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Warped Reality Magazine: NO WAVE CONTESTEnter to win a copy of the new book by Thurston Moore and Byron Coley

Thurston Moore and Byron Coley have just released NO WAVE [Abrams Image], a widescreen visual chronicle of NYC’s downtown experimental music scene circa 1976-1980. The book brings the era to vivid life, through a great mix of visuals —from club flyers to posed portraits and candids taken in skuzzy clubs and on crumbling tenement rooftops. Thrumming with the same kind of vibrant, often confrontational energy as the music itself, the books paints a wonderfully complete portrait of a movement that happened to be an anti-movement, “a wave that didn’t ride in on a wave,” to paraphrase Dark Day’s Robin Crutchfield.

To celebrate, Warped Reality has two signed copies of the book to give away.

The prize drawing will be on Friday, June 13, just in time for the book release party in NYC. (Fittingly, the Friday the 13th release party will also mark the one-time only reunion of Teenage Jesus & the Jerks, Lydia Lunch’s merry band of enfants terribles. Rumor has it that Mr. Moore himself will step in to complete the lineup.)

All you have to do to enter the contest is answer the following question:

Which former member of Sonic Youth ended up doing performance art (among other things) at legendary NYC performance space the Kitchen?Email your answer to: warpedrealitymagazine@gmail.com.

Check Warped Reality often throughout early June for a slew of No Wave rarities, even rarer visuals, and interviews from the archives, culminating on June 13th with an interview with Byron Coley.

The following songs can all be found on No New York.

Teenage Jesus & the Jerks, “Red Alert”

Mars, “Hairwaves”

James Chance & the Contortions, “Dish It Out”

DNA, “Not Moving”

PHOTOS, CLOCKWISE, L-R: CLUB 57 FLYER; JAMES CHANCE [EDO BERTOGLIO]; SALLY YOUNG & KAREN ACHENBACH OF UT [SUPER-8 FOOTAGE SHOT BY ERICKA BECKMAN]; NOISE FEST CASSETTE COVER, 1981.

Brian Eno turned 60 this week.

Since his days at Winchester School of Art in the late ‘60s, when he was nearly kicked out for being a “disruptive element,” Brian Eno has always been a provocateur.

Stylistically and philosophically restless, the co-creator (along with Peter Schmidt) of Oblique Strategies and founding member of art-rock dandies Roxy Music has unexpectedly become a big-name producer of such equally big-name acts as Paul Simon, U2, and now Coldplay.

Quite frankly, the very thought of listening to Coldplay (or, ugh, U2) makes me break out in hives. But I appreciate Eno’s sneaky ability to simultaneously operate above and below the radar —it’s a talent that should not be underestimated. (The Windows98 start-up theme? That’s Eno’s. But he’s also mapped his own scents, shot his own videos, and organized numerous artistic collaborations.)

Eno’s greatest talent as a producer has been the ability to encourage bands to throw out their carefully constructed rulebooks and start fresh, often with startling results. (See Talking Heads’ stylistic transformation under Eno’s watch from angular downtown doyennes to funkified worldbeat ambassadors.)

His own music has been no less startling. Widely credited with inventing Ambient in 1978 (Ambient I: Music for Airports), Eno’s own stylistic restlessness has led to the creation of a subtle, challenging body of work that, despite its magpie impatience to settle on a single aesthetic, ultimately coheres into something weird but wonderful.

Happy birthday.

Brian Eno | Eno Shop

Brian Eno, “Third Uncle” (from Taking Tiger Mountain By Strategy)

Brian Eno, “Dead Finks Don’t Talk” (from Here Come the Warm Jets )

PHOTO CREDIT: CORBIS

A vast symphony of social disgust. Better luck next time.

Bedouin Ascent, “Bway Boogie Woogie”

Bark Psychosis, “All Different Things”

Disco Inferno, “Second Language”

Jack Smith, “Carnival of Ecstasy” (from Silent Shadows On Cinemaroc Island, Table of the Elements)

IMAGE: FLAMING CREATURES, PROJECTED.