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Excerpts from gloomy days is an intimate journey through the winters of the province of Ravenna, captured from the window of my car between 2015 and 2017, wandering between the city, the countryside, the industrial areas and reaching the coast. The photos, taken through fogged up windows and raindrops, tell of blurred landscapes, deserted roads, and melancholic atmospheres, suspended between the real and the dreamlike. A tale of moments stolen from time, where rain becomes a brush and the fogge…
Adriano Zanni is well known here at Boring Machines. Our collaboration started in 2008 with the album "Piallassa (red desert chronicles)", an album inspired by a simple but meaningful coincidence. In 1964 Michelangelo Antonioni shot his first color film "Il Deserto Rosso" (Leone d'Oro at Venice Film Festival) inside and around the huge assembly of petro-chemical factories in the outskirts of Ravenna, known at that time as ANIC. Adriano Zanni was born in 1964 in Ravenna.
In the last 25 years he…
Among the few truly experimental composers in our cultural history, Harry Partch’s life (1901-1974) and music embody most completely the quintessential American rootlessness, isolation, pre-civilized cult of experience, and dichotomy of practical invention and transcendental visions. Having lived mostly in the remote deserts of Arizona and New Mexico with no access to formal training, Partch naturally created theatrical ritualistic works incorporating Indian chants, Japanese kabuki and Noh, Poly…
Hardback cover, richly illustrated. A full-length book on Boards of Canada, the Scottish duo of Michael Sandison and Marcus Eoin, published by Disco Pogo with the approval of the band and of Warp. It is the fifth volume in the magazine's Tribute series, after Daft Punk, Aphex Twin, LCD Soundsystem and Andrew Weatherall, and the artist readers had been requesting most since the series began. Ships 10 November 2026.
Sandison and Eoin started recording in the Pentland Hills outside Edinburgh in the…
For a group founded on refusal, The New Blockaders have collaborated a great deal. It is less a contradiction than it looks. Where most collaborations in music amount to two recognisable personalities meeting and reinforcing each other, TNB's have always worked in the opposite direction: material is passed over, altered, buried, returned, and what emerges belongs to nobody in particular. Paul Hegarty has described the process as one in which individuality gets swamped, the sound cut loose from a…
Few gestures in the history of recorded sound have been as absolute as the one Richard and Philip Rupenus made in a garden shed in rural Newcastle in 1982, when – as The New Blockaders – they committed Changez Les Blockeurs to tape and, with it, drew the founding line of noise as an art of pure negation. From the outset TNB armed the music with a manifesto: blockade as resistance, an anti-music and anti-art set against every convention of composition, performance, and even personality, the sound…
Few gestures in the history of recorded sound have been as absolute as the one Richard and Philip Rupenus made in a garden shed in rural Newcastle in 1982, when – as The New Blockaders – they committed Changez Les Blockeurs to tape and, with it, drew the founding line of noise as an art of pure negation. From the outset TNB armed the music with a manifesto: blockade as resistance, an anti-music and anti-art set against every convention of composition, performance, and even personality, the sound…
304 pages, paperback. Serpent's Tail Classics edition, with a foreword by Hanif Kureishi. Originally published in 2006. The sixties began in the summer of 1956, ended in October 1973, and peaked just before dawn on 1 July 1967, during a set by Tomorrow at the UFO Club in London. That is Joe Boyd's thesis, delivered in the opening pages with a precision that is obviously a joke and obviously not. He was in the room. He built the room.
This is the sixties memoir that survives re-reading, and the r…
234 pages, paperback, 14 x 17cm. Over 200 flyers, compiled by Masala Noir, Paris. Nobody was supposed to keep these. A flyer is made to be handed out on a Tuesday, read once, and dropped in the street on the way to the show. It has a job, the job lasts about four days, and then it is rubbish. That is the whole reason this book exists and the whole reason it is worth having: what you are looking at is the accidental survival of a form designed to be thrown away.
And what a form. No budget, no cli…
490 pages, hardback, with 60 black and white photographs. Foreword by Francis Ford Coppola. Published by Oxford University Press. Voltage control. Two words, and everything downstream of them: the oscillator that tracks a keyboard, the envelope that shapes a note's attack and decay, the ladder filter that gives a sawtooth its wet, vocal edge. These are the grammar of the instrument, and they are almost all his. Anyone who has turned a cutoff knob has touched Bob Moog's thinking. He died in 2005 …
292 pages, 244 x 170mm, with figures and music examples. Published by Cambridge University Press in the Music since 1900 series, paperback. Zagreb, June 1961. On the programme: Karlheinz Stockhausen, Pierre Schaeffer, Mauricio Kagel, Witold Lutosławski, the Darmstadt serialists, the tape pieces coming out of Paris, Milan and Cologne, and the experiments of John Cage. In a communist country that had spent the previous fifteen years under socialist realism, with closed borders and almost no contac…
312 pages, paperback, with 8-page photo insert. 150 x 215mm. The first extended biography of Albert Ayler ever published in English, and it took twenty years to build. Part life story, part case file, and long overdue. Richard Koloda is a musicologist and a practising lawyer, and both trades show on every page. He was a long-time friend of Donald Ayler, Albert's trumpet-playing younger brother; a consultant on Revenant Records' ten-CD retrospective Holy Ghost: Rare And Unissued Recordings (1962…
Sarah Davachi's first book, From the Ruins of the Literal: Critical Organology, Timbre, and the Poetics of Affect, published by her own Late Music imprint. The title is borrowed from Paul Ricoeur, whose account of metaphor locates meaning at the point where literal sense gives way. Davachi turns that idea on the study of instruments and timbre, disciplines she sees as long governed by empirical, neuro-cognitive and modernist assumptions. Her objection is not that measurement is wrong but that it…
Eternal Rhythm: Conversations and Travelations with Don Cherry and Graeme Ewens is the book on Don Cherry we have been waiting for - not a biography written from the outside, but a portrait built from the inside, from hours of cassette-taped conversations recorded since 1979 by writer Graeme Ewens, a confidant, travel companion, and close friend of Cherry. Published by Ars Nova Workshop, this is an intimate, free-flowing document of one of the most unique and innovative voices to emerge from the…
There are price guides, and then there is Hans Pokora. Since the late nineties, his Record Collector Dreams series has been the secret handbook passed between the most obsessive diggers on the planet, the reference you reach for when a sleeve you have never seen surfaces and you need to know exactly what you are holding. This is the complete set: ten hardcover volumes, from 1001 through 10001 Record Collector Dreams, each one a different and exclusive window onto the rarest and most expensive co…
Few groups have exerted an influence so out of proportion to their commercial fortunes as The Velvet Underground. Formed in New York in 1965, the band sold modestly across four studio albums and had effectively dissolved by the end of the decade, yet the sound it built - the drone, the controlled noise, the plain-spoken songs about subjects pop had left untouched - became one of the foundations on which the next half-century of rock was laid.
"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 th…
In Sonic Boom, Spectrum & E.A.R. Vinyl, Danny Passarella turns Pete Kember’s solo history into a 300‑page artifact: every record from “Angel” to A ? Of When, unreleased audio, new interviews and ephemera mapped into a definitive, tactile chronicle.
Interviews with Machine Listening, Tomomi Adachi, Erin Gee, Pedro Oliveira; article: The Watery Graves of Electronic Speech, or Phonemes in Davey Jones' Locker; reports: Festival de la Imagen 2025, Choose Your Filter!...
Neural is a printed magazine dealing with new media art, with a peculiar attention to the networked and conceptual use of technology in art (the so-called net.art), hacktivism, or activism using electronic media to express itself, and electronic music, investigating how the te…
First published in 2003 and long out of print, Be Glad For The Song Has No Ending: An Incredible String Band Compendium is the definitive book about the ISB. Containing a wealth of interviews, essays, and ephemera from the band’s brief but tangled history, this new revised and expanded edition includes two new pieces by ISB member Rose Simpson on Witchseason Productions’ idiosyncratic offices and on recording with the ISB in the Sound Techniques studio, as well as interviews with Neil Tennant of…