Hardback, 304 pp (full colour), 1.85kg Art Yard Records, 2nd Edition, 2026Twenty years after its first publication, fully revised 2nd edition of Hartmut Geerken's long unobtainable Omniverse Sun Ra, a definitive hitch-hiker's guide to the Sun Ra galaxy. The new, completely revised edition features:- unpublished photographs of Sun Ra and the Arkestra by Hartmut Geerken and Val Wilmer;- fully revised discography by Chris Trent, co-author of The Earthly Recordings of Sun Ra;- articles by Geerken, Amiri Baraka, Chris Cutler, Robert L. Campbell, Salah Ragab, Gabi Geist and others;- new full colour images of hundreds of Sun Ra album covers, posters, handbills and ephemera, including reproductions of rare hand drawn and coloured LP sleeves.   For five decades, Sun Ra brightened planet Earth with his unique, provocative and esoteric musical philosophy. Touring the world with his formidable Arkestra, he represented and affirmed a new vision of Black history and culture, embodied and spread a new and powerfully influential Black philosophy, and revolutionised music with sounds from beyond the purple star zone. Ra accepted no limitation imposed on him by earthly powers: his vista was the universe, his travel was interplanetary, his music borne along the spaceways as he delivered messages of light to a sleeping world. Now more than ever, the value and radicalism of his protean musical inventiveness, his socially collective self-determination, and his philosophical and poetic profundity can be seen. Where Ra went, we are slowly going, and we will find his message for us waiting there. The new edition of Omniverse Sun Ra is a major contribution to Sun Ra studies, and a dazzling overview of its subjects astonishingly productive career on Earth the definitive companion to the many worlds of Sun Ra.

Paperback, 104pp Divided, London, June 2026Waiting at Martinique Aimé Césaire International Airport, in the city of Le Lamentin, Mayra A. Rodríguez Castro browses the airport kiosk. Alongside books by Césaire, it offers titles by Frantz Fanon, Maryse Condé and Patrick Chamoiseau. She picks up a copy of Nègre je suis, nègre je resterai, a conversation between Françoise Vergès and Césaire published in 2005, and embarks. In Another Sun, Rodríguez Castro and Vergès revisit that seminal conversation, resulting in an eclectic text shaped by ongoing struggles.With poems by Danielle Legros Georges, Wole Soyinka, Ishion Hutchinson, Clarisse Baleja Saïdi, Aimé Césaire and Jean Érian Samson.

Softcover, 124pp Fitzcarraldo Editions, July 2026Welcome to Cafés! Somewhere to eat and forget about work, where we can meet friends and not think about love, where we can meet lovers and be too nervous to eat. In Holly Pester’s unique lyric, the café becomes a structure of fantasy and language exploring life at the pressurized edges. It becomes a form – a canto or a verse – unearthing what this space promises us in terms of freedom and thought, and what it holds back. In each iteration, the café remakes itself through the people who pass through it. A worker tries to run a café franchise. A lover sits in the corner, waiting. A woman mourns a friendship while contemplating age and childlessness. An artist tries to launch an art café and hosts an open mic. Both a stylish political intervention and an elegy for communal space, Holly Pester’s newest collection reaffirms her as one of the most exciting poets of our time.

Flexibound, 200 ppU.S Edition, Ars Nova Workshop, January 2026  Eternal Rhythm: Conversations & Travelations with Don Cherry offers an intimate, free-flowing portrait of a legendary improviser and musical visionary. Drawn from priceless cassette-taped interviews gathered since 1979, the book is woven together by writer Graeme Ewens—a confidant, travel companion, and close friend of Cherry. Through Ewens’ vivid storytelling and Cherry’s own reflections, Eternal Rhythm traces a life lived in constant motion—artistically, spiritually, and geographically. The result is an unfiltered insight into the evolution and working life of a musician globally recognised as one of the most unique, innovative voices to emerge from the Sixties free-jazz movement. It’s a rich exploration of creativity without borders, capturing the essence of Cherry’s expansive global musical journey.

Paperback, 320pp Wolke Verlag, Berlin Now! Writings 1982–2021 brings together nearly four decades of texts, reflections, interviews, and work commentaries by Austrian composer Peter Ablinger. This extensive English edition — edited by Gisela Gronemeyer — offers an illuminating introduction to one of the most singular voices in contemporary music. Through aphoristic essays, poetic fragments, and precise analytical notes, Ablinger explores listening as an artistic act in itself. Noise, language, writing, perception, repetition, and convention form recurring themes throughout the writings, as do engagements with philosophy, visual art, and literature. The volume also includes commentaries on key works from Weiss/Weisslich to Opera/Werke and Stadtoper Graz, revealing how deeply interwoven music, thought, and language are in Ablingers practice.A landmark book for anyone interested in sound, conceptual art, and the expanded field of contemporary composition.

Paperback, 244pp Wolke Verlag, Synkopen 3, 2026The Objective Mind brings together a series of precise, aphoristic propositions on art, truth, law and perception. In strict verse form and radical clarity Nikolaus Gerszewski articulates a thinking of art that resists all psychologization, relativization and the logic of opinion. Art appears here not as expression, commentary or social function, but as an autonomous order with its own laws. The objective mind does not judge, does not explain, does not mediate—it sees. The book understands art as a practice of attention, of form and of indecision. It turns against taste, consensus and the claim that art must be understandable, useful or relevant. The Objective Mind is an uncompromising text on art as an autonomous form of thought.

Paperback, 80pp Wolke Verlag, Synopken Series, 4, March 2026Why has sound become one of the dominant metaphors of late modernity? From ASMR and data sonification to ecological theory and social philosophy music and auditory perception increasingly promise connection, immersion and meaning. In This is not music Magdalena Zorn traces this acoustic turn through the concept of “acoustheology”: a mode of thought in which sound becomes a substitute for theology and grounds worldviews, ethics and social imaginations. Drawing on music history, sound studies, philosophy and media theory the book examines how composers, theorists and artists since the mid-twentieth century have expanded music into a boundless explanatory model — often at the expense of critique, distance and difference. Zorn questions the widespread celebration of resonance, vibration and sonic connectedness and reveals their political, epistemological and affective implications. What appears as intimacy and togetherness, she argues, may just as easily produce conformity, obedience and exclusion. This is not music is a precise contribution to current debates on sound, ecology and culture – and insists on reflection where immersion promises comfort.

Paperback, 208pp Wolke Verlag, Synkopen Series, 2026 Bilingual Edition - English & German The essay conceives of compositional thinking as a practice of opening up, queering, and rearranging the world—beyond traditional notions of authorship and control. In this context, scores appear as invitations to cooperation, ambivalence, and new forms of collaboration. In this way, composition becomes a transdisciplinary strategy that challenges normative orders and places collective processes at the center. Compositional thinking as a practice of opening up, queering, and rearranging—beyond authorship, control, and musical autonomy. What does compositional thinking mean beyond sheet music, parameters, and musical autonomy? This essay conceives of composition as a practice of structuring, opening up, and queering the world. Drawing on music, theater, and performance, a mode of thinking emerges that views scores not as instructions but as invitations: to cooperation, ambivalence, loss of control, and repurposing. Compositional thinking appears here as a transdisciplinary strategy—political, physical, material—that opposes normative order, academic seriousness, and binary logics. Music becomes a field of experimentation for other forms of collaboration, for collective authorship, and for working in the in-between. Below are a few personal words from Eloain Lovis Hübner about her book:  “The text is based on a lecture I gave in 2025 at Campus Gegenwart in Stuttgart, and has evolved from that into an experimental essay form in which—inspired by the polyphonic approaches of figures such as McKenzie Wark and Paul Preciado—I bring in voices, borrow voices, from thinkersand artists who are important to me and whom I have accompany various stages of my life here. Building on these episodes, I explore a concept or an idea of compositional thinking —tracing how I have situated and shaped this concept for myself over the years, what theater has to do with it, and what other points of intersection and connection it offers to the wider world. I also reflect on educational pathways and concepts, and with this text I aim to attempt an answer to the question of where, how, and why art and life in the field of New Music actually converge, and where exactly the importance of continually inventing ever-new music lies for life in the present.”

Softcover, 192pp Da Capo Press, 2003James Baldwin used to tell Nina Simone, "This is the world you have made for yourself, now you have to live in it."Simone has created for herself a world of magnificent peaks. Often compared to Billie Holiday and Edith Piaf, Simone is known as one of the greatest singers of her generation. She has recorded forty-three albums, ranging from blues to jazz to folk, and her hits like "I Loves You, Porgy," "My Baby Just Cares for Me," "I Put a Spell on You," and "Mississippi Goddam" have confirmed her as an enduring force in popular music. Her song "Young, Gifted, and Black" became the anthem for the Civil Rights Movement and thrust her beyond international stardom into the center of activism.But such worlds as Simone's are not without their grim valleys: disastrous marriages, arrest and the threat of imprisonment, mental breakdown, poverty, and attempted suicide. She has survived these trials and continues to perform throughout Europe and the United States. With undiminished passion and in her unconquerable voice, this is Nina Simone's powerful memoir of her tempestuous life.

Softcover, 93pp City Lights Pocket Poets Series, 2022From Will Alexander, finalist for the 2022 Pulitzer Prize in Poetry, a new collection of poems from the intersection between surrealism and afro-futurism, where Cesaire meets Sun Ra. Divine Blue Light further affirms Alexander's status as one of the most unique and innovative voices in contemporary poetry.    Against the ruins of a contemporary globalist discourse, which he denounces as a "lingual theocracy of super-imposed rationality," Will Alexander's poems constitute an alternative cartography that draws upon omnivorous reading-in subjects from biology to astronomy to history to philosophy-amalgamating their diverse vocabularies into an impossible instrument only he can play.

Softcover, A4, 42pp Autonomedia, 2023This volume collects documents related to the two documentary films about Guyana and Walter Rodney produced by members of the Victor Jara Collective: “The Terror and the Time” and “In the Sky’s Wild Noise.” It includes the poems of Martin Carter from the films, interviews, reviews, images, personal statements from Collective members, and more.

Edited with introduction by Lawrence Kumpf. Paperback, 8.5 x 11 in., 490 pp, 28 bw Blank Form Editions, April 2026 The most comprehensive compilation of the sound artist's working documents for her unrealized media-opera tour de force Written in the early 1980s by American sound art pioneer Maryanne Amacher (1938–2009), Intelligent Life follows the employees of Supreme Connections LLC, a music entertainment corporation navigating a future in which artificial intelligence generates music faster than composers can. Anticipating an industry-wide downturn, Supreme Connections president Aplisa Kandel seeks advanced technologies that will revolutionize the act of listening, narrating to the audience as she does so. Though the untimely deaths of the opera's would-be patrons prevented Amacher from realizing the work in its intended forms—a serialized radio broadcast and television simulcast—she continued designing "treatments" for the opera for much of her career.This publication makes the most complete presentation of these working documents—including episodic scripts, notes on the use of LaserDisc and an illustrated storyboard for the pilot—available to the public for the first time, and evinces Amacher's prescient ideas about perception, listening and composition.

Softcover, 235pp Wymer Publishing, 2026With Jon Klein and Martin McCarrick now full-blown members, Siouxsie and The Banshees embarks on one of its most creative and ambitious odysseys, culminating in the multidimensional complexities of the 1988 album Peepshow. Both lyrically and musically, the Banshees continue to confound expectation with their progressively sophisticated and erudite artistry, yielding the groundbreaking single ‘Peek-A-Boo’ and propelling the Banshees to number one on the American Billboard Modern Rock Tracks chart. Live, the Banshees continue to be a breathtaking entity; the theatricality of their stage shows paralleling the grandiosity of their songs. However, the revolving door of personnel changes again threatens to derail the band, this time in the form of their (mis)management, until Tim Collins starts to unpick and stabilise the Banshees’ shambolic financial affairs.Amplifying the strained relations, the first major rupture between founder members Siouxsie and Steven Severin, while on tour, leads to the Banshees’ hiatus between the end of the Peepshow gigs in December 1988 and the release of ‘Kiss Them For Me’ in May 1991, reaching the Modern Rock Tracks number one slot for the second time; a noticeable divergence from their volatile chart fortunes in the UK.There is a resurgence of The Creatures’ activity, and the album Boomerang is released in 1989. At the same time, Severin composes the film score for director Nigel Wingrove’s Visions Of Ecstasy film. Invited to play the inaugural Lollapalooza tour in July and August 1991 alongside bands such as Nine Inch Nails, Jane’s Addiction and Butthole Surfers, the Banshees consolidate their growing popularity in the USA and go down a storm! Convening for two more studio albums, Superstition (1991) and The Rapture (1995), as well as the 1992 Twice Upon A Time: The Singles compilation album, the Banshees go to Hollywood, co-writing the song ‘Face To Face’ with composer Danny Efman for the 1992 Tim Burton-directed film Batman Returns. With tranches of time between activities becoming increasingly prolonged, it begs the question: have Siouxsie and The Banshees, a band that have stayed the course against often insurmountable odds since 1976, finally reached their journey’s end?

Paperback, 260pp Lendal Press, 20261950s New York: a city alive with risk, both artistic and political. Against a backdrop of McCarthyite witch-hunts, the Rosenberg trial and the Korean War, two young outsiders – composer Morton Feldman and painter Philip Guston – form a friendship that will shape the course of their creative lives. Part rivalry, part devotion and part creative necessity, their bond threatens to be both salvation and undoing. As nights stretch into mornings in cramped studios and downtown cafés, the work itself becomes a kind of battleground, where everything – wives, friends, health, reputation and self – is expendable, in search of the next breakthrough. Published for Feldman’s centenary, Feldman in Love is a lyrical, intimate novel about creation and longing, what it truly costs to make great art, and what we ultimately owe to one another when the last note has been played.

Paperback, 390pp Cambridge University Press, 2016Morton Feldman is widely regarded as one of America's greatest composers. His music is famously idiosyncratic, but, in many cases, the way he presented it is also unusual because, in the 1950s and 1960s, he often composed in non-standard musical notations, including a groundbreaking variety on graph paper that facilitated deliberately imprecise specifications of pitch and, at times, other musical parameters. Feldman used this notation, intermittently, over seventeen years, producing numerous graph works that invite analysis as an evolving series. Taking this approach, David Cline marshals a wide range of source materials - many previously unpublished - in clarifying the ideology, organisation and generative history of these graphs and their formative role in the chronicle of post-war music. This assists in pinpointing connections with Feldman's compositions in other formats, works by other composers, notably John Cage, and contemporary currents in painting. Performance practice is examined through analysis of Feldman's non-notated preferences and David Tudor's celebrated interpretations.

Hardback, 320pp Profile Books, 2026  How thirty years of Black music reshaped Britain, from 1989 to the present Shapeshifting, collaborative, endlessly inventive and robustly empowering: Black music has transformed British culture and society, and gifted generations of Black Britons a powerful means to reject misrepresentation and find freedom and joy in sound. From the height of jungle and hip-hop in the 90s to the London uprisings in 2011, the birth of UK trap and the rise of grime superstars like Stormzy, filmmaker and DJ Jesse Bernard examines how Black culture in Britain is moulded by creativity drawn from Lagos and Los Angeles, Sao Paolo and South London. Escaping Babylon takes a deep dive into the history of Black British music to celebrate its richness, heritage and towering legacy.

Sofcover, 384pp.  Aum Fidelity/ Centering, New York, 2026 3rd edition, 100 copy runWilliam Parker's Observations presents the most expansive overview of his prolific, diverse, and illuminating writings yet. Drawn from over a 50+ year span (1967-2023), it collects an array of works that include liner notes, remembrances, essays, lyrics, concert programs, book forewords, plays, & transcriptions of recitations. Nearly 400 pages & over 100,000 words, it includes many pieces not previously published or anthologized. In its pages, one can trace the evolution & refinement of core philosophies that Parker came to conceive & embrace from first immersing himself in music, film, poetry, art, & grassroots movements. Liner notes often go far beyond descriptions of the music, providing an outlet to present the broader foundations of his art, visions for a better world, & evocative tales about old friends & colleagues, many of whom are unlikely to be documented in "official" history books. Observations is published on Parker's Centering imprint. The first edition of 50 copies was sold at the 2024 Vision Festival. This second edition, first print run of 100 copies (February 2025), adds a foreword by the late Dr. E. Pelikan Chalto, aka Carl Lombard, an important early influence on WP, who has described him as "a shaman, teacher, painter, poet, & musician ... one of the heaviest spirits on the scene."   William Parker was born in the Bronx, NY, in 1952. At a young age, he realized that art & community would guide his life's path. This led him to move to the Lower East Side of New York City, where he has lived since the early 1970s. Inspirations for his work include peace, compassion, self-determination, nature, freedom, music of Indigenous peoples, and the relationships between improvisation, composition, sound, & silence. These themes & others converge in his concept of Universal Tonality, which he explores as a musician, poet, visual artist, philosopher, historian, organizer, educator, & activist.

Tunes transcribed from recordings and annotated by Francis Collinson Compiled & Edited by J.L Campbell  Paperback, 400pp Birlinn Ltd, Oct, 2018  The classic three volumes of Hebridean Folksongs, reissued simultaneously for the first time since their original publication (1969, 1977, 1981), contain 135 songs connected with the waulking of homespun tweed cloth in the Hebridean isles. Volume 1 is based on waulking songs collected by Donald MacCormick in South Uist in 1893. Volumes 2 and 3 are based on John Lorne Campbell's recordings of songs made between 1938 and 1965 in Barra, South Uist, Eriskay and Benbecula. The translations for all the songs in Volumes 2 and 3 and many of those in Volume 1 are by John Lorne Campbell, who also wrote detailed notes discussing the songs. Multiple versions of the same song are compared with each other and with versions drawn from unpublished manuscript sources. Francis Collinson's meticulous musical transcriptions of the songs, and musicological analyses, are invaluable. The songs are from the repertoires of some well-known singers of their generation, including Miss Annie Johnson, her brother Calum and Miss Mary Morrison, all of Barra, Mrs Neil Campbell of South Uist, and Miss Nan MacKinnon of Vatersay.