Back catalogue:

Notes: In 2023, Clapton hosted and curated the seventh instalment of his Crossroads Guitar Festival on September 23 and 24 at the Crypto.com Arena in Los Angeles, CA. It notably marked the event's return after a four-year break, selling out the iconic arena on both days. Once again, Clapton carefully assembled a powerhouse cohort of influential guitarists representing various eras and styles. The impressive lineup boasted Joe Bonamassa, Clapton, Gary Clark Jr., Sheryl Crow, Eric Gales, H.E.R., Christone 'Kingfish' Ingram, Los Lobos, John Mayer, The Marcus King Band, Roger McGuinn, John McLaughlin, Santana, The Wallflowers, and many more. Not to forget, Bill Murray served as the evening's 'Master of Ceremonies'.

Region code: 2

Notes: Until we have a feature film in which Bill Callahan's words are spoken by the true and deep characters who exist within the songs, the best format will be this lyric book - wait, no, the best format will always be the albums featuring the songs, since they are sung by Bill Callahan, the author and singer, in his own inimitable and completely individual fashion. I Drive a Valence, however, which spans two decades of Smog/Bill Callahan songs, is a fairly unforgettable look-see; in fact, it's a definitive-yet-concise trip through the mirror, collecting the lyrics to 70 songs and pairing them with 116 dreamy ink-wash images by the man himself.

The nuances and ambiguities within plain-spoke expression are at the exquisite center of Callahan's gift, and the plain fact of words on paper nails them down in a concrete fashion that signals eternity somehow more concretely than sounds in the air can conjure.

I Drive a Valence does this for the listener - makes him/her a reader, while putting Bill Callahan's songs on another shelf where they sit just as entirely as they do on LP shelves around the world.

Notes: Mechanical Fantasy Box is Cowley's homoerotic journal, or as he called it, "graphic accounts of one man's sex life." The journal begins in 1974 and ends in 1980 on his 30th birthday. It chronicles his slow rise to fame from lighting technician at The City Disco to crafting a ground-breaking 16-minute remix of Donna Summer's "I Feel Love" to performing with Sylvester at the SF Opera House. Vivid descriptions are told of cruising in '70s SoMA sex venues to primal highs in Buena Vista Park and composing pornophonics in his Castro apartment. The entries are introspective and show a very out-front, alive person going through the throes of gay liberation post-Stonewall.

French-born artist and Berlin resident Gwenael Rattke works in collage, silkscreen, photography and Xerox graphics. Rattke's collage works borrow from the visual codes of the 60s and 70s. Intricate, ornamental and excessive, they present "an imagined past fired with beauty and sexual freedom." For this book Rattke created 25 original illustrations inspired by selected entries, 3 street maps documenting locations mentioned herein and 4 collages of photos, ephemera and notes Patrick stuffed inside the journal. We've included Patrick's doodles too, as well as introductory essays by Josh Cheon, Theresa McGinley and Jorge Socarras.

Notes: They say nothing good happens after midnight, but in the case of creativity, that's just not so. The night fosters a different kind of creativity: something urgent, spontaneous, carved out of necessity. Tracking the past, present and future of this complex dynamic, Selling The Night explores what happens when after-dark creativity influences wider culture and converges with everything from media, advertising, design and to gaming, fashion, hospitality, alcohol, beauty, tourism and far beyond. Also, as importantly, the implications of brands taking space within dance music as sponsors and supporters.

Author Andy Crysell speaks to DJs, promoters, marketers, academics, activists, archivists, policymakers, photographers, writers and designers. He samples KFC through to Fiorucci, Absolut and Red Bull, and moves from New York disco to the modern global underground.

Selling The Night witnesses how ideas migrate from subculture to influence the creative industries. It searches for lessons in improving the value exchange between dance music and brands, seeking something more symbiotic and less parasitic. All the while, it celebrates what makes after-dark ideas so special - the unique and democratising role they play.