New / Rediscovered Musical Instruments Volume 1
"A long overdue, larger, reprint of the 1975 classic pamphlet by Hugh Davies, Paul Burwell, Max Eastley, Evan Parker, Paul Lytton, and David Toop. A rare look into the maker culture inherent in the 1970s UK experimental music scene with descriptions and pictures of Hugh Davies's shozyg, the communally blown horn, and more. Preface by David Toop."
"A portion of sales will benefit Fendika Cultural Center and Catalytic Sound. At Fendika Cultural Center, we celebrate and renew Ethiopia’s rich cultural heritage. We welcome all creative souls; through exchange of music, dance, art, and poetry, we meditate on humanity’s one-ness, and pray for a peaceful world."
Battle Pieces 4
"The music written for Battle Pieces was the first within a system Wooley calls "social music". Each piece is constructed for a single soloist, who improvises with no score. The remaining members of the group perform an ever changing kaleidoscope of short and long pieces without verbal recourse with each other or the soloist. -Nate Wooley"
Something to Hunt
"Designed by Daniel Flodin and Jesper Canell, the artist's book features documentation from Ash Fure's immersive performances, commentary by the composer, an interview with Sound American editor Nate Wooley, and contributions from Zachary Woolfe (New York Times), Steve Smith (New Yorker), and others."
Catalytic Quarterly Issues 1-4 (2018)
"In a very limited quantity of 30 hand-numbered sets, we present the first four issues of the Catalytic Quarterly collected in an envelope designed by our own Federico Peñalva. From Ken Vandermark's first article on the challenges of 21st-century sustainability to Mat's Gustafsson's collected Discaholic's Corner notes and everything in between from Ig Henneman, Andy Moor, Terrie Hessels, Paal Nilssen-Love, Joe McPhee, Joe Morris, Nate Wooley, Ab Baars, Elisabeth Harnik and Tim Daisy all of our partner artists non-musical Catalytic activity is collected in this set. Get one while the stock lasts! "
Catalytic Sound Festival 2020: Day 1
"All proceeds raised will go to Black Futures Lab (blackfutureslab.org). "Black Futures Lab works with Black people to transform our communities, building Black political power and changing the way that power operates—locally, statewide, and nationally. The problems facing Black communities are complex. The solutions to these problems will come from our imagination, our innovation, and experimentation. Changing our communities for the better requires changing a culture that takes Black people for granted and changing policies and laws that make us criminals and keep resources from our communities. To get there, we work to understand the dynamics impacting our communities; we build the capacity of our communities to govern; and we engage and include Black people in the decisions that impact our lives. There are three ways that Black Futures Lab is a different kind of project for change: our mission to engage the Black community year-round; our commitment to use our political strength to stop corporate influences from creeping into public policies; and our plan to combine technology and traditional organizing methods to reach Black people anywhere and everywhere we are.""
Catalytic Sound Festival 2020: Day 2
"All proceeds raised will go to Assata's Daughters (www.assatasdaughters.org), "a Black woman-led, young person-directed organization rooted in the Black Radical Tradition which organizes young Black people in Chicago by providing them with political education, leadership development, mentorship, and revolutionary services. Through their programs they aim to Deepen, Escalate, and Sustain the Movement for Black Liberation.""
Catalytic Quarterly Issues 5-8 (2019)
"n a very limited quantity of 25 hand-numbered sets, we present the first four issues of the Catalytic Quarterly collected in an envelope designed by our own Federico Peñalva. Get one while the stock lasts!"
Chris Forsyth & Nate Wooley
"Put the two of them together and you can forget about all of that stuff. Genre references and personal styles fall away, since they’re essentially inadequate answers to the fundamental question at hand — what do we play? -Bill Meyer, Dusted Magazine"