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STONE TAPE by The Telescopes: A concept album released by IT publishing house YARD PRESS, marking the inaugural release in a new series of editions dedicated to music. Read more and sample below!

STONE TAPE – New LP by THE TELESCOPES Out soon on Yard Press

Dear friends,

we are glad to present to you Stone Tape, the new album by The Telescopes released on Yard Press, which inaugurates a series of record productions within a new art project dedicated to music.

The series, curated by Giandomenico Carpentieri, comes from the desire to create a series of records that are born and developed in close collaboration with the artists involved: the starting point is to create a concept album specially designed for Yard Press, within a free environment without creative limits, where the artists can experiment new solutions and propose the most experimental and conceptual projects that are then discussed and developed between artist and publisher through an exchange of ideas.

Stone Tape will be released on November 20th and pre-order starting October 20th: you can buy and order the album on www.yardpress.it

The presentation tour will start in January 2018. The first pressing comes as a limited edition of 500 copies.

Stone Tape is a concept album inspired by “Stone Tape Theory”, theorized by Thomas Charles Lethbridge in 1961. The archaeologist, parapsychologist and explorer developed the idea that inanimate materials can absorb energy from living beings, and that this mental electrical energy, released during emotional or traumatic events, could somehow be “stored” in such materials and “reproduced” under certain conditions.

The six songs comprised in the album have been written, produced, arranged and played by Stephen Lawrie, founder of The Telescopes.

The photograph in the album is by Achille Filipponi. The executive production of the series is by Leonardo Mancini.

7 W 84th Street—NYC 1972

Fabrizio Carbone

http://www.yardpress.it/7-w-84th-street-nyc-1972/

Fabrizio Carbone (1942) is an Italian journalist, writer and painter. Conceived by Michele Manfellotto 7W 84TH STREET NYC 1972 is the first monograph by Carbone and contains only unpublished pictures. In 1972 moved to the United States, to write culture editorials as a correspondent. During that year, he took the photographs collected in this volume, which have remained unpublished until now. Quit the job in late 1972: the newspa- per he wrote for supported the American bombings of Hanoi. But that’s no all, as carbone wrote on his text indeed: “The story of my American adventure is linked to Ellen Burke. The first time I went to the United States was with her, in 1970. We had been married for a short while and her parents invited us over for vacation..”, in his New York we can find all of this: affections, America saw trough the lens of an Italian communist immersed in its fascination and criticism both. Page by page we can find this list of moments, scenes, fragile pictures crowd, some almost identical: first of all this book is a draft, a visual notes sequence (most of them will become also drawings). Daintiness rules, flowing vision of a non-photographer; each step on the streets and the related image is part of something bigger, outcome of a deep and complex sensitivity, a perception of things that doesn’t force each time to translate itself necessarily into a perfect picture, but remains and survives in the profoundness of the complete drawing, a human, exploratory, delicate pastiche.

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22x32cm 194 pages Uncoated paper 80gr Soft cover Paperback twist-stitching Offset Ita/Eng

Limited edition 300 copies

Genova 1981—1983

Antonio Amato

http://www.yardpress.it/genova-1981-1983/

Genova 1981-1983 is the first monograph by Italian photographer Antonio Amato. The volume contains 112 images (all previously printed, photocopied and scanned for offset printing) that guide us through the Genoa punk scene of those years, telling about attitude, habits and gestures of people who have been part and created the scene. “..the Genoese scene was founded in 1980 and in 1981 it was already drammaticaly different: first, each of us was punk on his own account, then we started to meet in the street and recognize each other.” Post Brigate Rosse, post terrorism, post ’77 movement Genoa, a city where new generation, who no longer identified themselves into the Communism of their fathers, where the road is a place of socialization and designated to big laboring march protests but also a space for clash and guerrilla. This was the city context between 1978-1979 – and as it happened to many girls and boys in the whole peninsula, thanks to the RAI television programmes broadcasted at the end of ’77 – where the punk made its entrance: “..years, in short, where everything happened in Genoa even if there are practically no testimonies of that scene which was so alive”.

“Amato gives us back a raw, full-frontal body of work where he doesn’t use to put the formal speculation first, his interest is to describe something is absolutely part of his life, here all is tender, wild and engaging. “The ones that committed to punk in that first confused historical phase were absolutely influenced by what came from America and England–nihilism, art schools, Situationism–at the same time, however, they brought with them the ideological (although non–political) experience acquired within the Movement, the working Autonomy, anarchism and squats. Many Genoese punks grew up in the realm of the extra–parliamentary left wing, and it was when they decided to leave politics for this new subculture that the first large (in some cases very violent) fractures with their former fellows begun. Just to be clear, the first Genoese punks were not accepted nor by their companions or by the fascists.” Diego Curcio

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22,5x33cm 234 pages Uncoated paper 80gr Soft cover Paperback twist-stitching Offset Ita/Eng

Limited edition 300 copies