Music & Sound

The Cricket – Black Music in Evolution, 1968-69
Amiri Baraka, A. B. Spellman, and Larry Neal (eds.)
Blank Forms - 35.00€ -

Complete facsimile of The Cricket, an important but underknown music magazine edited by poets and writers Amiri Baraka, A. B. Spellman, and Larry Neal in 1968–69—a rare document of the Black Arts Movement.

Published in the late 1960s by Baraka's New Jersey-based JIHAD productions around the time of the Newark Riots, The Cricket: Black Evolution in Music was an experimental music magazine running poetry, short plays, and gossip alongside concert and record reviews and essays on music and politics. Over four mimeographed issues, The Cricket laid out an anti-commercial ideology and took aim at the conservative jazz press, providing a space for critics, poets, and journalists (including Stanley Crouch, Haki Madhubuti, Ishmael Reed, Sonia Sanchez, and Keorapetse Kgositsile) and musicians (including Cecil Taylor, Milford Graves, Sun Ra, Mtume, Albert Ayler, the Black Unity Trio) to devise new styles of music writing. The publication emerged from the heart of a political movement—"a proto-ideology, akin to but younger than the Garveyite movement and the separatism of Elijah Mohammed," as Spellman write's in the books preface—and aimed to reunite advanced art with its community, "to provide Black Music with a powerful historical and critical tool," and to enable avant-garde Black musicians and writers "to finally make a way for themselves."

This publication gathers all issues of the magazine and a new substantial introduction by artist and writer Kodwo Eshun.

Preface by A. B. Spellman.
Introduction by Kodwo Eshun.

Texts by Billy Abernathy, Albert Ayler, LeRoi Jones / Imamu Ameer Baraka, Duncan Barber, Black Unity Trio, Hilary Broadus, Ben Caldwell, Stanley Crouch, Dan Dawson, Joe Goncalves, Milford Graves, Ronnie Gross, Clyde Halisi, E. Hill, Haasan Oqwiendha Fum al Hut, Norman Jordan, Larry A. Miller / Mwanafunzi Katibu, Willie Kgositsile, Don L. Lee, Mtume, Gaston Neal, Larry Neal, Ibn Pori, Sun Ra, Ishmael Reed, Roger Riggins, Sonia Sanchez, A. B. Spellman, James T. Stewart, Donald Stone, Askia Muhammad Touré.

Sudden Wealth with Roy Claire Potter
Chris Evans, Roy Claire Potter
Slimvolume Synthesis - 30.00€ -

Proposed by Chris Evans, Sudden Wealth is a collaboration with Morten Norbye Halvorsen, Graham Kelly and invited poets and artists who use spoken word as their medium. 

Sudden Wealth looks to how the flux of subjectivity in language can be shaped, agitated and re-imagined through a triangulation between written composition, intonation, and extrinsic sound composition. The latter spans analogue and digital instrumentation, foley recordings and algorithmically derived musical patterns. Divergent methods of composition work on and into a voice, modelling intonation, and affecting its sense and intent. 

This first iteration has been made with Roy Claire Potter, an artist who tells stories from fragmented, intense images that depict moving bodies or domestic scenes and architectural settings. A rapid vocal delivery, a sense of restricted or partial views of space, complex social and group dynamics and the aftermath of violent events are recurrent strands of Potter’s writing, which are often delivered with a dark and sometimes wilful humour. 

Chris Evans was the bassist with the now defunct Life Without Buildings and has previously produced musical compositions with Morten Norbye Halvorsen together with farmers and accountants for his ongoing series ‘Jingle’. Graham Kelly joins Evans and Halvorsen for this present series, Sudden Wealth.

Vocals: Roy Claire Potter.
Electronics: Morten Norbye Halvorsen.
Bass: Chris Evans.
Guitar: Graham Kelly.
Arranged and mixed by Morten Norbye Halvorsen.

Earwitness Inventory
Lawrence Abu Hamdan
Revolver Publishing - 27.00€ -

The ninety-six objects in this inventory are sourced from earwitness interviews Lawrence Abu Hamdan conducted as well as from trial transcripts across the globe. After SFX explores the ways we remember sound and the ways in which cinematic sound effects have created a collective acoustic unconscious. What is revealed is our difficulty in describing these memories when precision is vital. The objects listed here stand in for a missing sonic vocabulary, a language we do not yet speak. [publisher's note]

Social Dissonance
Mattin
Urbanomic - 18.00€ -

An argument that by amplifying alienation in performance, we can shift the emphasis from the sonic to the social.

Works in sound studies continue to seek out sound "itself" — but, today, when the aesthetic can claim no autonomy and the agency of both artist and audience is socially constituted, why not explore the social mediation already present within our experience of the sonorous? In this work, artist, musician, performer, and theorist Mattin sets out an understanding of alienation as a constitutive part of subjectivity and as an enabling condition for exploring social dissonance — the discrepancy between our individual narcissism and our social capacity.

Mattin's theoretical investigation is intertwined with documentation of a concrete experiment in the form of an instructional score (performed at documenta 14, 2017, in Athens and Kassel) which explores these conceptual connotations in practice, as players use members of the audience as instruments, who then hear themselves and reflect on their own conception and self-presentation. Social Dissonance claims that, by amplifying alienation in performance and participation in order to understand how we are constructed through various forms of mediation, we can shift the emphasis from the sonic to the social, and in doing so, discover for ourselves that social dissonance is the territory within which we already find ourselves, the condition we inhabit.

Dirty Evidence
Lawrence Abu Hamdan
Lenz Press - 40.00€ -

Richly illustrated, this book provides for the first time a visual overview of Lawrence Abu Hamdan's works of more than a decade, and elaborates on a formal vocabulary characterized by the aesthetics of sound and language.

On the occasion of Lawrence Abu Hamdan's exhibition at Bonniers Konsthall in Stockholm in 2021, a group of authors have been invited to engage with individual works and their underlying concepts. Abu Hamdan recognizes the space for art as a site where attention can be drawn to real socio-political conditions in order to challenge the structures behind them. The artist can therefore push at the boundaries of what constitutes testimony. The title "Dirty Evidence" comes from Abu Hamdan's definition of evidence in which a truth value is derived from its very inadmissibility before the law. It is precisely the evidence's figurative dirt and dirtiness that works toward the production of truth.

Lawrence Abu Hamdan (born 1985 in Amman, Jordan, lives and works in Beirut, Lebanon) is an artist and “private ear” whose projects have taken the form of audiovisual installations, performances, graphic works, photography, Islamic sermons, cassette tape compositions, potato chip packets, essays, and lectures. Abu Hamdan's interest with sound and its intersection with politics originate from his background in DIY music.

Edited by Fabian Schöneich.
Graphic design: David Bennewith. 

Texts by Lawrence Abu Hamdan, Natasha Ginwala, Ruba Katrib, Andrea Lissoni, Ramona Naddaff, Fabian Schöneich, Yasmine Seale, Theodor Ringborg, Eyal Weizman.

À L’ARRACHE: Portraits & récits de la scène musicale underground de Lyon, 1980—2020
Sébastien Escande (ed.)
Éditions Barbapop - 20.00€ -

« Des nuits des fêtes et de mille concerts que reste-il ? Des souvenirs brumeux de lieux improbables, des anecdotes en pagaille, une affiche dans ton salon, un flyer sur ton frigo, des histoires vertigineuses et des émotions de toutes sortes. On pensera aussi tout de suite à des visages, des rencontres, des aamitiés aui commencent au coin du bar ou fumant une cigarette dans un hangar glacial. Et puis ça se précise: tu te souviens tel concert génial, ce groupe qui t'obsède, cette salle moquette où tu écoutais des nappes de bruit, cette villa bourgeoise squatté qui débordait de sons obscurs et violents, cette ancienne usine occupée le temps d'un week-end par des teufeurs multicolores, un dojo de métalleux ou je ne sais quel autre endroit bizarre, on en veut encore. » [note de l'editeur]

336 pages de textes et d’images 
format 18 x 26 cm 
Graphisme : Félicité Landrivon avec Églantine Marcel 
Éditions BARBAPOP, Décembre 2021

Acoustic Thought
Snejanka Mihaylova
The Last Books - 20.00€ -

Acoustic Thought is an exegesis of the Gospel of Thomas, an apocryphal gospel found at Nag Hammadi in Upper Egypt in 1945.
 
With a score for six female voices by Lisa Holmqvist; a collage of writings by medieval female mystics; and photographs taken by Jeff Weber at the Coptic Museum in Cairo, during a research period at Beirut project space.
 
The book’s covers reconstruct patterns found on the covers of Nag Hammadi Codex II, which, as well as the Gospel of Thomas, contains the Apocryphon of John, the Gospel of Philip, the Hypostasis of the Archons, On the Origin of the World, the Exegesis on the Soul, and the Book of Thomas the Contender.
 
Presented and performed during Perfomance Days, Amsterdam (November 2014) and Hotel Theory, REDCAT, Los Angeles (November 2015).

Brown Rice
Don Cherry
Klimt - 32.00€ -  out of stock

Don Cherry's ecstatic world fusion masterpiece of the '70s, wedding Indian, African, and Arabic music to Miles Davis' electrified jazz-rock innovations.

Brown Rice is probably the most accessible entry point into Cherry's borderless ideal, jelling into a personal, unique, and seamless vision that's at once primitive and futuristic in the best possible way. Its title track is a sensual fusion of various styles and sounds from the African, Indian and Arabic traditions. It also represents the spiritual multiculturalism that Cherry was interested in exploring during this creative period. With ex-Ornette Coleman cohorts on board—Billy Higgings on drums and Charlie Haden on double bass (also heard on electric)—the album (originally released in Italy in 1975) is a cult on its own.

Don Cherry (1936-1995), composer-trumpet player, flutist, percussionist and pianist, is an essential figure in American jazz, free jazz and avant-garde music.

Eternal Now
Don Cherry
Klimt - 32.00€ -

An impressive title on Don Cherry's far and wide discography. On this date he went literally East, playing Tibetan and Asian instruments. The album was originally released in 1974 on the Scandinavian label Sonet and highlights a session of the previous year with famous Swedish jazz improvisers Bengt Berger and Christer Bothen.

Don Cherry (1936-1995), composer-trumpet player, flutist, percussionist and pianist, is an essential figure in American jazz, free jazz and avant-garde music.

Gut Feelings – Melodies and Aromas
Louise Siffert
DUUU - 22.00€ -

With the vinyl recording of a musical, the artist proposes a new chapter in her project on fermentation as a living, palpable theory that blends body, feminism, and community.

Gut Feelings is a musical sung and performed by giant bacteria. It is a reference to lesbian separatist communities and more specifically to their capacity to create other forms and ways of life, outside of unliveable norms. The motif of fermentation here becomes a metaphor for the activity of a micro-organic and ungendered community, both human and non-human, alive, moving and changing form. In the manner of fermentation, this community in constant activity evolves autonomously, feeding itself and the space around it.

Louise Siffert (born 1988 in Strasbourg, lives and works in Paris) is a French performer. The world of work, alienation, the search for well-being, the place of habits: Louise Siffert's performances question and relate these current themes in theatrical and burlesque settings. Anchoring her work in scientific and sociological reflections, she creates characters with exacerbated personalities, overexploiting the codes of language and behavior that are attributed to them.

Gay Guerrilla – L'histoire de Julius Eastman
Julius Eastman
Éditions 1989 - 21.00€ -

A collection of biographical and musical essays about composer-performer Julius Eastman—a compelling portrait of Eastman's enigmatic and intriguing life and music.

Julius Eastman—composer, pianist and singer—began his professional journey at Ithaca College in New York State. Braving adversity penniless, yet with a few compositions in hand, in the 1970s he joined the experimental downtown New York music scene, collaborating with John Cage, Arthur Russell, Meredith Monk and Peter Maxwell Davies. In 1990, after seven years of "voluntary martyrdom" amidst psychotropic drugs and homeless wanderings, Eastman died and fell into obscurity. 

African-American, Eastman used his art throughout his life as a shield against the racial tensions dividing the United States, selecting titles for his compositions (Evil Nigger; Crazy Nigger) to shake up morals. Partly inspired by Patti Smith and her anthem Rock N Roll Nigger, these controversial titles were meant to honor Africans for their importance in the history of building the American economy, and constitute one of the singularities of his work.

Gay Guerrilla : l'histoire de Julius Eastman is the first French-language book devoted to the artist. From The New Yorker to the New York Times, posthumous praise for the composer reigns today, recognizing him as an iconic figure in the history of America's avant-garde.

Just for the Record: Conversations with and about "Blue"Gene Tyranny
David Bernabo
Ongoing Box - 26.00€ -

This book collects the extended interviews from the film, "Just For the Record: Conversations with and about "Blue" Gene Tyranny" (2020), including interviews with "Blue" Gene Tyranny, Joan La Barbara, Peter Gordon, Kyle Gann, David Grubbs, Nicole V. Gagné, Philip Perkins, Pat Oleszko, Tommy McCutchon, Jeff Berman, and Bill Ruyle.

"Blue" Gene discusses his life in San Antonio, Ann Arbor, Oakland, and New York, including stories of recording "Out of the Blue," touring with Carla Bley, shocking frat boys, and something known as "cookie Sunday." Interviews also discuss a variety of topics like the nature of reissuing records, improvisation and composition, and the lived experience of creating in places of activity.

Second edition of 50, yellow or red cover. 175 pages, perfect bound. 

Published 2022.

Sound American #26 – The OCCAM Issue
Éliane Radigue
Sound American - 15.00€ -

An issue dedicated to Éliane Radigue's ground-breaking compositional work, OCCAM Ocean as seen through the eyes of her chevaliers de Occam, the performers who, in collaboration with Radigue, have brought the sprawling musical eco-system to life.

Sound American releases for its twenty-sixth issue the OCCAM Issue, which focuses on the radical musical eco-system of French composer Éliane Radigue's OCCAM Ocean project. In a first for the publication, this issue is built solely around interviews with the performers that have collaborated with Radigue to produce this body of work over the last decade. Contributors include Charles Curtis, Carol Robinson, Rhodri Davies, Catherine Lamb, Julia Eckhardt, Silvia Tarozzi, Dafne Vicente-Sandoval, Laetitia Sonami, and Frédéric Blondy. All interviews were conducted by SA's editor, Nate Wooley, also a performer of Radigue's music. The issue features an opening invocation from Radigue herself, followed by writing on the history and practice of the OCCAM pieces, interviews, and a concluding essay by Wooley on his own experience performing OCCAM X. This special issue concludes with the last of a three-part series of “exquisite corpse” compositions, written especially for SA by inti figgis-vezueta in response to the preceding work of Moor Mother and Amirtha Kidambi. 

This issue also comes with a special one-of-a-kind pull-out poster detailing the entire OCCAM Ocean composition in all of its interconnected glory. Designed by Remake Designs, this is a unique graphic perspective on the human web of collaboration that Radigue has created.

Hypnotised: A Journey Through Trance Music 1990-2005
Arjan Rietveld
Mary Go Wild - 22.50€ -  out of stock

Trance has been the flagship for electronic music across the globe during the nineties and early zeroes. The sound’s trademark optimistic and euphoric aspects has brought some of the most compelling musical pieces of its time, and undoubtedly had a significant influence on future electronic music to come. Yet, its historical significance has been highly overlooked.

Hypnotised is the first encyclopedia to cover the global trance movement during its most prolific years. The 322-page book spans a near-complete discography of supposedly essential albums, labels and releases, alongside exclusive photos and in-depth interviews with influential artists and label owners.

Organic Music Theatre – Festival de jazz de Chateauvallon 1972 (2 vinyl LP)
Don Cherry
Blank Forms - 37.00€ -  out of stock

Don Cherry’s New Researches featuring Naná Vasconcelos.

In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936–1995) and the Swedish visual artist and designer Moki Cherry (1943–2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism "the stage is home and home is a stage." By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents  the start of his communal "mystical" period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky's The Holy Mountain.

Try Saying You're Alive!
Kazuki Tomokawa
Blank Forms - 20.00€ -

A memoir by Kawasaki-based writer and musician Kazuki Tomokawa, Try Saying You're Alive! offers a semi-fictionalized account of the vibrant Tokyo underground that he has been at the center of since the 1970s.

Recounting sixty years in the life of this "screaming philosopher." Try Saying You're Alive! traces Tomokawa's beginnings in the Akita Prefecture as a "runaway toddler," his adolescent basketball career, and his wanderings as a day laborer, gambler, painter, actor, drinker, and avant-garde folk guitarist. Anecdotes of figures such as novelist Kenji Nakagami, poet Shuji Terayama, actor Tôru Yuri, directors Takashi Miike and Nagisa Ōshima, and musicians Ryudo Uzaki and Kan Mikami animate this impassioned memoir by a legendary musician. This is the first English translation of Tomokawa's writing.

Kazuki Tomokawa (born Tenji Nozoki in 1950 in the Akita Prefecture area of northern Japan) is a prolific Japanese musician, singer-songwriter, artist and poet, one of the pioneers of acid-folk, active on the Japanese music scene since the beginning of the 1970s, companion of musicians such as Kan Mikami, Keiji Haino or Motoharu Yoshizawa. He has recorded more than thirty albums.

The Summer House Sessions (vinyl LP)
Don Cherry
Blank Forms - 32.00€ -  out of stock

Don Cherry's lost Summer House Sessions finally available over fifty years after they were recorded.

In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese—who later recorded Don's classic Organic Music Society and Eternal NowLPs—invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months' workshops into practice. Long relegated to the status of a mysterious footnote in Don's sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded.

On July 20, the musicians gathered at Freese's summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don's Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ates (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don's turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don's budding pursuit of "collage music," a concept inspired in part by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry's earthly vision.

Radio Works – 1946-48
Antonin Artaud
Diaphanes - 15.50€ -

The translated transcripts of two radio broadcasts by Artaud: To have done with the judgement of god (1947-48) and Madness and Black Magic (1946). Correspondences from that period are also included.

In the last two years of his life, following his release from the Rodez asylum, Antonin Artaud decided he wanted his new work to connect with a vast public audience, and chose to record radio broadcasts in order to carry through that aim. That determination led him to his most experimental and incendiary project, To have done with the judgement of god, 1947-48, in which he attempted to create a new language of texts, screams, and cacophonies: a language designed to be heard by millions, aimed, as Artaud said, for “road-menders”. In the broadcast, he interrogated corporeality and introduced the idea of the “body without organs”, crucial to the later work of Deleuze and Guattari. The broadcast, commissioned by the French national radio station, was banned shortly before its planned transmission, to Artaud's fury.

This volume collects all of the texts for To have done with the judgement of god, together with several of the letters Artaud wrote to friends and enemies in the short period between his work's censorship and his death. Also included is the text of an earlier broadcast from 1946, Madness and Black Magic, written as a manifesto prefiguring his subsequent broadcast. Clayton Eshleman's extraordinary translations of the broadcasts activate these works in their extreme provocation.

Antonin Artaud (1896-1948) was a French dramatist, poet, essayist, actor, and theater director, widely recognized as one of the major figures of twentieth-century theater and the European literary avant-garde.

Partners – A Biography of Jerry Hunt
Stephen Housewright
Blank Forms - 17.00€ -

The life and work of Amercian experimental musician/composer/intermedia artist Jerry Hunt.

Jerry Hunt was among the most eccentric figures in the world of new music. A frenetic orator, occultist and engineering consultant, his works from the 1970s through the early '90s made use of readymade sculptures, medical technology, arcane talismans and all manner of homemade electronic implements to form confrontational recordings and enigmatic, powerful performances. Tracing Hunt's life across his home state's major cities to a self-built house in rural Van Zandt County, this memoir-cum-biography by Stephen Housewright, Hunt's partner of 35 years, offers illuminating depictions of Hunt's important installations and performances across North America and Europe.

Housewright narrates a lifetime spent together, beginning in high school as a closeted couple in an East Texas and ending with Hunt's battle with cancer and his eventual suicide, the subject of one of his most harrowing works of video art. This highly readable narrative contains many private correspondences with, and thrilling anecdotes about, Hunt's friends, family, and collaborators, including Joseph Celli, Arnold Dreyblatt, Michael Galbreth, Karen Finley, James and Mary Fulkerson, Guy Klucevsek, Pauline Oliveros, Paul Panhuysen, Annea Lockwood, and the S.E.M. Ensemble.

Jerry Hunt (1943–93) was a Texas-born artist and musician with an astonishing mind and a mystifying practice. Hunt was a singular figure and one of the most radically unorthodox artists of his generation. His remarkable yet underknown work incorporated motion- and sensor-activated technologies, readymade props, eccentric choreographies, and sixteenth-century astrology into performance and composition. While he orbited avant-garde worlds in the United States and Europe, his personal life, spent largely on a ranch in rural Texas, remained elusive. 

Common Tones – Selected interviews with artists and musicians 2000-2020
Alan Licht
Blank Forms - 25.00€ -

The collection of previously unpublished interviews and extended versions of Alan Licht's famous conversations with figures in the American art and musicscene.

For the past thirty years, Alan Licht has been a performer, programmer, and chronicler of New York's art and music scenes. His dry wit, deep erudition, and unique perspective—informed by decades of experience as a touring and recording guitarist in the worlds of experimental music and underground rock—have distinguished him as the go-to writer for profiles of adventurous artists across genres. A precocious scholar and improvisor, by the time he graduated from Vassar College in 1990 Licht had already authored important articles on minimalist composers La Monte Young, Tony Conrad, and Charlemagne Palestine, and recorded with luminaries such as Rashied Ali and Thurston Moore. In 1999 he became a regular contributor to the British experimental music magazine The Wirewhile continuing to publish in a wide array of periodicals, ranging from the artworld glossies to underground fanzines. 

Common Tones gathers a selection of never-beforepublished interviews, many conducted during the writing of Licht's groundbreaking profiles, alongside extended versions of his celebrated conversations with artists, previously untranscribed public exchanges, and new dialogues held on the occasion of this collection. Even Lou Reed, a notoriously difficult interviewee also included here, was suitably impressed.

Grounds for Possible Music – On Gender, Voice, Language, and Identity
Julia Eckhardt (ed.)
Errant Bodies Press - 18.00€ -

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.

Contributions by 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.

Ventoline #3 – été 2021
Felicité Landrivon (ed.)
Brigade Cynophile - 8.00€ -  out of stock

Pourquoi faire un fanzine de musique entre filles? Pour contrer l’hypocrisie et la vacuité d’une presse dite «féminine», en réalité capitaliste et aliénante; pour réagir soit à l’insipidité d’une presse culturelle stérilisée par les discours de l’industrie, soit à la morgue de rédacteurs qui confondent authenticité et beaufitude, panache et insulte, et prennent encore la «meuf» pour une catégorie musicale.

Pour se rencontrer physiquement ou virtuellement, soulever des cailloux ensemble, échanger nos habits, éclairer les doutes autant que les évidences, se sentir moins seules. Pour se sortir un peu d’un flux digital qui nous rend malades, s’affranchir des likes, tanguer entre passé et futur (c’est quoi l’«actualité»? ça commence quand, ça finit quand?). Pour ne pas se rouler dans les formules toutes faites ou les bons sentiments, mais bâtir un truc concret, qui muscle la cervelle autant que les bras. Pour essayer de dresser des équations musique—texte—image dans sa tête, puis dans une surface rectangulaire. Et puis déconstruire des mythes, comme celui qu’il y a des gens qui peuvent écrire sur la musique et d’autres pas. Ça veut pas dire qu’on fait n’importe quoi, on se surprend même à redoubler d’une vigilance parfois épuisante: est-ce que je raconte pas trop ma vie? Est-ce qu’on voit que je fais du second degré? Est-ce qu’emploie le bon vocabulaire?

Dans ce 3e numéro de Ventoline, on déterre des reliques d’enfance, des histoires de migrations et de construction identitaire quand on est à la fois blanche et noire; on discute encore et toujours des relations entre le propre et le sale, le design et l’underground, le travail et l’amatorat; on parle de nos exigences et de ce que les autres attendent de nous; et puis parfois, forcément, on parle des relous.

Faute de temps, on n’a pas réussi à vous concocter de mots-croisés pour la plage, mais on vous souhaite quand même une agréable lecture et un été bien moelleux.

Les contributrices :

Miaux / Mia Prce (Anvers)
miaux.bandcamp.com

Hélène Marian (Paris)
https://www.helenemarian.com

Nelly Chevaillier (Paris)
instagram.com/nllchvllr

Anne Vimeux (Marseille)
http://sissi-club.com

Inès Di Folco
instagram.com/inesdifolco
rosemercieband.bandcamp.com
http://www.red-lebanese.com/index.php/music/mi-nina-ep—pira-pora/

Camille Foucou (Marseille)
instagram.com/camillefoucou

Juliette Romero
instagram.com/julietteromeroaaa

Camille Lavaud (Paris / Dordogne)
camillelavaud.com

Hélène Barbier
helenebarbier.bandcamp.com
celluloidlunch.com

Marie-Pierre Bonniol (Berlin)
studiowalter.com
julietippex.com

Victoria Palacios (Bruxelles)
instagram.com/victoriapalacios

Camille Potte (Marseille)
camillepotte.fr

Laetitia Gendre (Bruxelles)
laetitiagendre.com

DJ Marcelle (Amsterdam)
anothernicemess.com

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