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.