Alfred 23 Harth (1949) is a relentlessly transgressive musician, composer, writer and artist who has been hammering away at the walls that separate jazz, classical music, punk, literature and art since the late 1960s. Guided by free improvisation and shying away from conventions, polystylist Harth has joined forces with a fine pick of like-minded musicians such as Peter Brötzmann, Sonny Sharrock, Otomo Yoshihide, Paul Bley, Heiner Goebbels and has worked with cut-up master Jürgen Ploog and artist Wolf Pehlke and many other internationally operating writers, musicians and artists. Originally from Kronberg, Germany, Harth used to live in Franfurt/Main and Paris before settling in South Korea in 2000.

MOONDADA is a loose compilation of poems, pieces of prose and drawings which spans half a century of frantic and open-minded experimentation. Most of polyglot Harth’s writings and observations are in German, some in English and a couple in Korean. The drawings in the book were done in various corners of the world in the 1970s, 1990s and the first decade of the 21st century. MOONDADA is a comprehensive yet intimate journal by multi-talented Alfred 23 Harth, a revealing look inside his boiling brain and restless existence. The design – as always elegant and strong – was taken care of by Robert Schalinski. Get your copy now.



A year after Mike Kelley’s death in 2012 Destroy All Monsters co-founders Cary Loren and Jim Shaw descended into the Mobile Homestead’s lower level to pay tribute to their deceased friend. Most tracks on the ‘Lonely Street’ CD are recordings of that session in May 2013, which opened with a musical invocation of Mike Kelley. Other tracks are short recordings, jingles produced by Destroy All Monsters for the comprehensive ‘Vision In A Cornfield’ installation at MoCAD in 2012. Also included on the CD is the 2001 recording ‘Kranky Halloween’ by Mike Kelley, Cary Loren and Cameron Jamie. The CD-R was edited and produced in a limited edition of 100 by Cary Loren for The End Is Here in 2016 and comes with a signed and hand titled photograph by Cary Loren plus envelope. Sea Urchin distributes the very last copies of this release. Be quick to order yours.



German writer Jürgen Ploog (München, 1935) used to work as an airline pilot for 33 years. Transience and the crossing of borders have since been integral to his existence and writings. Ploog’s early literary output gravitated naturally to the cut-up method that William Burroughs and Brion Gysin popularised in the 1960s. His early experiments at cut-ups were published in the satirical magazine ‘Der Metzger’ and in the German Beat magazine ‘Gasolin 23’, which Ploog founded with Carl Weissner and Jörg Fauser in 1971. Since then the cut-up technique has remained an essential component of Ploog’s prose, at first prominently present – like in his hardcore cut-up novels ‘Cola-Hinterland’ (1969) and ‘Die Fickmaschine’ (1970) – and later subdued and overlain by loose episodical structures. ‘Pacific Boulevard’ (1977) and ‘Nächte in Amnesien’ (1980) are examples of those later logbook-like works.

‘Ferne Routen’, published from Schönebeck by Moloko Print, is a compilation of fragments written over the years with Ploog’s alter ego Eddie Grips as a main character. Grips is an anti-hero, a lonely drifter in a cut-up landscape where space and time have defected to non-linear troops. The sands are constantly shifting. The command structures have broken down. Grips is our agent in this unhinged universe. His detached observations from Entropolis trickle in like marrow from the broken ribs of language.

Ploog’s ‘Grips Fragments’ collected in ‘Ferne Routen’ are combined with equally alienating collages by Walter Hartmann, who used to edit ‘Gasolin 23’ with Ploog in the 1970s and 1980s. The book is a new and strong collaboration of two seasoned and expert cut-up artists, beautifully packaged by Robert Schalinski. Order now.



Poet, publisher and activist Ed Sanders (1939) dropped out of the University of Missouri in 1958 to hitchhike to New York City. There he founded the avant-garde journal ‘Fuck You/A Magazine of the Arts’ a couple of years later and opened his ‘Peace Eye Bookstore’, which soon developed into a hotbed of poetry, art and radical activism. In 1964, the year that Sanders graduated from New York University with a degree in Greek, he founded the seminal countercultural band The Fugs together with poet and performer Tuli Kupferberg. Sanders’ subversive activities in the Lower East Side, described by William Burroughs as a ‘total assault on the culture’, drew the attention of the authorities and led to a police raid of the bookstore in 1966. Sanders was charged with obscenity but won his case and was consequently crowned ‘a leader of New York’s Other Culture’ by Life Magazine. An unstoppable anti-war activist, Sanders took a prominent part in the famous attempt to levitate and exorcise The Pentagon in 1967 and published ‘Thirsting for Peace in a Raging Century: Selected Poems 1961–1985’ twenty years later. Sanders lives in Woodstock, where he has worked on his investigative 9-volume ‘America, A History In Verse’ since 1998.

Ed Sanders’ ‘Broom Poem’, first published in print by Sea Urchin, is a short but powerful anti-war poem written in late 2016 in reaction to the ongoing wars across the globe. ‘Broom Poem’ is a protest song to remind us of the stupidity of war, a chant to exorcise this evil from the world and a much needed call to sweep away bigots and warmongers.

‘Broom Poem’ by Ed Sanders was published in a limited hand made edition of 30 copies, 15 of which are now available from our catalogue. Artwork by Ben Schot.



Nearly 40 years ago Gerhard Theewen founded Salon magazine with contributions by young, known and unknown, artists. Between 1977 and 1982 eleven issues were published. A special retrospective twelfth issue appeared in 1992 and a reprint of all the issues was compiled in two volumes in 2008. In the spring of 2016 Salon magazine was revived and, like in its first issue, the second one presents artist’s contributions created especially for the arisen magazine. All contributions are b&w offset printed without any accompanying texts or essays. Salon was and now is again an art magazine not on art but as art.


Issue #3 contains contributions by:
Heiner Blumenthal, Christoph Bucher, Franz Burkhardt, Thimo Franke, Manor Grunewald, Lenia Hauser, Lukas Heerich, Tess Hurrell, Johanna Jaeger, Andy Kassier, Michaela Melián, Klaus Rinke, Daniel Roth, Natascha Schmitten and Johannes Wohnseifer.