A terrific, insider, pocket-book survey of the artwork of cassettes and records of 80s experimental electronic music — industrial, noise, new wave, minimal, drone, sound art, ambient and more. Out typography and wild lay-outs; free-hand drawings and scans like hauntings, magic, infections; Xerox lovely Xerox.
132 pages; recycled natural paper; some colour.
Beautifully done. Very warmly recommended.

Judging by the first few chapters, this is a tremendous biography, completely sussed — profound empathy, political nous, and a love of the music in door-stopping measure. Looking forward to it a lot.

264 pages of essays, librettos, lyrics, memories, nuff photos, scores, personal anecdotes by musicians, visual artists, researchers and archivists; including contributions by Mary Jane Leach, George Lewis and Kodwo Eshun, besides Eastman in his own words.
Bracingly hostile towards settled, sanctimonious thinking about the composer and musician — Hans Werner Henze’s favourite bass player, featured on Arthur Russel’s Go Bang — especially any squaring off his sexuality and skin colour in relation to canonical minimalism, this is a punchy, immersive, diverse and thought-provoking homage.