrez says he’s particularly interested in those folks in the background, like music photographers and writers.
“I decided to start the magazine because I felt there was a need to include these other voices,” the publisher writes in an email. “They are just as valuable in the way we experience music culture. All of these personalities feed into a ‘scene.’ And in a way, our comprehensive experience is a life with music, which is one key facet of the magazine’s editorial approach.”
“Since I’m from D.C., I always like to include something from the D.C. area,” Gutierrez writes.
Gutierrez has contributed to music publications like Wire and Pitchfork and worked as an editor at a media studio, and he’s spent a lot of time living, working and studying abroad. He moved back to the area to hunker down and work on HIGHWAY, which he’s been doing since the summer of 2012. But he wanted to ensure that his new project would reach an audience far beyond the beltway.
One thing HIGHWAY doesn’t try to do is mimic the blogosphere, with its frantic coverage of super-current bands. That’s not Gutierrez’s focus.
“One reason why we decided to not cover the most current acts is because it’s a fervent conversation already happening in a number of vibrant outlets,” Gutierrez writes. “Independent music couldn’t ask for more. As a publication, the focus shifted because I didn’t feel we could add anything to that conversation.”
“Publishing twice a year gives us time to evaluate and present stories which we feel are worthwhile and able to provoke thought and trigger conversation,” Gutierrez writes. “The publication is meant to be a conversation starter, and that’s one reason why we made it pocket-size — so you can bring it with you.”
(Excerpt from http://bandwidth.wamu.org/highway-magazine-music-zine-from-dc/)
This year Germany celebrated the 25th anniversary of the fall of the Berlin Wall, and the world celebrated with them. In addition to the obvious world-historical repercussions of the event, the Mauerfall, as it’s known in Germany, also had an enormous impact on the state of popular music. The fall of the Wall and the subsequent reunification of the two Berlins (and, moreover, the sudden availability of so much abandoned real estate) set the stage for the emergence of Berlin’s techno culture: lawless parties in dank basements with minimal décor and punishingly loud systems. The empathic qualities of MDMA, meanwhile, helped smooth the frictions of reunification, as East partied with West for the first time.
That aesthetic and that ethic, DIY to the core, continue to inspire techno’s vanguard the world over, providing a crucial counterbalance to corporate EDM. In fact, Berlin techno has also proved to be very good business. From underground spaces like ://about blank to celebrated temples like Tresor and Berghain, Berlin’s array of clubs has contributed to the city’s status as Europe’s nightlife capital. Tresor founder Dimitri Hegemann is even considering buying the abandoned Fisher Body plant in Detroit, techno’s spiritual home, and developing a multi-story club there.
The causal relationship between the Wall coming down and the explosion of techno culture is at the heart of 2012’s Der Klang der Familie, Felix Denk and Sven von Thülen’s oral history of Berlin’s techno scene, which is now available in English.
“It was basically pure coincidence,” they write in the book’s preface. “This new, raw, stark machine music appeared—and then the Wall came down. In East Berlin, the administration collapsed; the former GDR capital became a ‘temporary autonomous zone.’ Suddenly, there were all these spaces to discover: a panzer chamber in the dusty no man’s land of the former death strip, a World War II bunker, a decommissioned soap factory on the Spree, a transformer station opposite the erstwhile Reich Ministry of Aviation. People were dancing at all these sites rejected by recent history, to a music virtually reinvented from week to week.”
Piecing together interviews with a wide range of party promoters, DJs, musicians, and scenesters, Denk and von Thülen—editors at Zitty and De:Bug, respectively—recount the story of Berlin techno from the 1980s through the late 1990s: Ufo, E-Werk, Tresor, the Berlin-Detroit connection, Loveparade, and more.
In the chapter excerpted here, those who were there recount the origins of Tresor—Europe’s most iconic techno club, hidden behind meter-thick walls in the basement vault of a disused department store in the former East Berlin. —Philip Sherburne
Taken in the streets, clubs, basements and bars of London between 1978 and 1987, the photographs in 78-87 London Youth celebrate the many mutations in London’s youth culture from the height of punk to the birth of Acid House. British photographer Derek Ridgers has documented the perennial youth ritual of dressing up and going out since he first picked up a camera in 1971, and has been drawn to virtually every subculture London has spawned, from punk to the fetish club scene of the present. From early on his photographs attracted the attention of both cultural institutions such as London’s ICA and music and style publications such as the NME and The Face. These photographs, made over a ten-year span, capture punk’s evolution into goth, the skinhead revival and the New Romantic scene, and the eventual emergence of Acid House and the new psychedelia. Gathered here, Ridgers’ images serve not only as a fascinating document of UK style and culture but as a testament to the creative spirit of youth; he lauds his subjects and their sartorial DIY panache. Among those portrayed are Boy George, Andrew Logan, Leigh Bowery and his boyfriend Trojan, Michael Alig, John Galliano, Hamish Bowles, Cerith Wyn Evans, Steve Strange and Martin Kemp and Steve Norman of Spandau Ballet.
Derek Ridgers (born 1950) is an English photographer with a career spanning more than 30 years. He is best known for his photography of music, film, club and street culture, and has photographed stars from James Brown to The Spice Girls, from Clint Eastwood to Johnny Depp, as well politicians, gangsters, artists, writers, fashion designers and sportsmen.
Die Welttraumforscher – Lieder, Zeichen, Forschungen: The World Dream Researchers. Songs, Signs, Explorations BOOK + 7″
Translator’s note: The expression “Welttraum” in “Die Welttraumfroscher” is a play on the words “Weltraum” (Universe), “Welt” (world) and “Traum” (dream). “Die Welttraumforscher” can both be read as “The Explorers of the Universe” as well as “The Explorers of the Dream of the World”.]
When the Welttraumforscher set out on 14 July 1981 no one could have realized that their journey would not be over soon. For more than thirty years now, Swiss Christian Pfluger (*1963) has been working on drawings, texts and songs for the fascinating universe of the imaginary trio, which is well populated with figures like Leguan Rätselmann or Kip Eulenmeister and his astronauts of the spirit. In the course of that journey, among other things, over 35 music cassettes, LPs and CDs have been released of songs that the Welttraumforscher themselves call “Bretzelberg Pop” and “Space Folklore”.
What to date has always been considered a kind of secret project is being presented here for the first time in a retrospective exhibition, “A Summer in Reality” and in monograph form, under the title “The World Dream Researchers. Songs, Signs, Explorations”. The book acknowledges an oeuvre that unites music, text and image into a single idiom and operates, in every sense, outside of time and space.
«‹Die Welttraumforscher› is definitely one of the most interesting and interestingly weird idiosyncratic things originating from Switzerland.»(dispokino, 24.7.2011)
The book is published by the Kunsthaus Langenthal in the occasion of the retrospective exhibition «A Summer in Reality» (29 August – 10 November 2013).
- 50 images of drawings: Covers and labels, series of drawings «Bretzelberger Bilderbogen», «Großer Bilderbogen», promo sheets etc.
- Selected Lyrics
- Christian Pfluger in conversation with Raffael Dörig and Michael Hiltbrunner
- «Space Folklore. Cosmic Music, or the Cosmos of the Welttraumforscher». An Essay from Sebastian Reier (Die Zeit, taz, B-Music)
- Biography, Discography
With the book comes the vinyl 7″ single including the songs «This Could Be The Greatest Love In Town» (1987) and «Mira II» (2000) from The Welttraumforscher. The book is completely bilingual.
Comes with bonus 7″ and postcards!
Special Sound traces the fascinating creation and legacy of the BBC’s electronic music studio, the Radiophonic Workshop, in the context of other studios in Europe and America. The BBC built a studio to provide its own avant-garde dramatic productions with experimental sounds “neither music nor sound effect.” Quickly, however, a popular kind of electronic music emerged in the form of quirky jingles, signature tunes such as Doctor Who, and incidental music for hundreds of programs. These influential sounds and styles, heard by millions of listeners over decades of operation on television and radio, have served as a primary inspiration for the use of electronic instruments in popular music.
Using in-depth research in the studio’s archives and papers, this book tells the history of the many engineers, composers, directors, and producers behind the studio to trace the shifting perception towards electronic music in Britain. Combining historical discussion of the people and instruments in the workshop with analysis of specific works, Louis Niebur creates a new model for understanding how the Radiophonic Workshop fits into the larger history of electronic music.
An overview of Phill Niblock’s work since the 60’s, through about twenty essays and interviews by musicologists, art critics and historians, various documents, scores, and more than 8 hours of videos on 2 double layer DVDs.
The book is accompanied by 2 double-sided DVDs of atypical videos: Remo Osaka, a
continuation of The Movement of People Working series, with a quite peculiar
soundtrack; two separate DVDs of the Anecdotes from Childhood, best viewed
together as an installation; and Katherine Liberovskaya’s 70 for 70 (+1), Seventy
(one) Sides of Phill Niblock, realized in 2003/2004 on the occasion of his 70th
birthday, which portrays the composer through memories recounted by friends and
relatives. With writings by Phill Niblock, Rich Housh, Erika King, Guy de Bièvre, Volker
Straebel, Richard Glover, Alan Licht, Seth Nehil, Rob Forman, Johannes Knesl,
Arthur Stidfole, Juan Carlos Kase, Raphael Smarzoch, Jens Brand, Bob Gilmore,
Ulrich Krieger, Richard Lainhart, Bernard Gendron, Susan Stenger, Mathieu
Copeland, and liner notes from the first two LPs.
CD + DVD housed in spotgloss and metallic ink-printed, book-bound and rope-tied jacket.
“Man Is A Rope are a grubby No Wave proposition from New York fronted by studio owner and former Synewave producer, Evan Kreeger (Gain), and counting Karl O’Connor (Regis) among their rank. The first release on their Variance label combines a five-track EP of taut No Wave rock/techno mutations, gothic dub and electronic noise with a DVD video to the package’s centrepiece, ‘Boys Weekend’. It’s a fuckload of fun for dark heads, a sophisticated yet less-than-salubrious blend of the kinda production Karl did for Tropic Of Cancer and Silent Servant albums mixed with the stench of five blokes in a studio and a gristly darkwave pop sensibility. It’s all steeped in richly visual sonic language, no doubt vividly enhanced by the capabilities of Kreeger’s Inanimate Objects studio in Manhattan on the stepping goth dub and Depeche Mode-like vocals of ‘Over It’, and all crawling with a sinister film of seedy, old skool New York grime.”