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.

Foreword by Paul Gilroy Paperback, 310pp Manchester University Press, 2026A bold analysis that exposes the racist policing of Black music. The emergence of UK drill music made headline news, portraying it as a criminal enterprise instead of recognising it as an art form. This new rap subgenre, however, is neither the first nor the only Black music to be targeted this way. Policing the beats rewinds the tape to demonstrate how music has been used as an instrument for policing Black people, from the era of colonial slavery to the present day, revealing the racist legal processes that make crimes out of rhymes. This original and readable book offers the first in-depth account of the policing of Black music in Britain, highlighting the relationship between politics, culture and criminal (in)justice and inviting music lovers, scholars and activists to tune in.

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.

Around 1830, opera houses stopped using castrati, and Rome and the Vatican became home to their glorious singing, engineered by surgery and intensive vocal training. Castrati were long mired in secrecy, obfuscations, and lies about their origin and conditions, not least the last of them, Alessandro Moreschi. Musicologist Martha Feldman declines to accept these deep-seated mysteries and concealments. After a decade and more of digging through archives and family histories comes her exciting transdisciplinary and quasi-cinematic account of Moreschi, whose recordings preserve the only sonic trace of a solo castrato.Yet Moreschi’s story extends far beyond him. It opens up intrigues, politics, and histories of the Vatican, everyday histories of nineteenth- and twentieth-century Rome, the world of Roman opera, the city’s unique mélange of sacred and vernacular tropes, and representations of Rome by iconic film director Federico Fellini. Moreschi and Fellini turn out to have been related by marriage, but also to share synergies grounded in Rome’s persistent inclination to vernacularize the sacred. Far from telling of one anomalous figure, Feldman’s gripping history convinces readers that Moreschi, like Fellini, can be read as an improbable index of Roman consciousness, both during his own life and well beyond.Hardcover, 488pp Zone Books, 2026

Brötzmann – In My Focus is a large-format photo book by Slovenian photographer Žiga Koritnik – a tribute to Peter Brötzmann, one of the most influential figures on the international free jazz and improvisation scene. For almost three decades, Koritnik accompanied Brötzmann on stage, backstage, on tour, and in quiet moments. The result is a powerful, intimate portrait that shows the musician not only as an icon, but also as a human being. The images are complemented by texts from Peter Brötzmann, John Corbett, Mats Gustafsson, Bill Laswell, Heather Leigh, Paul Lovens, and Paal Nilssen-Love, as well as poems by Steve Dalachinsky and Joe McPhee—a dense collection of voices, memories, and reflections from the innermost circle. The volume is published by Društvo Pega (Slovenia). At the request of Žiga Koritnik, Wolke distributes this title in German-speaking countries and internationally. An extraordinary document of a musical era—photographically precise, emotionally intimate, and full of resonance for readers, listeners, and collectors.Hardcover, 144pp, photographs Wolke Verlag, 1st edition, November 2024

Softcover, 408pp Serpents Tail, 2018In this classic account of the new black music of the 1960s and 70s, celebrated photographer and jazz historian Val Wilmer tells the story of how a generation of revolutionary musicians established black music as the true vanguard of American culture. Placing the achievements of African-American artists such as Albert Ayler, Ornette Coleman, John Coltrane and Sun Ra in their broader political and social context, Wilmer evokes an era of extraordinary innovation and experimentation that continues to inspire musicians today. As vital now as when it was first published in 1977, As Serious As Your Life is the essential story of one of the most dynamic musical movements of the twentieth century.

A 100-page hardcover compendium of David Berman's (Silver Jews) best-loved black and white cartoons, priced for the laughter-adjacent commuter bus-and-train reading crew. The New Yorker missed out, don't you do it too! “The drawings are pitched into some rudimentary space of public art, a place we might think of as between and below Gary Larson and Raymond Pettibon.”

2019 edition of Poems by Silver Jews'  David Berman: features variant dust-jacket artwork, variant full-color endpapers, enlarged typeface and a larger overall dimension (6” x 8”) to accompany the ever-expanding prose of David Berman. Previous Drag City hardcover edition of 500 was released on August 18, 2003. Original paperback edition released by Open City in 1999.

The balance of galactic power in the 31st century revolves around Illyrion, the most precious energy source in the universe. Captain Lorq van Ray’s varied and exotic crew know their mission is dangerous, but they have no idea of Lorq’s secret obsession: to gather Illyrion at source by flying through the very heart of an imploding star.Softcover, 241pp Orion, 2015 (originally published 1968)

Spring 2020. During lockdown in a mountain village with his partner and young child, Yann Chateigné Tytelman becomes haunted by the presence of his dead father. Provoked by memories of him, of their laconic relationship and of the class antagonisms that emerged between them – the father was a manual labourer while his son ‘turned his back’ and entered the art world – Chateigné Tytelman starts writing letters, piles of them, which have as their subject that most mystical, most incomprehensible of phenomena: silence.Condensed into a series of short fragments, Blackout interweaves the letter to the father with the observations of an art theorist who surveys with precision the occurrences and experiences of silence in painting, music, literature and philosophy.Taking inspiration from Emily Dickinson, the white paintings of Robert Rauschenberg, Jean-Antoine Watteau’s depiction of poor Pierrot, John Cage, Vija Celmins’s ocean drawings, the music criticism of David Toop and the theoretical writings of, among others, Michel Serres, Giorgio Agamben and Paul B. Preciado, as well as from the recent global pandemic, Chateigné Tytelman invites readers to tarry with the void at the heart of modern society and to confront the spectres of death and disease among us.Hardcover, 81pp Les Fugitives, October 2025

Transmissions: Radio Essays on Edges, Crossings and Narrowcasting Borderlands gathers radio essays—created as part of Robida Collective’s project Radio drugega/The Other Radio—which reveal that to speak of “the border” is never to speak of a single line. There are political borders, conceptual borders, bodily borders; carnivalesque borders, where order collapses into play; linguistic and cultural borders, where words slip between languages and where accents become geographies; archival borders, separating memory from forgetting; borders of abandonment, where life and death enter into a dialectical ballet; economic borders, drawn by property, ownership, enclosure; borders of matter, space and time; acoustic borders, where the voice meets noise and incomprehensibility; cosmic borders, where meteors cross the thin edge of air; ecological borders, porous and breathing, where one species touches another. These are some of the borders this book speaks of – lines that do not divide but resonate, that hold together separation and proximity, distance and relation. Together, these essays form a cartography of friction but also affinity, reminding us that to erase all borders is to erase the very conditions of encounter – and that meaning often emerges not at the centre, but at the edges where worlds meet. With texts by:Agnes Cameron, Ajda Bračič, Aljaž Škrlep, Antônio Frederico Lasalvia, Giorgia Maurovich, Jack Bardwell, Kate Donovan, Kat Macdonald, Lijuan Klassen, Luca Vettori, Michael Marder, Moritz Gansen, Olya Korsun, Petra Filagrana, Urška Savič.Softcover, 120x170mm, 240pp Robida, 2025

‘Sussex folk seem ever to have had a leaning towards snaky things.’ Sussex Coils and Loops is a work of parafolklore on the great serpents encountered in the land of south-east England. The book describes a series of ritual actions performed between the winter solstice of 2017 and the summer solstice of 2022 at sites with serpent or dragon legends associated with them. We explore hidden woods, secret pools and lonely churches, find clues in stained glass windows, graveyards, fading murals, tattered pamphlets and video games. There are hermits and saints, headless horsemen, mighty oaks and giant puddings. Shrines are constructed, encounters logged. Each generation is seen to have added to the recursive legend, and the sources range from Anglo-Saxon and medieval Latin accounts to contemporary storytellers. All seek to plumb the depthless knucker holes and reveal their great and terrifying wyrms. In Sussex Coils and Loops, Holman deploys a number of strategies to demonstrate and report on these workings. The writing is in turn experimental, documentary, and scholarly. This is unashamedly contemporary landscape magic. Holman resists any characterisation of folklore that privileges a notion of authenticity as inherently conservative. Rather, he sees it as a dynamic and unstable process which is constantly taking on provisional, dare we say, snaky, forms Through its careful scholarship, field investigations, and experiments with form, Sussex Coils and Loops offers a variety of entry points into this living tradition, honouring its unruly, indefatigable nature, and curious to see where it might go next.Illustrations by Harriet Holman Penney Softcover, 162pp Scarlet Imprint, 2026

In the Environs of a Film collects together three previously untranslated works by Danielle Collobert, the author of Murder and It Then. The works here, selected by the translator are scorings of scattered voices and take the form of a scenario—”Research”—a radio play—”Polyphony”—and a poem—”That of Words.”translated by Nathanaël,  Litmus Press, 1964   Born in Rostrenen in 1940, Danielle Collobert left for Paris at the age of eighteen where she worked in an art gallery and self-published her first poems in a book entitled Chants des guerres (1961). Both of Collobert’s parents, and her aunt, who survived deportation to Ravensbrück, were members of the Résistance during World War II. Herself a supporter of Algerian independence, Collobert joined the FLN (the Algerian National Liberation Front), precipitating her exile in Italy, during which time she completed work on Meurtre, first published in 1964 by Éditions Gallimard with the unwavering support of Raymond Queneau. She worked for Révolution africaine, a short-lived journal created at the end of the Algerian war. Collobert’s extensive travels to Czechoslovakia, Indonesia, Bolivia, Ecuador, Venezuela, Mexico, Spain, Greece, and Egypt did not prevent her from becoming a member of the group formed around Jean-Pierre Faye and the journal, Change. Her other works include Dire I et II (1972), a radio play the following year, Polyphonie, aired by France Culture, Il donc (1976) and Survie (1978). Upon her return from a trip to New York, Danielle Collobert took her own life in a hotel in Paris on her thirty-eighth birthday. Her complete works, in two volumes, edited by Françoise Morvan, augmented by several unpublished texts, were published by P.O.L. in 2005. Collobert’s works available in English include In the Environs of a Film (Litmus Press, 2019), Murder (Litmus Press, 2013), Notebooks, 1956-1978 (Litmus Press, 2003) and It Then (O Books, 1989).

Mysterious Thelonious is Raschka’s tribute to jazz pianist Thelonious Monk. The book uses just twelve colors, lined up like the twelve notes of the scale. The short, repeating text and loose, abstract images follow the shape of Monk’s music Matches the tones of the diatonic scale to the values of the color wheel in presenting a portrait of the work of the composer of "Mysterioso"  Second Hand  Hardcover, 20pp Orchard Books, 1997