Core members of the legendary British experimental band Coil tell its story in the present-tense, as events unfold across their twenty-year history.

Between 1983 and 2004 the legendary British experimental band Coil established themselves as shape-shifting doyens of esoteric music whose influence has grown spectacularly in the years since their untimely end. With music that could be dark, queer, and difficult, but often retained a warped pop sensibility, Coil's albums were multi-faceted repositories of esoteric knowledge, lysergic wisdom and acerbic humor. In Everything Keeps Dissolving, core members John Balance and Peter Christopherson tell Coil's story in the present-tense, and from their personal perspectives, as events unfold across their twenty-year history.

Accompanied by their various collaborators, Coil describe the fertile eruption of ideas, inspirations, and stray tangents that informed their lyrical and musical visions--as well as those dead paths and castoff concepts that didn't take root. No only a worm's eye view of Coil, these interviews provide insight into the late twentieth century's evolving British cultural underground as channeled through two of its most astutely mercurial minds.

Cobain on Cobain places the reader at the key moments of Kurt Cobain's roller-coaster career, telling the tale of Nirvana entirely through his words and those of his bandmates. Each interview is another knot in a thread running from just after the recording of their first album, Bleach, to the band's collapse on the European tour of 1994 and Cobain's subsequent suicide. Interviews have been chosen to provide definitive coverage of the events of those five years from as close as possible, so that the reader can see Cobain reacting to the circumstances of each tour, each new release, each public incident, all the way down to the end. Including many interviews that have never before seen print, Cobain on Cobain will long remain the definitive source for anyone searching for Kurt Cobain's version of his own story.

I'm no stranger to failure, and I'm aware it can arrive at any minute--as it often has. You have to keep things close to your chest and be aware of what's really important: the work, not everything around it. If you have faith in the work, then the people will come ... it's an artistic imperative, it has nothing to do with public perception or career or any of that crap.

The name, Swans, it's synonymous with who I am, but it's how it's achieved and it's achieved by people--those people need to have total commitment to making this sound and to making it utterly incisive and uncompromising. The work is everything and it has to--at least at the time--appear, to me, to be stellar. That's the prerequisite. It's an intangible thing where it really speaks and has some truth within it.
--Michael Gira

Over a span of some three and a half decades, Michael Gira's Swans have risen from chaotic origins in the aftermath of New York's No Wave scene to become one of the most acclaimed rock-orientated acts of recent years. The 1980s' infamous 'loudest band on the planet' morphed repeatedly until collapsing exhausted, broken, and dispirited in the late 1990s.

Swans returned triumphantly in 2010 to top end-of-year polls and achieve feted status among fans and critics alike as the great survivors and latter-day statesmen of the underground scene. Throughout, Gira's desire has remained to create music of such intensity that the listener might forget flesh, get rid of the body, exist as pure energy--transcendent--inside of the sound.

Through these pages, the musicians responsible tell the tale of one of the most significant bands of the US post-punk era. Drawing on more than 125 original interviews, Swans: Sacrifice And Transcendence is the ultimate companion to Swans and their work from the 1980s to the present day.

Before #MeToo, before Riot Grrl, there was Lydia Lunch. A central figure in the No Wave scene of the seventies--as founder of the seminal Teenage Jesus & The Jerks--Lunch has pursued a four-decade-long career turning the substance of her life into unapologetic, stark, and beautiful art.

From the eighties onward, Lunch became a lone voice publicly calling out the patriarchal aggression and day-to-day violence enacted by the powerful--and never gave a good goddamn whether you wanted to hear it or not. Refusing to be silenced, she took to stages the world over, fearlessly speaking the truth, whether of her own life with its legacy of parental abuse, her wild times owning the streets of New York City, or the world she saw around her.

Seeing no boundaries between creative mediums, Lydia has enacted her vision through music, spoken word, film, theatre, and more. Released as an accompaniment to Beth B's new documentary The War Is Never Over, this book is the first comprehensive overview of Lunch's creative campaign of resistance, a celebration of pleasure as the ultimate act of rebellion.

Across these pages, Lunch and her numerous collaborators--including Thurston Moore, Jim Sclavunos, Kid Congo Powers, Bob Bert, Richard Kern, Nick Zedd, and Vivienne Dick--recount life at the front line of the musical extremes of the seventies and eighties underground, the wild times, the disciplined productivity, life lived as a defender of the voiceless, and an unapologetic force of righteous fury.

I Found My Friends re-creates the story of Nirvana, from its earliest days in 1987 to its sudden end seven years later, through the words of the musicians and producers who played and interacted with the band. Soulsby interviewed over 200 musicians from bands that played and toured with Nirvana, including well-known alternative bands such as Hole, Mudhoney, Meat Puppets, Buzzcocks, Butthole Surfers, and the Jesus Lizard, as well as countless others from the alternative rock revolution. Readers get a more personal history of Nirvana than ever before, including Nirvana's consideration of nearly a dozen previously unmentioned candidates for drummer before settling on David Grohl; a recounting of Nirvana's famously disastrous South American shows from never-before-heard sources; and recollections from their first manager, who hosted the band's first ever gig.

I Found My Friends relives Nirvana's meteoric rise from the days before the legend to through their increasingly damaged superstardom. More than twenty years after Kurt Cobain's tragic death, Nick Soulsby removes the posthumous halo from the brow of Kurt Cobain and travels back through time to observe one of rock and roll's most critical bands as no one has ever seen them before.

We Sing A New Language is the first definitive account of Thurston Moore's work across many hundreds of collaborations, solo recordings and guest appearences. His long tenure in Sonic Youth might speak for itself, but in this book Moore's friends and colleagues speak revealingly for his other achievements, bringing together a wide variety of creative enterprises whose unifying thread is nothing more or less than Thurston Moore's passionate devotion to music. Celebrating everything from Fluxus, through acoustic guitar and black metal to noise and improvisation, his has been a career that defies easy summary but rewards careful exploration... Spanning 1978 to the present day, Nick Soulsby's book takes the reader inside the creative process, capturing each key shift and development in Moore's work from his time with Glenn Branca's seminal guitar orchestras to his wholehearted embrace of free jazz and improvisational music in the mid-nineties.The polar opposite of the rock star who becomes a calcified monument to what made him famous when young, Thurston Moore has retained the genuine youthfulness of the ever-inquisitive artist. Keen to experiment, willing to relinquish control and unafraid to take chances, he has allowed himself to remain creative and innovative. It's a unique achievement and one that finds worthy celebration in We Sing A New Language.

The story of the Centro Iberico, a legendary music venue of the UK's postpunk era, has been fragmentary and disjointed, its tangled twelve-year history never properly documented before now.

Its tale spans the Spanish Civil War as we follow an anarchist hero who spilt blood for his beliefs, fought the Nazis, fought Franco's fascists as part of the resistance, endured a death sentence commuted to twenty years' imprisonment, before devoting his twilight years to evangelizing his cause from exile in London. His survival and the inauguration of the Centro Iberico were thanks to London's anarchist underground, which maintained a foothold and kept the torches burning despite harassment and disinterest, before finding new life amid punk's co-optaion of anarchy as a youth culture phenomenon. Punks and political anarchists rallied together to support the victims of an egregious and shambolic antiterror trial. The Centro Iberico's peripatetic journey ended as it came into contact with the squatters occupying an abandoned school, morphing from its activist roots to become a creative hub which gave refuge to the residents of the anarchy center before the first murmurs of the '80s construction boom finally ended its existence.

The Centro Iberico was the only consistently established anarchist center that survived throughout the decade, forming a key connection between the international political prisoner support offered by the Anarchist Black Cross, the anarchist groups abroad that fueled the Black Flag newspaper, while sustaining its own activities in support of the cause.