Hardback, 418pp Greenwood Press, 1998compiled by Ben Young  In this thorough research guide to the career and music of Bill Dixon the author has documented how Dixon refined a sonically unique pan-tonal language of trumpet playing. As a trumpeter, composer, educator, and theoretician, Bill Dixon has politically and musically influenced many phases of the development of Black music in the second half of the 20th century. This authoritative guide details information about the life and music of Bill Dixon. Bill Dixon comments throughout the text on the familiar and unfamiliar aspects of his career as it unfolds between performances and recordings. The recollections of those who have collaborated with Bill Dixon over the years supplement the thorough research here presented on the life and career of Bill Dixon and, additionally, the New York avant garde artistic sphere in which he worked.Bill Dixon has refined a sonically unique pan-tonal language of trumpet playing. As a trumpeter, composer, educator, and theoretician, Bill Dixon has politically and musically influenced many phases of the development of Black music in the second half of the 20th century. This authoritative guide details information about the life and music of Bill Dixon. Bill Dixon comments throughout the text on the familiar and unfamiliar aspects of his career as it unfolds between performances and recordings. The recollections of those who have collaborated with Bill Dixon over the years supplement the thorough research here presented on the life and career of Bill Dixon and subsequently, on the New York avant garde artistic sphere in which he worked.Music and music history scholars, especially those interested in jazz and Black music, will be attracted to the wealth of information provided, often from primary sources, on Bill Dixon and Black music through the 50s, 60s, and 70s. The discography included encompasses issued and non-issued recordings as well as listings for every known Bill Dixon performance. Collaborations with dancers, directors, filmmakers and painters, among others, are also documented.

Bajas go fruity for for loops, and put the 'tronic back in sonic. Film at eleven!

Double CD banger housing both Natural Information Society and Bitchin Bajas as a single release  The invisible force meets the ancient object — two ensembles for the price of one and a half! Synths, sintir, and much more. Sky music by deep earth people...

Hardback, 285pp Goldsmiths Press, 2026 The STEIM foundation in Amsterdam was a music studio radically dedicated to the live, physical performance of electronic sound. From 1969 to 2021, the Studio for Electro-Instrumental Music supported artists in building new instruments, insisting on tangible, hands-on engagements with electronic sound.This book provides a comprehensive overview of STEIM’s work, drawing on original interviews and extensive primary source research in the archive of its longtime artistic director, Michel Waisvisz (1949–2008). It traces the studio’s evolution from its roots in the anarchic, situationist spirit of 1960s Amsterdam to the famous Cracklebox and to a long line of pioneering developments in sensor-based instruments between 1984 and 2000.A primary focus is Waisvisz’s landmark instrument The Hands (1984)—the world’s first sensor-based gestural controller—and the SensorLab platform it inspired. This emerging expertise fuelled an international artist-in-residence programme, attracting figures like Jon Rose, Nicolas Collins or Laetitia Sonami among many others and fostering a global wave of experimental instrument design.The common thread through this history is a paradigm called Touch, which championed musicians’ embodied presence over automation and predefined control. By documenting the pursuits of immediacy within highly mediated technologies, The STEIM Touch offers a crucial historical lens for today’s ongoing negotiations between artificiality and physicality in music creation.

Softcover, 11x17cm, 216pp Book Works, October 2026‘The world was getting dark, and they willed it on. After a wrong turn, a bad guess, they walked a road familiar to neither of them.’ Will and Jay haven’t slept for days. After meeting at a party, they’ve gone back to Will’s flat where they can chat and kiss and fuck forever—but something else happens. In the aftermath of what he believes to be a haunting, and troubled by the memory of a radio show from his childhood, Will lands in America and embarks on an all-consuming journey. The first novel from poet Robyn Skyrme, Old Owl and Matt is a queer road trip through memory, grief and magic.   ‘Robyn Skyrme’s debut novel reflects a talent long on display in his poetry: an electrifying precision with emotion, place and meaning, and the desire to wield it in powerful, discomforting ways. As a book that’s both queer and ghostly, Old Owl and Matt prioritises complexity over comfort, and through his compelling storytelling Skyrme lets us sit with pain and loss in all its shapes, offering us almost euphoric glimpses of hope and joy within the cold landscape of grief.’ – Huw Lemmey, author of Unknown Language

Paperback, 140mm x 210mm, 336pp, 16 pages of colour illustrations Strange Attractor Press, 2026Writer, artist, and wilfully dissident surrealist Ithell Colquhoun (1906–1988) invested her unique works with magical learning, esoteric lore, and a palpable sense of mystery. Despite having published widely on esoteric and occult topics during her lifetime, Colquhoun was never to produce a single book-length edition of her magical writings. As a result, many of her essays were lost or neglected. Edited by writer, folklorist and anthropologist Amy Hale, A Walking Flame: Selected Magical Writings Of Ithell Colquhoun gathers nearly 40 texts by this unique artist and magical practitioner, and displays cohesively, and for the first time, the impressive breadth of Colquhoun’s magical interests and expertise, and how these came to inform her singular works. Ranging from early encounters with the Kabbalah and esoteric colour theory, to Celtic mysticism and alchemy, A Walking Flame promises to shed a necessary light on an integral body of Colquhoun’s thought that has remained occluded for too long.