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Book
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9781852427894
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$16.00
PREORDER
RELEASE DATE: 6/20/2025
Paperback. 288 pages. "Digital technology has changed the ways in which music is perceived, stored, distributed, mediated and created. The world of music is now a vast and complex jungle, teeming with CDs, MP3s, concerts, clubs, festivals, conferences, exhibitions, installations, websites, software programs, scenes, ideas and competing theories. In the eye of the storm stands David Toop, shedding light on the most interesting music now being made -- on laptops, in downtown bars in Tokyo, wherever he finds it. Haunted Weather is part personal memoir and part travel journal, as well as an intensive survey of recent developments in digital technology, sonic theory and musical practice. Along the way Toop probes into the meaning of sound (and silence), offering fascinating insights into how computers can be used for improvisation. His wealth of musical knowledge provides inspiration for anyone interested in music."
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Book
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9781788160308
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$15.00
PREORDER
RELEASE DATE: 6/20/2025
Paperback. 320 pages. "The classic account of ambient music, with a new foreword by Michel Faber. David Toop's extraordinary work of sonic history travels from the rainforests of Amazonas to the megalopolis of Tokyo via the work of artists as diverse as Brian Eno, Sun Ra, Erik Satie, Kate Bush, Kraftwerk, and Brian Wilson. Beginning in 1889 at the Paris exposition when Debussy first heard Javanese music performed, Ocean of Sound channels the competing instincts of 20th century music into an exhilarating, path-breaking account of ambient sound."
"A meditation on the development of modern music, there's no single term that is adequate to describe what Toop has accomplished here -- mixing interviews, criticism, history, and memory, Toop moves seamlessly between sounds, styles, genres, and eras." --Pitchfork's '60 Favorite Music Books'
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LP
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RM 4116LP
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From David Toop: "Maybe these titles, torn as they are from cinema screens and the pages of literature and philosophy, give a feeling of romantic or sexual love or some dark pool of nostalgia but that's not it, or it could be if you want it for yourself but not for me, not now; for me it's about the teeming proliferation of complex events in the world, their vivid, hyperreal intensity as this human life steps closer to its end and their sense of fading, like a mist that thins out to leave not a clear bright day but almost nothing of substance as all that beauty is crushed, burned, dug up, wiped out, to be replaced by banality, so it's about a language of love and desire in which we speak openly to all the unknowns, the speculative, the ancestral, the forgotten, the different, the extinct, the unimaginably distant and vast, the incomprehensibly small and intimately close, the fast or the slow, as if as we spoke we were becalmed in a wooden galleon off the coast of Java, sleeping microscopically in soil of a thousand years hence, hearing the voice of a dead person from the rim of a vibrating cup, gliding backwards and weightless through the alleyways of a city unrecognizable yet heartbreaking in its poverty, speaking in conference with winged and amphibious beings, crouching in a cavern whose opening only reveals the specter of many wonders now apprehended as memories of the skin, heard through cheekbones, nostrils, the crepitation as a neck turns, pains of the knee and thumb and some not yet fully understood sensation within the throat which suggests a way of comprehending that which is being lost of this magical place. All I desire is what already exists or once existed, now falling asleep outside the world. Don't ask me about genre or consistency. Who cares? Half the world is drowning; the other half is in flames. Each story is an animal, a plant, something you drink, a surface you touch, a faint line, some memory emanating from a cardboard box . . . Apparition painting is the term used to describe a certain type of ancient Chinese painting of the twelfth and thirteenth centuries. In these works, often associated with Chan (Zen) teachings, the ink used to depict the subject was exceptionally pale, the background lacking in any detail. As Yukio Lippit has written: 'This combination results in remarkably self-dissembling images that somehow compromise their own visibility. Apparition painting appears to capture its subjects in mid-fade, as if managing to preserve only a dimly translucent afterimage of a bygone entity.'"
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CD/BOOK
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RM 4128CD
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Field Recording and Fox Spirits is a collection of personal recordings -- from the field, from performance, from interviews -- that sketch out the breadth of David Toop's work over the past five decades. The recordings exist both as individual memories and as a hazy auditory daydream-like collage woven together by Lawrence English. Additionally, the edition includes a 40-page book, consisting of an extended in conversation with David Toop, which features extensive visual works and photographs from his archive.
From David Toop: "What are field recordings? 'My memory is not what it used to be, David,' my grandfather, Syd Senior, said to me as we huddled round a fireplace in 1979. Thanks to a cassette tape I have the memory of his gradual loss of memory, hearing him speak of Queen Victoria's funeral and the severity of patriotism back in those old days, 1901. Syd Senior is long dead, no longer part of the field of living relations but still within the field of memories that can be revived by technology, albeit an old one that squeaks like a mouse, hisses like a cat. Where is the field? The field is populated by all the ravishing, painful, poignant, nondescript moments of remembered life. Field recordings forget, just as memories forget. My recording of Ornette Coleman forgets that he fell asleep as we were talking together. I sat quietly, waiting for him to wake; the tape machine continued its work, oblivious. During lockdown, a warm spring day, I sat working in the garden. A small fox appeared close to me, started, retreated into the shelter of plants by my pond. I took a photo with my phone but when I looked at the image no fox was visible. Earlier that day I had been reading Strange Tales from a Chinese Studio, a collection of short stories written by Pu Songling during the course of his life in the late seventeenth/early eighteenth century. In many of these tales, fox spirits inhabit the physical spaces of living humans in a variety of guises. Some are malicious; some benign. Their presence in the material world is wrong and yet accepted as either a temporary nuisance or a blessing that would later be regretted..."
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LP
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SR 414LP
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Limited edition of 300. David Toop's environmental beauty Life on the Inside is the audio companion (created and recorded in 2015) to French sculptor Pierre Besson's 2014 exhibition D'objets noires et de Choses carrées (Black Objects and Square Things). This 34-minute ambient track was diffused inside of the sculpture and has never been published before. An excellent addition to the David Toop discography and a must for any wide-ranging ambient fan.
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LP
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SR 379LP
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LP version. Mixed by Lawrence English. Recordings from 1978 by David Toop of Yanomami ritual songs, shamanistic ceremonies, and rainforest sounds. The voices of spirits and animal familiars, ventriloquial illusions of sound in dark spaces, secret spirit languages, the clap of thunder that links shamanic trance with the sleep language of Finnegans Wake... Out of these passages of the everyday, intensity flares like flames caught by a gust of wind. Skin burns or oozes blood, the wind blows up havoc as the spirits move about. Includes 40-page booklet with text and pictures telling the full story of Toop's fascinating journey in 1978 through the Amazon jungle to meet and record the last Yanomami shamans.
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2CD
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SR 379CD
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Recordings from 1978 by David Toop of Yanomami ritual songs, shamanistic ceremonies, and rainforest sounds. The voices of spirits and animal familiars, ventriloquial illusions of sound in dark spaces, secret spirit languages, the clap of thunder that links shamanic trance with the sleep language of Finnegans Wake... Out of these passages of the everyday, intensity flares like flames caught by a gust of wind. Skin burns or oozes blood, the wind blows up havoc as the spirits move about. Both double CD and LP include 40-page booklet with text and pictures telling the full story of Toop's fascinating journey in 1978 through the Amazon jungle to meet and record the last Yanomami shamans. CD presented in six-page digipak.
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2CD
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SR 385CD
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Sub Rosa recordings 1996-2003: the complete series of works made by David Toop for their label. David Toop (born May 5, 1949) is an English musician and author, and as of 2001, was visiting Research Fellow in the Media School at London College of Communication. He was notably a member of The Flying Lizards. He released New and Rediscovered Musical Instruments (with Max Eastley) on Brian Eno's Obscure label (1975) plus many solo albums including 37th Floor at Sunset (2000) and Black Chamber (2003) on Sub Rosa. He was a prominent contributor to the British magazine The Face. He is a regular contributor to The Wire. Toop published his pioneering book on hip-hop, Rap Attack, in 1984. Eleven years later, Ocean of Sound appeared, described as Toop's "poetic survey of contemporary musical life from Debussy through ambient, techno, and drum 'n' bass."
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