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Titlenirvana legacy | dark slivers out now: kindle ebook or, for paperback, email nirvanadarkslivers@gmail.com

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collaboration and music oral history, live in camden on march 30
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thurston moore video plus new found nirvana https://nirvana-legacy.com/2017/03/22/thurston-moore-video-plus-new-found-nirvana/
thurston moore book at the london book fair https://nirvana-legacy.com/2017/03/17/thurston-moore-book-at-the-london-book-fair/
we sing a new language is finally out: the first book entirely focused on thurston moore https://nirvana-legacy.com/2017/03/14/we-sing-a-new-language-is-finally-out-the-first-book-entirely-focused-on-thurston-moore/
first copy of “we sing a new language: the oral discography of thurston moore” https://nirvana-legacy.com/2017/03/10/first-copy-of-we-sing-a-new-language-the-oral-discography-of-thurston-moore/
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i found my friends: the oral history of nirvana https://nirvana-legacy.com/category/i-found-my-friends-the-oral-history-of-nirvana/
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homeabout nirvana legacy dark slivers out now: kindle ebook or, for paperback, email nirvanadarkslivers@gmail.com stay updated via rss recent posts thurston moore video plus new found nirvana thurston moore book at the london book fair we sing a new language is finally out: the first book entirely focused on thurston moore first copy of “we sing a new language: the oral discography of thurston moore” collaboration and music oral history, live in camden on march 30 archives march 2017 february 2017 january 2017 december 2016 november 2016 october 2016 september 2016 august 2016 july 2016 june 2016 may 2016 march 2016 february 2016 january 2016 december 2015 november 2015 october 2015 september 2015 august 2015 july 2015 june 2015 may 2015 april 2015 march 2015 february 2015 january 2015 december 2014 november 2014 october 2014 september 2014 august 2014 july 2014 june 2014 may 2014 april 2014 march 2014 february 2014 january 2014 december 2013 november 2013 october 2013 september 2013 august 2013 july 2013 june 2013 may 2013 april 2013 march 2013 february 2013 january 2013 december 2012 november 2012 october 2012 categories "i played with nirvana" – eyewitnesses 1987-1994 a young kurt cobain 1967-1987 after in utero – the final year 1993-1994 analysing nirvana songs bleach and the sub pop era 1987-1990 cobain on cobain dark slivers: seeing nirvana in the shards of incesticide i found my friends: the oral history of nirvana in utero 1992-1993 incesticide new music and new discoveries nick's philosophies on nirvana nirvana live stats 1987-1994 nirvana maps and locales nirvana news no seattle: forgotten sounds of the north west grunge era other bands and nirvana overarching nirvana trends 1987-1994 people near nirvana thurston moore – we sing a new language trends – hip hop, grunge and alternative unreleased n' posthumous nirvana meta register log in entries rss comments rss wordpress.com thurston moore video plus new found nirvana posted: march 22, 2017 in thurston moore - we sing a new language 0 second track from thurston moore’s new album rock n roll consciousness came out today – quite an atmospheric piece, poetry. lots of echoes of past pieces therein. plus, if anyone didn’t see them, there are two new nirvana live shows on youtube courtesy of mike ziegler – the tallahassee video is real good and miami is pretty interesting: on the book front, someone kindly pointed out to me there’s a site doing free book shipping worldwide – pretty convenient for those outside of the u.k. who might find the thurston moore book interesting: https://www.bookdepository.com/we-sing-new-language-nick-soulsby/9781785581366?ref=grid-view thurston moore book at the london book fair posted: march 17, 2017 in thurston moore - we sing a new language 0 entering the london book fair 2017 and realising that the omnibus press stand was dominated by a 9 foot tall thurston moore was pretty wicked. the london book fair is, essentially, a giant trade fair for publishers, agents, print houses,  anyone involved in the logistics and execution of publishing books. it’s where publishers launch their major titles and so forth – so it was very pleasing, and deeply humbling, to arrive and see so many people at the publisher had worked hard and taken the time to put thurston at the centre of it all. nice to meet other authors, a lot of the team from omnibus, to chat generally about mutual musical experiences – to snag a copy of other books i’ve been intrigued to read myself. the book is out now in the u.k., curious to see how it does. we sing a new language is finally out: the first book entirely focused on thurston moore posted: march 14, 2017 in thurston moore - we sing a new language 0 we sing a new language: the oral discography of thurston moore came out yesterday in the u.k. – delighted. this is my ‘precious things’ shelf for want of a less silly name. that’s my friend dr franklin ginn’s five years in the works volume that i was honoured to get a copy of; the ‘first lines’ volume contains the first translation work of my friend emily jones; my brother got rik mayall to sign a copy of his autobiography to me a few years ago (great read); warriors of death was the first contact i ever had with an author – charles whiting/leo kessler when i was about 14 and he very kindly responded and sent me a signed copy. around that, sure, it’s where i keep copies of neat things people have sent me: siohbhan duvall’s music, damien binder’s works, the knifedance complete works, sleeper cell, gravitons, andrew macgregor – even a copy of john lydon’s second autobiography from the ‘evening with’ event at the 100 club the other year. london book fair tomorrow for the formal launch of the book in the afternoon – going to be fun! interviews in the afternoon, drinks reception, evening out. meeting a few people i’m very happy to spend time with. why did i think a book on thurston made sense? essentially because there’s this vast and expansive discography that has barely been touched by the mainstream; the vast majority of what he’s devoted his time to – and that has been documented – hasn’t ever been considered in depth. plus, it’s the most detailed portrayal of the evolution of his performing and his musical interests – how they’ve influenced what he does, his own burgeoning confidence in areas where initially he’s tentative, how he is able to maintain this work rate and scale of achievement. first copy of “we sing a new language: the oral discography of thurston moore” posted: march 10, 2017 in thurston moore - we sing a new language 3 i always think i’ll just ‘be british’ about things when i finally receive the hardcopy of a book. i’m not one to jump up and down or pump my fist in the air – that kinda thing seems a bit ridiculous usually. but then the postman drops a copy of something i’ve committed a year and a half to through the door…and as soon as it’s open i can’t help but bound around like a dog that just found the perfect stick. it’s a genuine thrill. how does it look? even the cover felt good in my hand – back flap and front flap giving a brief description of the contents, then delving in, viewing the photos, flipping through the entries. this is the moment of truth of course: when i read it in book form and notice things where i go “darn! how did i let that through?” i’m already aware of two errors, both wholly my own: one is a reference on page 57 to vicki peterson of the bangles – her brother is called dave peterson, i managed to drop the wrong name in during a re-edit. the other was deliberate: radieux radio spoke with me about working with thurston recently and we agreed we wouldn’t mention other upcoming releases planned for after rock n roll consciousness…but i didn’t want to lose the discussion of working with thurston in paris, so i kept it in the section on rock n roll consciousness because i felt it was still an enjoyable image and description of the man at work in 2016. if those are the only errors i’ll get down on my knees and thank the gods though i was very sheepish and apologetic when dave markey pointed out the mistake with the name. that’s the bittersweetness of this spell: it’s amazing to see the finished object, but after the tens of thousands of emails and messages; after whittling the 300,000 words of notes and interviews down into a coherent work; following the five or six rounds of editing and review by multiple people; after all the myriad small tasks needed to bring a book into the world…this is the time when i’ll hear what slipped through the net; those moments; the two words in 100,102 that aren’t right; or the necessary cut that someone in their heart of hearts would wish i’d left in…but it doesn’t rob the moment of pleasure. never. in this era of virtual everything, nothing can beat physical reality. a book in hand is worth 12 on the web. collaboration and music oral history, live in camden on march 30 posted: march 7, 2017 in thurston moore - we sing a new language 0 https://www.waterstones.com/events/the-collaboration-session-with-nick-soulsby-and-daniel-rachel/london-camden here’s a fun one coming up – i’m looking forward to meeting daniel rachel, i bought his book walls come tumbling down (https://www.theguardian.com/books/2016/sep/28/walls-come-tumbling-down-daniel-rachel-review) at the louder than words music literary festival last year – a great piece of work. frankly, with the rise of so much insular nationalism and casual dismissal of equal rights for all, its felt like the time to hear about a previous era in which some decided it was time to stand up for something. the conversation – over booze! phew! always the best way to let conversation flow – is focused on ‘collaboration’ in music and life in general. it’s pretty central to the entire ability to create oral history, that it involves a community being willing to participate; a shared experience to speak of; something that people made together – the alternative is merely autobiography and biography. contributors to the thurston moore book posted: february 22, 2017 in thurston moore - we sing a new language 0 for “we sing a new language: the oral discography of thurston moore”, i wanted to use the experiences and perspectives of the people who have played on the numerous records he’s featured on outside of sonic youth, to paint a picture of his development and his interests in music across the years. it’s notable how much of his energies, very early on, were on gaining this wider experience while – since the mid-nineties – there’s a veritable explosion of effort devoted to other scenes which then feeds back into sonic youth in the form of the syr records, releases with mats gustafsson, the presence of borbetomagus on the murray street album, their choices of support acts when touring. there’s even a specific character to moore’s efforts during sonic youth’s peak of commercial success in the early-to-mid-nineties with moore evangelising and paying tribute to the underground bands who he felt was important – so much of that era is spend on covers and tributes. it’s that kind of pattern that speaking to the people involved was able to tease out. the book includes a comprehensive contributors section in which each of the 170 people involved summarises their personal creative urges and expressions – the hope being that it gives the reader a sense of who they’re speaking to and a starting point for further exploration. frankly, if you enjoy the work of thurston moore then there are a lot of people in here worth finding! in first name alphabetical order: aaron dilloway, adam golebiewski, adam kriney, alan bloor, alan licht, alan read (krayon recordings), alex ward, amanda kramer, ambrose bye (fast speaking music), andrew clare, andrew kesin, andrew macgregor, andrya ambro, andy moor, anne waldman, anne-james chaton balazs pandi, benoit bel (mikrokosm studios), benoît bourreau (film maker), bill nace, brett robinson, brian kinsman (deathbomb arc), britt brown, bryn harris, byron coley, byron westbrook campbell kneale, carlos giffoni, carlos van hijfte (tour manager), chris corsano, chris gollon (artist), chris pottinger, christian marclay, colin langenus, cory rayborn (three lobed recordings), cris deison, cristiano nunes (zdb venue) dagobert sondervan, daniel sandor (producer), dave keay, david markey, david newgarden (manager to yoko ono), david s. blanco (blank editions), deb goodge, dj spooky, don dietrich, don fleming. dylan nyoukis evan parker, frank rosaly, frans de waard, gene moore, giancarlo schiaffini, glenn branca, greg vegas, hal rammel, hanin elias, heath moerland (fag tapes) j.d. king, jim thirlwell, jack rabid, james nares (artist), james sedward, james toth, jane scarpantoni, jean-marc montera, jef whitehead, jeff hartford (bonescraper recordings), jeremy miller, jim dunbar, jim sauter, jim sclavunos, joe mcphee, joe tunis (carbon recordings), johannes buff (mikrokosm), john clement, john corbett, john howard, john moloney, john olson, john russell, john tye (lo recordings), john wiese, jon forss (lo recordings), josh baer (white columns), justin pizzoferrato (sonelab) karl hofstetter (joyful noise), keith wood, kevin crump (wintage), kim rancourt, kommissar hjuler lasse marhaug, lea cummings, lee ranaldo, leslie keffer, lin culbertson, loren connors, lydia lunch mani mazinani, manuel mota, marc urselli, marco cazzella (my dance the king), marco fusinato, margarida garcia, martin bisi (producer), massimo pupillo, mat rademan (breathmint), mats gustafsson, matthew saint-germain (freedom from), maurizio opalio (my cat is an alien), michael chapman, michael gira, mike gangloff, mykel board nathaniel howdeshell (fast weapons), neill jameson, nels cline, nolan green, pascal hector, patrick best, paul flaherty, paul smith (blast first), pete nolan, phil blankenship (troniks), phil x. milstein rafael toral, rat bastard, rhys chatham, richard hell, richard kern (film maker), rob hayler, robert meijer (en/of), robert poss, roberto opalio (my cat is an alien), ron lessard (rrrecords) samara lubelski, sanford parker, sarah register, sérgio hydalgo (zdb), shayna dulberger, sonny vincent, stavros giannopoulos, steve lowenthal (vin du select qualitite), stuart braithwaite, susan stenger t. mortigan (destructive industries), terri kapsalis, the new blockaders, thurston moore, tim foljahn, tom moore, tom smith, tom surgal, toshi makihara, trumans water venec miller, vice cooler, virginia genta, wally shoup, walter prati, warren defever, wharton tiers, william hooker, william winant, yoko ono we sing a new language: where did the thurston moore book begin? posted: february 13, 2017 in thurston moore - we sing a new language 4 “we sing a new language: the oral discography of thurston moore” started, quite literally, right here on this blog. by early 2015, i’d been writing about nirvana almost constantly, day-after-day, for three years: i needed a break. as an avid collector of the musical works of sonic youth and its individual members, i’d begun seeing interesting patterns, trends and connections within the 150+ thurston moore records i owed at the time (the collection has continued to swell since then) and so, as a diversion, as something different, as a chance to freshen up my mental landscape, i wrote a series of five lengthy posts gathering together and looking in depth at some of moore’s works: https://nirvana-legacy.com/2015/01/05/new-year-new-indulgence-the-solo-discography-of-thurston-moore-part-one/ https://nirvana-legacy.com/2015/01/07/thurston-moores-solo-work-part-2-the-big-rock-era-and-emergence/ https://nirvana-legacy.com/2015/01/15/thurston-moore-solo-part-three-breathing-out-in-studio/ https://nirvana-legacy.com/2015/01/17/thurston-moore-part-four-patterning-the-explosion/ https://nirvana-legacy.com/2015/01/21/thurston-part-five-artnoise-and-radiophonic-addiction/ i was intending to keep on writing these but the run up to the release of ‘cobain on cobain’ began to fill the time so, beyond the notes and sketches i’d already made, january 2015 was as far as i got. checking blog stats one day i was a bit surprised (to say the least) to see that instead of the regular 3-400 hundred hits, the previous day had peaked at several thousand visitors. what tha…?! luckily for me, a friend wrote saying “hey, did you see thurston moore shared your post on his facebook?” i looked and was rather delighted to see someone had sent the first piece to him – he’d just said “wild!” or something like that. across the next month or so the kernel of an idea popped in my head: i was sure, that with a discography this broad and deep, it would be possible to trace the musical development not just of moore, but of the scenes he’d weaved in and out of, the sounds he’d been a part of. it made such logical sense to me that with several hundred records outside of sonic youth – with some years where releases were emerging at more than a dozen-a-year – that it was entirely possible to tell a coherent and cohesive story entirely through oral history and entirely through the records. i bit the bullet; made the connections; contacted the right people and was delighted to be put in touch with thurston’s pa, penny, who – for the next year and a half – would be a near constant presence in my life and a thoroughgoing saint when it came to advice, wisdom, contacts, ideas. doing something like this, looking in depth at someone, without their knowledge…it wouldn’t have seemed right to me. i was ready to go but until i knew that moore was cool for me to do it – i couldn’t have started. i had the lists ready of who i wanted to go after; i had an ever-evolving discography spreadsheet which had initially started as something i had been using for a few years when planning music-shopping expeditions and online-purchasing, then became the guiding text of my existence throughout 2015-2016. every time i turned around during those years, i would find yet another song contributed to a compilation; another collaboration; another record moore had chipped into on some obscure label out there in the world. it was a source of constant wonder – and sometimes made me feel i was chasing a moving target. that’s, luckily, where the logic of writing a book took over: there needed to be boundaries, it needed to have pace and readability, it needed to have repeating themes but also shift focus often enough it would keep interest, and it needed to end before it became repetitious. it felt right to stop when it did; to not cover certain songs or releases; to finally halt while the excitement involved in its creation was still so powerful the long nights felt like a pleasure. older entries create a free website or blog at wordpress.com. nirvana legacy create a free website or blog at wordpress.com. post to cancel


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