12 oz. Pigment Dyed Large Canvas Tote (Grey) Two sided print (black on one white on the other) "Extra long" 26" handles 14.75” x 14.75” x 5”(H x W x D unexpanded) 14.75” x 19.5” x 5” (H x W x D expanded)
Field tested and approved. This tote can comfortably hold about 40+ LPs; your groceries; your laundry. Printed on both sides and dedicated to one of the greatest performances in American horror history…
Eternal love and respect to M.B. 5/7/1949 - 8/4/2014
9 1/2” x 11 3/4” Paperback B&W w/ Full Color Published by FAB Press ISBN: 09522926083 1st Printing (2001) (This is a preowned book in excellent condition. Very minimal bumps / bends on cover and edges but barely noticeable. Very clean 'archival' copy.)
Description via FAB Press:
The Seventies was the heyday of independent film production in Britain and this decade marked the peak of creativity for the genre. Ten Years of Terror is an encyclopaedic record of this era featuring a stunning selection of film stills and truly great promotional artwork. This is a work of unparalleled research - a valuable and definitive reference work. Ten Years of Terror is a beautiful large-format book which thoroughly satisfies all cult and horror film fans; lavishly illustrated with many pages in full colour and stacks of never previously published photos.The Seventies was the heyday of independent film production in Britain and this decade marked the peak of creativity for the genre. Ten Years of Terror is an encyclopaedic record of this era featuring a stunning selection of film stills and truly great promotional artwork. This is a work of unparalleled research - a valuable and definitive reference work. Ten Years of Terror is a beautiful large-format book which thoroughly satisfies all cult and horror film fans; lavishly illustrated with many pages in full colour and stacks of never previously published photos.
Paul DeMarinis - Songs Without Throats 2xLP (BT041)
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2xLP Gatefold Sleeve w/ Liner Notes Computer, Keyboards, Synthesizer, Guitar, Composed by Paul DeMarinis Layout by Stephen O'Malley Mastered by Rashad Becker
Paul DeMarinis is a key figure in the history of electronic music since the 1970s. Collaborator with the likes of Robert Ashley, David Behrman, and David Tudor, DeMarinis is a pioneer in the development of gallery sound installation and digital music technologies. Black Truffle is thrilled to announce the release of a double-LP collection, selected in collaboration with the artist, focussing on DeMarinis’s exploration of synthesized voice and the digital analysis and manipulation of speech sounds. Drawing together tracks dispersed on compilations along with a number of pieces previously unheard in any form, Songs Without Throats offers a revelatory look into DeMarinis’s alternately accessible and uncompromising production between 1978 and 1995. Opening with a mesmerizing piece from 1978 pairing the voice and tamboura playing of Anne Klingensmith with strings of letters spat out by a Speak n’ Spell to the accompaniment of the randomised melodic patterns of DeMarinis’s homebuilt electronic instrument ‘The Pygmy Gamelan’, the record then dispenses with the live human voice in favour of its recorded and synthetic doubles. We follow DeMarinis’s restless probing of the possibilities of new technologies, from the hacked Speak n’ Spell (which gives us the austere ‘Et Tu, Klaatu’ 1979, another duet with Klingensmith, this time on bowed psaltery, in which the toy’s synthetic voice is stretched into an alien song) through to the use of digital audio samples manipulated with home computer technology in the early 1990s (including a remarkable dream-like collage piece that weaves a rare recording of Stalin’s voice and bird-like electronic twittering derived from its formant-glides into a rich tapestry of samples reflective of the dictator’s musical life). In between we get a rich sampling of DeMarinis’s signature work with speech melodies – usually unnoticed melodic inflections that lie within speech patterns – which he analyses and translates into synthesized musical accompaniment. These pieces draw on a wide variety of textual and vocal sources, which range from the hilarious to the menacing (‘Cincinatti [1830-1850]’ sets a detailed description of butchering techniques, for example) and an equally broad range of musical conceptions, combining elements as seemingly unlikely as Beethoven’s Opus 31 pianos sonatas and the sounds of 80s synth pop. The results are an extraordinary combination of the alien and the familiar. As DeMarinis himself characterises his work with vocal synthesis, this is ‘a kind of signal that simultaneously carried and obscured meaning and ideation, even as it created a sound world totally alien in esthetic’.
Paul De Marinis - Music As A Second Language CD (LCD3011)
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CD 2019 Repress Jewel Case Insert with Liner Notes Art Direction By Design Digital Editing and Mastering by Allan Tucker Lovely Music - (LCD 3011CD)
I can confidently say this albums sits at the top of my 'favorites list' within the Lovely Music, Ltd. catalog. Eloquently sequenced; evenly laced with humor and spirituality. Immaculate, immersive, and thought provoking. The best kept secret? - Ross
Description via De Marinis:
God is perhaps not so much a region beyond knowledge as something prior to the sentences we speak." — Michel Foucault
Hidden beneath speech's words and music's melodies I hear the singing of a voice more ancient than language. Brain's secret convulsions making muscles articulate, shaking the world with a song now lost to us except perhaps in laughter, giving birth at last to a duality of sound and meaning. Now we can write or read, compose or listen, speak and converse even about our words themselves. No longer are we aware that as we speak our voices rise and fall, following the deeper contours of speech melodies that prefigure our sense and our meanings. Even our music ceased long ago to sing these melodies, following instead the steady course of harmonic progression. Still, as we read a text, we must reconstruct the melodies of the writer to grasp the meaning. Still, we code our feelings in the melody of our speech. And still, as our leaders talk, hearing not the words but the music, we sing our quiet selves into a sleep of understanding. The whistles of the birds in our nose, the creaking door which closes a phrase, the measured pause which precedes a two-beat putdown – all these underlie the choice and order of our words. These are the ghosts in grammar's basement.
In many of my recent songs for synthesized voice I have treated speech melodies as musical material. By a process of computer analysis and resynthesis I extract the melodic line of spoken language, involve it in a variety of compositional transformations, and apply the result to digital musical instruments. Along the way, the original voice becomes more or less disembodied, but retains much of the original spirit and meaning. With the computer analysis model I can alter voicing – changing the speech into drones of whispers, articulation rate – speeding or slowing the speech independent of pitch, as well as a variety of other effects, many of which sound unfamiliar but agree with the kinematics of the vocal tract. As I compose, I listen and I think. I choose vocal sources which interest me, particularly the voices of evangelists, hypnotists and salesmen because of their great confidence and enthusiasm. — Paul De Marinis
Laetitia Sonami / Éliane Radigue - A Song For Two Mothers / OCCAM IX LP (BT122) (Signed by Artist)
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LP Liner Notes by Éliane Radigue, Laetitia Sonami, Paul DeMarinis Insert signed by Laetitia Sonami Layout by Lasse Marhaug Mastered by Joe Talia and Brendan Glasson
Black Truffle is thrilled to present a Song for two Mothers / Occam IX the first ever solo release from Laetitia Sonami. Born in France in 1957, Sonami studied with Éliane Radigue in Paris before moving to California in 1978 to study electronic music at Mills College, going on to make important innovations in the field of live electronics interfaces and multi-media performance. Sonami is perhaps most closely associated with one of her inventions, the Lady’s Glove, an arm-length tailored glove fitted with movement sensors allowing the performer fluidly to control digital sound parameters and processing, as well as motors, lights and video playback. Having performed with the Lady’s Glove for 25 years, Sonami retired it in 2016, turning her attention to the interface/instrument heard and pictured here, the Spring Sprye.
In Sonami’s own description, “The Spring Spyre is composed of three thin springs that are attached to reverb tank pickups, mounted on a metal ring. The audio generated when the springs are touched, rubbed or struck is analyzed in Max/MSP. The extracted features are then used to train machine learning models in Wekinator and Rapidmax and control the audio synthesis in real time. We never actually hear the springs.” After decades of aversion to documenting her work on recordings, a Song for two Mothers / Occam IX treats listeners to two side-long performances with the Spring Spyre: the very first piece developed for the instrument and the most recent, the two contrasting remarkably in sound palette, energy and form. A Song for two Mothers (2023) spins an intricate web of rippling synthetic burbles, rapid sweeps and fizzing textures. Performed in real time with the sensitive and partly uncontrollable Spring Sprye ("a bit tyrannical," Sonami calls it), the music is delicate yet chaotic. Abrupt gestures hover against a backdrop of silence, "devoid of spatial or temporal direction". After several minutes, the sound-world becomes metallic and percussive, tapping and ticking in pointillistic flurries before a wavering harmonic cloud emerges, sprinkled with resonant drips and pops.
Occam IX is a radically different proposition. At the outset of Sonami’s exploration of the Spring Sprye, she asked her former teacher Éliane Radigue to compose a piece for it—and her: like all of Radigue’s work since she ceased working with analogue electronics at the beginning of the 21st century, Occam IX is written not only for an instrument but also for a particular performer. These scores are developed verbally, through meetings and conversations between performer and composer; each is grounded in an image (usually kept from listeners, to avoid influencing their experience); all magnify the subtlest acoustic phenomena and require great commitment and patience from the performer. Sonami’s is one of the few Occam pieces to make use of electronics, bringing it closer to Radigue’s famous longform pieces for ARP 2500. Beginning from a rumbling low tone, the listener is gradually immersed in slowly lapping waves of synthetic tones, eventually thinning out into delicate bell-like pings against a background of white noise, reminiscent of one of the most beautiful sections of Kyema from the Trilogie de la Mort. Accompanied by notes from Sonami, her longtime collaborator Paul DeMarinis, and Radigue, and illustrated with scores, photographs and images of the Spring Spyre, a Song for two Mothers / Occam IX is an essential document celebrating an under-recognised pioneer of electronic music and performance.
Originally published in limited quantities in 1981, Halloween: A Fantasy in Three Acts collects photographs taken by Ken Werner at San Francisco’s adult Halloween celebrations from 1976 to 1980, assembling a visual narrative of American consciousness and popular culture as seen through lenses of queerness, black humor, and the macabre. Once touted as the “Mardi Gras of the West,” the raunchy, mostly open-air nighttime costume parties documented by Werner were hugely popular events organized primarily by LGBT and sex worker advocates, attracting tens of thousands of curious attendees as well as conservative ire from around the nation. Reissued for the first time in decades, this underground classic explores a bacchanalia worthy of the pagan and occult roots of the Halloween ritual—a magical dream/nightmare-land of terror and joy, with uninhibited celebrants reveling in stunning self-made guises that combine cartoon logic, sexual extravagance, and a highly irreverent take on American mythologies.
Desperate Visions: The Films of John Waters & the Kuchar Brothers by Jack Stevenson
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6 1/2” x 9 12” 256 pages Softcover B&W Published by Creation Books ISBN: 1871592348 1st Printing (1996)
(This is a used book in very good condition; minor bumps on corners and front cover. Slight crease on bottom left back cover. Unmarked and clean copy.)
John Waters is the notorious director of such cult-movie classics as "Pink Flamingos", "Female Trouble", "Desperate Living" and "Hairspray".
Desperate Visions features several in-depth interviews with Waters, as well as with members of his legendary entourage including Divine, Mary Vivian Pearce, Mink Stole and Miss Jean Hill. George and Mike Kuchar are the directors of such low budget/ underground classics as "Sins of the Fleshapoids" and "Hold Me While I'm Naked". Their visionary trash aesthetic was a great influence on the young John Waters.
Desperate Visions includes extensive interviews with the Kuchars, as well as a comprehensive assessment of their career and influence. A unique feature on actress, Marion Eaton, star of the gothic porn epic "Thundercrack!", is also included. With many rare photographs, filmography and index, Desperate Visions is an essential introduction to the wild world of John Waters and to the outrageous camp/underground film tradition which his movies exemplify.
This artist's book is the first comprehensive monograph on sound and media artist Paul DeMarinis, born in 1948 in Cleveland, Ohio. DeMarinis has avidly followed the development of communication media, interested in discoveries being made in the realm of physical phenomena and the corresponding objects and devices that have been invented as well as in their cultural and social aspects. His works embody an aesthetic culture of invention permeated by a critical, yet humorous and poetic spirit. Buried in Noise is being published on the occasion of DeMarinis's artist fellowshipat the DAAD artists' program in Berlin. The publication compiles ocumentation on Paul DeMarinis's complete oeuvre since 1973 and the first published compendium of texts by the artist.
Black Truffle are honoured to announce the release of She’s More Wild, a collaborative project by David Behrman, Paul DeMarinis, Fern Friedman, Terri Hanlon and Anne Klingensmith recorded at Mills College in 1981. Previously known only to cognoscenti through an obscure self-released three-track 7”, this is the first publication of the complete album, an outrageous confection that mixes art-song and theatrical monologue with live electronics. Starting life as a performance art piece described by the artists as ‘Western Performance Noir’, the record centres on a series of texts written by Friedman and Hanlon in which female narrators comically embody a series of iconic roles (The Recording Artist, The Former Movie Star, and The Rancher). Other lyrical themes include recurring references to the notorious cannibal pioneers, the Donner Party, an ironic take on Japanophilia, and the luscious “Archetypal Unitized Seminar,” a satirical poke at self-help culture, whose lyrics are rendered in Indian raga style to the accompaniment of electronic glissandi and toy noisemakers.
Delivered by Friedman, Hanlon, Klingensmith and special guest Maggi Payne in forms ranging from spoken monologue to Country & Western waltz, the texts are accompanied by instrumental and electronic contributions by Behrman and DeMarinis. Musically, She’s More Wild is truly unique, demonstrating these two pioneers of live-electronic performance adapting their signature processes to something approaching a ‘pop’ format: we hear the gliding, frequency-sensitive electronics familiar from Behrman’s classic On the Other Ocean and the mutant hacked Speak n’ Spell heard on DeMarinis’ Songs Without Throats propelled by drum machines and twisted into song forms. Perhaps comparable only to the David Rosenboom and Jacqueline Humbert’s contemporaneous Daytime Viewing in its interweaving of performance art tactics, high-tech electronics and pop sensibilities, She’s More Wild is an essential document, both immediately gratifying and ultimately thought provoking. Presented in a deluxe gatefold sleeve with various texts and archival images.
Bleeding Skull! A 1980s Trash-Horror Odyssey by Ziemba and Budnik
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8” x 10” 256 pages Softcover B&W Published by Headpress
(This is a used book in very good condition; slight wear on corners. Small .25 inch tear on the back cover edge. Clean and unmarked. Nice archival copy; rare book.)
Description via Headpress:
BLEEDING SKULL! features 300 in-depth reviews of movies that have escaped the radar of people with taste and the tolerance of critics. Black Devil Doll From Hell, A Night To Dismember, Heavy Metal Massacre, The Last Slumber Party – this book gets deep into gutter-level, no-budget horror, from shot-on-video (SOV)revelations (Doctor Bloodbath) to forgotten theatrical casualties (Frozen Scream). Clown midget slashers! The Indonesian Jason! A pregnant woman in a bikini who eats fried chicken before getting her fetus ripped out by a psychopath! It's all here. And it's all curated by the enthusiastic mindsbehind Bleedingskull.com, the world's foremost authority on trash-horror obscurities.
Jam-packed with rare photographs, advertisements, and VHS sleeves (most of which have never been seen), BLEEDING SKULL! is an edifying, laugh-out-loud guide through the dusty inventory of the greatest video store that never existed.
The Last Slogan by Nicolas Ballet and Jean-Pierre Turmel
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8.5" x 12" 192 pages Hardcover Full Color Offset Published by Timeless Editions
Description via Timeless Editions:
This book pays tribute to one of counter-culture’s single most iconic figures of the past fifty odd years, someone who has over the course of he/r career influenced countless fellow artists and theorists. Comprised of an exclusive unpublished interview with the artist conducted by Nicolas Ballet in 2016, theoretical texts on he/r work, and archival documents from the personal collection of Jean-Pierre Turmel.
Comprised theoretical texts on he/r work, and archival documents from the personal collection of Jean-Pierre Turmel. The Last Slogan offers a completely new perspective on the work of Genesis Breyer P-Orridge.The book collects multiple letters sent by Genesis to Jean-Pierre Turmel from the mid-1970s till early 1990s. These unique personal archives provide an unequaled insight into Genesis Breyer P-Orridge’s life-long journey via a deeply intimate correspondence with a close friend and associate, an intellectual sparring-partner of sorts, in which the artist discusses he/r inner thoughts, strategies, doubts and plans without any of the usual control filters.
Slot Machine Music by Adrian New (Hanson - HN271 (2014)) Picture Disc LP
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Picture Disc Vinyl LP Stiff Polysleeve Includes insert w/ description Edition of 500 Recordings and Photographs by Rew Layout and Production by Dilloway Mastering by Lescalleet
"It must have been around 2014 when I first encountered this record and I've thought about it ever since. 'Transcendent' and 'eloquent'; beautiful stuff. 'Good luck!' - Ross
Artists Description:
Slot Machine Music: field recordings from middle American casinos.
"Chance animates the smallest parts of the universe: the scintillation of the stars is its power, a wildflower its incantation." - Georges Bataille, Le Petit
Video gambling addicts, academic researchers, and industry professionals alike describe the trancelike state into which problem gamblers suspend themselves with remarkable consistency: they unanimously call it the machine “zone”, a kind of inner experience during which the rhythmic flow of human-machine collusion borders on mysticism. Time is abolished in the act of contemporary video gambling—simulated slot reels roll, virtual poker decks deal, and all worldly concerns are lost—leaving only the aura of total zone immersion in its wake. Sometimes characterized as the crack cocaine of gambling, the intensity of the machine zone is a symptom of casino ergonomics: oxygen-saturated pleasure air, subtly controlling walkways, mesmerizing lights, and, as captured here, meticulously engineered sonic environments all play a role in evoking the timeless void of the zone.
Although I was not yet aware of the extent to which casinos tailor their environments for maximum comfort (and, correspondingly, profit), I did know as I crossed the threshold of my first casino floor earlier this year that it would not be my last visit. Hit by a cornucopia of slot machine tones, triggering aleatorically and coalescing into shimmering masses, I was struck by the need to return and record the sounds that so entranced me. It wouldn't prove to be easy—casino security is intense (you can hear me get warned of the consequences of taking photos at the beginning of the disc's second track)—and due to the clandestine nature of the operation, my recording techniques were by no means sophisticated. Equipped with nothing but an Olympus LS-11 recorder's internal microphone stashed in a sweaty coat pocket, I allowed the lure of the zone to guide me through a series of ambling recording sessions over a period of four months, the best of which are included here.
I learned a lot about casino sonics in the process: game designers, for example, tune their machines to the key of C in order to optimize harmonic cohesion; one team of designers, the story goes, even spent a month perfecting a single 'ding' sound on one machine. In the interest of preserving the true ambient sounds of the casinos these recordings are completely untreated but, lost in the sea of chance, I did exert some affirmative control by means of meandering intent and actual playing of the games. With my playing of the machines I got a taste of the debilitating consequences that accompany the enchantment of video gambling. The disc in your hands represents my attempt to divorce the exhilarating fantasy of the casino from its unfortunate reality. May the zone run deep within you. - Adrian Rew, 2013
6 1/2" x 9 1/2" 416 pages Paperback B&W Published by Critical Vision / Headpress ISBN: 1900486105 2nd Printing (2001) (This is a preowned book and has been read; no markings and no missing pages. The cover is in excellent condition; very small fold on the spine from being read.)
Description via Headpress:
The eagerly awaited follow-up to Kerekes & Slater's acclaimed Killing for Culture, See No Evilis an exhaustive and startling overview of Britain's video nasty' culture which chronicles the phenomenal rise of video technology, concern for the children', the clampdown of the Video Recordings Act (1984), and video's alleged associations with criminal activity.
See No Evilcontains studies of film-induced' murder cases (Columbine and Michael Rambo' Ryan), interviews with the video underground' (bootleggers and dealers), plus detailed and insightful commentary on contentious movies in both Britain and the US.
6 3/4" x 9 1/2" 284 pages Paperback B&W Offset Published by Creation Books 2nd Printing (1994)
(This is a preowned book in excellent condition. Very minimal bumps / bends on corners and edges but barely noticeable. Very clean archival copy.)
Description via Creation Books:
Definitive investigation into that controversial and inflammatory of all urban myths: the "snuff" movie. Including: Feature film, Mondo film, Death film, and a comprehensive filmography and index.
Illustrated by rare and stunning photographs from cinema, documentary and real life, Killing for Culture is a necessary book which examines and questions the human obsession with images of violence, dismemberment and death, and the way our society is coping with an increased profusion of these disturbing yet compelling images from all quarters.
• Interview with Darksmith • Traxxx: CBN decoding A Colored Savior track-by-track with Dan Timlin • Interview with The Haters • Turtle Talk: Alexander Tominsky and Carrie DeCunzo Talk Music About Bogs • Interview with Nuclear War Now!Yoshi Yubai interviews Yosuke Konishi • 14 pages of reviews • Printed in full color on #80 gloss paper. 76 pages, all content.
45th Anniversary Edition 6 panel digipack Includes 12 page booklet Exclusive liner notes by Graeme Revell Old Europa Cafe - OECD 341
'Sometimes I wish I could go back and hear the first two SPK records for the first time. I will truthfully say listening to these two reissue CDs from Old Europa Cafe has only further instilled my belief that describing these two records as 'influential' is the greatest understatement. ‘Information Overload Unit’ came out in 1979; listen to it. YES this was recorded in 1979. I’m sorry but ‘highest possible recommendation’. - Ross
6 panel digipack Exclusive liner notes by Graeme Revell (2019) Old Europa Cafe - OECD 274)
'What to say about ‘Leichenshrei’? If you haven’t drank the juice of ’79s ‘Information Overload Unit’. ‘82s ’Leichenshrei’ is going to force feed you through the rustiest funnel you can imagine. SPK reveals its ambitions; their sound becomes more refined but still unmuzzled and foaming through its rotting teeth. This is getting graphic; don’t turn it off. Play it again (and does it get any louder?). Change your life. ALL TIMER.' - Ross
'This is ‘it’. ‘Infra’. Turn the dial up and give the keys to Kayn. This one might be the best entry point for anyone looking to ‘dive in’. Enveloping and (some times) arresting. ‘Dynamic’ would be selling it short. Originally released in 1979 but could be released 15 years in the future and no one would question. Beautifully remastered by Jim O’Rourke and if you are familiar with his work on ‘Steamroom’; YEAH he’s ‘on the tip’ as well. Highest recommendation possible. Theres so much info; dive as deep as you’d like.' - Ross
3xCD Boxset Includes 17 page booklet Reiger-records-reeks - KY-CD2201-03
14CD set housed in foldout rigid box Includes 78 page booklet w/ Full English Translation INA 6060/74 (2024 Repress)
'One COULD put 'everything' aside and grind through all that is offered in this more than generous box. BUT the duration of your listening session would be 16 hours and that's not the point. Radigue is one of the most important electronic musicians to emerge in the past 50 years. Her music will serve you well throughout your life and generations to come. Incredible; eloquent; transcendent; top tier. Comparisons can be made but Radigue has created her own criteria. (Recommended pieces 'Adnos I-II-III' and 'Trilogie de la Mort'.) - Ross
CD1 1. Chry-ptus (version 2001) 24’01 2. Geelriandre 29’57 CD2 1. Chry-ptus (version 2006) 23’10 2. Biogenesis 21’06 3. Arthesis 25’40 CD3 1. Ψ 847 (version concert) 71’08 CD4 1. Adnos I 71’28 CD5 1. Adnos II 72’44 CD6 1. Adnos III 72’40 CD7:Les Chants de Milarepa 1. Mila’s Song in the Rain 19’10 2. Song of the Path Guides 21’01 3. Elimination of Desires 17’22 4. Symbols for Yogic Experience 19’29 CD8: Les Chants de Milarepa 1. Mila’s Journey Inspired by a Dream 62’22 CD9: Jetsun Mila 1. Jetsun Mila (première partie) 44’25 CD10:Jetsun Mila 1. Jetsun Mila (seconde partie) 39’57 CD11: Trilogie de la Mort 1. Kyema 61’07 CD12: Trilogie de la Mort 1. Kailasha 56’09 CD13: Trilogie de la Mort 1. Koumé 51’18 CD14 1. L’Île re-sonante 55’04
11" x 13" 188 pages Hardcover Full Color Offset First edition of 500 Language French / English Published by Timeless
Description via Timeless:
When Throbbing Gristle donned their infamous camouflage uniforms in 1980 it became a pivotal statement for industrial and post-industrial fashion. Few of the countless imitators realised that those particular uniforms were custom-made and designed by their close ally Laurence Dupré. In true TG fashion expectations were confounded and a deeper level of importance literally hidden away from easy deciphering. Timeless feels honoured to present a first extensive overview of Laurence Dupré’s early career raging from her DiY fashion zines of the late 70s/early 80s dealing with camouflage patterns and appliances, her collages for Sordide Sentimental, her meeting with Genesis P-Orridge in Hackney to her design worky not only for the TG uniforms, but also other aspects of the latter day TG image. Showcasing for the first time her unique trademark designs envisioned with her brother Loulou Picasso of the Bazooka group. Richly illustrated in colour, the 188 page book was designed by Loulou Picasso and contains insightful essays and contributions from Jean Pierre Turmel (Sordide Sentimental), Genesis Breyer P- Orridge, Neville Body and Elli Medeiros.
Contagious Magick Of The Super Abundance - Ian Johnstone
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11.25" x 8.5" 192 pages Hardcover Full color offset First edition of 500 Published by Timeless
Description via Timeless:
A full colour artbook compiled under the aegis of Ian’s long-time friend and partner Mikel. The book collects all of his major visual art, arguably the best examples of which have rarely been on public display, early oft-times humorous sketches, extensive photo documentation of and an essay on his performance work, his cover art (most notably for COIL) and tattoo designs, Also included are the 23 Stab Wounds of Julius Caesar in all their permutations. A few peeks into his private life including unseen photos with his one-time partner John Balance as well as essays on the man and his work by Julie Travis, Serena Korda and Mikel.
7" x 9.75" 580 pages Hardcover B&W Offset Published by Korm Plastics ISBN: 9789059398634
Description via Korm Plastics:
Frans de Waard published Vital, a fanzine for electronic and electroacoustic music, from 1987 to 1995. It was a low-budget, Xeroxed publication, bearing the revolutionary instruction: ‘No Copyright Publication. Reprint Now!’ It featured interviews with Asmus Tietchens, O Yuki Conjugate, Merzbow, P16.D4, Pierre Henry, Jim O’Rourke, Brume, Döc Wor Mirran and many others, hosted discussions on copyright, plagiarism and plunderphonics, house music, ambient music, cassette culture and noise, and included contributions from musicians such as Leigh Landy, Godfried Willem Raes, John Duncan, and GX Jupitter-Larsen. Every issue included reviews of cassette releases, LPs, CDs and books. A total of 44 issues were published. Vital moved online in 1995, where it appeared every week since as Vital Weekly.
This book is a reprint of all 44 issues and is a lively record of the heyday of cassette culture and industrial music, but also of developments in the wider field of electronic music.
