حمد [Ahmed] - Writing gathers together the [Ahmed] ‘paper’ texts from the last decade: liner-notes; covers of the releases; and writing by the band members – Antonin and Joel have written two fresh ones for this book, Seymour’s have appeared alongside the records, and some of Pat’s come from a time (long) before [Ahmed]. “Together, the ideas-energy in these things gives a sense of what we have done, do, think together (and apart) in living music, how our different ways come together, and how, together, we learn through be-doing [Ahmed]... These texts are woven together (the etymology of text is from weave) through (and into) a rich fabric of enquiry. A collaborative weaving together of difference(s) to make a whole (thing).” (Seymour Wright) Contributions by Pat Thomas, Seymour Wright, Antonin Gerbal, Joel Grip, Robert Levin, James G. Spady, John Chantler, Edward George, Fred Moten. Designed by Will Holder. Thanks to Jef Lambrechts and Stoffel Debuysere. Published by In vitro and KASK School of Arts, April 2026.

Hardcover, 384pp White Rabbit Book, July 2026The most abstract, playful and confounding of reggae subgenres, dub is a vital component of sound system culture that has wielded disproportionate influence. Emerging as an underground phenomenon in Kingston during the early 1970s, dub was wrought by sonic alchemists such as King Tubby, Lee 'Scratch' Perry, Prince Jammy and Scientist, conjuring musical mutations at the mixing desk. Dub reached other lands through the Jamaican diaspora and as Lloyd 'Bullwackie' Barnes furthered the form in New York, Dennis Bovell, Mad Professor and Adrian Sherwood conjured their own dub masterworks in London, Jah Shaka and his acolytes subsequently helping dub to achieve global reach. Widely adopted by post-punk producers and later a crucial influence on the underground dance music scenes of several continents, dub indelibly changed the techniques and aesthetics of music production with far-reaching effects; it's no exaggeration to say that without dub, there would be no hip-hop or house music.Dub is made from studio trickery, its auteurs fashioning something new by subtraction rather than addition, reversing standard recording techniques. It is a music of absence and deception, a ghostly sonic doppelganger with bass primacy and torpedoed song structures, full of holes and unexpected twists. The evolution of dub marks the birth of the remix and the emergence of the studio as an instrument in itself, a place where songs can be pulled apart and given wild reshaping, rendering a disembodied new form that is often cosmic and typically jagged. Dub's progression is also inseparable from the troubled history of post-colonial Jamaica, blighted by caustic Cold War interventions, attendant gang culture and communal breakdowns. Through first-hand testimony with dub's most noteworthy creatives, David Katz's monumental forensic history of an astounding subgenre that sounds like the future five decades after its inception stands as the authoritative book on a musical art form that continues to fascinate, generation after generation.

Hardcover, 304pp Bloomsbury, July 2026Why do Bob Marley, John Coltrane, Aretha Franklin, and Nina Simone move us the way they do? What drives the soulful notes of the Delta blues? What makes Beyoncé’s Cowboy Carter inescapably great? How Black Music Took Over the World takes readers inside the vibrant world that underlies Black musical creation, demonstrating the impact that the musical inheritance of Africa has had on music today. Beginning with two rhythmic building blocks he calls the cell and the frame, musician, composer and cultural theorist Melvin Gibbs reveals Black music as an organised system of knowledge. Blending cultural history and musical analysis, he explores how Black music has shaped nearly every music genre on the planet, from carnival music in Brazil to rap ciphers in New York and global pop. How Black Music Took Over the World explores rhythm, vibration and movement to challenge Western musical hierarchies and offer new tools for understanding our musical heritage.

Softcover, 128 Pages, 20 x 12,5 cm, Print run: 500 Rab-Rab, August 2024  Larisa Reisner’s writings on the Decembrist rising. Originally written in 1925, these essays of Reisner will be for the first time collected in one volume. Translated and introduced by Cathy Porter.

Softcover, 270 pages, 14,8 × 10,5 cm, Print run: 1000 Rab-Rab, March, 2026Eugene Ostashevsky. Alphabet Soup. The Translingual Sayings of Emma and Eva as Recorded by Their Father. With an essay and poems by the author.

Softcover, 80 + 16 pages, 22 × 17 cm, Print run: 1000   Rab-Rab, September 2025  English language translation of Kollontai’swritings on Finland from 1906. Translated and introduced by Cathy Porter.

Softcover, 120 pages, 15 × 19,8 cm, Print run: 500 Rab-Rab, Helsinki, October 2025The book’s starting point is A Shot in the Factory, a 1973 Finnish film. Directed by Erkko Kivikoski, the film is a fictional tale of violent class conflict. The volume expands the scope of the labour struggles represented in the film by discussing a seminal 1971 reportage by writer Marja-Leena Mikkola on women industrial workers, and placing both within the wider context of Finnish labour history. Edited and written by Sezgin Boynik and Minna Henriksson, the book challenges some of the myths surrounding the welfare state by introducing the idea of the ‘factory as subjectivity’. Includes a poem by Maria Fusco.

Softcover, 195pp Rab-Rab, Helsinki, 2026 (2nd expanded edition)Edited by Michael Corris, the expanded edition of In the Belly of the Beast: Art & Language New York Project 1972-1978, is a survey of the tumultuous years of the political Conceptualism in the mid-seventies New York. Artists have always experimented with politics, either by organizing themselves or uniting in support of a broader political movement. Today, “activist art” is taught in universities, supported by foundations, and featured in museums and international exhibitions. Is this the only possible way? In the Belly of the Beast tells a different story, of the work of politically engaged artists and the conflicts they experienced. It is the history of artists wishing to continue working within the boundaries of the artworld and those who were intent on establishing new ideological and class relationships with activists to build a political party. During the 1970s in New York, the Art & Language collective pioneered institutional critique; published a Marxist-influenced journal; agitated against racism and sexism in museums; challenged the cultural imperialism of international exhibitions; and forged a framework for a socialist organization of artists. This new edition includes previously unpublished documents illuminating the contradictions and disputes that lay at the center of the organization and practices of Art & Language and left-wing groups, such as the Anti-Imperialist Cultural Union and the Artists’ Meeting for Cultural Change, mobilizing artists in New York at the time. The new and expanded edition of In the Belly of the Beast features an extensive interview with Michael Corris, who annotated a collection of previously unavailable documents from the period, including manuscripts, pamphlets, transcripts, and letters.

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.

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.