Pre-order. If you'd like to pick up your copy at the Globe Unity Orchestra residency in November please select 'Collect from cafe' from the 'Shipping' drop down menu at checkout when placing your order.   Softcover, 288pp FMP, November 2026Sixty years ago, Alexander von Schlippenbach received a commission from Rias Berlin to compose a piece for the Berlin Jazz Days (Berliner Jazztage). At the time, Schlippenbach caused a sensation; his composition and his large ensemble, composed of the crème de la crème of the German Free Jazz scene, became famous overnight. The book Globe Unity 60 tells, for the first time, one of the possible stories of this exceptional ensemble, including details about the recordings the Globe Unity Orchestra has released over the past 60 years. In addition, all known liner notes by Alexander von Schlippenbach have been compiled, as well as liner notes and reviews by third parties. For this purpose, both Alexander von Schlippenbach’s archives and those of FMP were utilized, and Gérard Rouy and Cristina Marx generously provided photographic material spanning nearly 60 years. Over the decades, all these texts and memories feature repetitions upon repetitions, transcriptions and rewritings, melodies and counterpoints; the orchestra ceases to exist more than once, only to carry on after all. The visual material is supplemented by two exclusive interviews by Maxi Broecking with Alexander von Schlippenbach and George Lewis, as well as new texts and recollections by Paul Hubweber, John Corbett, Steve Lake, and Mats Gustafsson.

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.

Softcover, 355pp Spiral House, October 2026 Listening Glossary explores the many meanings and practices of listening. In an era shaped by climate crisis, war and deepening social inequalities, listening is increasingly called upon to bear witness – to melting glaciers, disappearing species, militarised borders, extractive infrastructures and other forms of violence and loss.  This glossary is a practical guide to listening as a social, political and imaginative practice. It gathers over two hundred terms from art, ecology, activism, psychology, education and philosophy across nine decades of thinking about listening as a way of relating to others, environments and structures of power. Entries invite listening through another’s ears or from specific perspectives, encountering forms of listening that range from the non-cochlear to the interspecies.Together, these entries reveal listening as a critical method for understanding and transforming the worlds we inhabit.

Printed on the Stanley / Stella Creator 2.0 tee -- nice unisex cut on fairwear black organic cotton. Set-in sleeve1x1 rib at neck collarInside back neck tape in self fabricTwin needle topstitch at sleeve cuff and hem CompositionShell: Single Jersey, 100% Cotton - Organic Combed Ring Spun / Heather Haze: 70% Organic Cotton - 30% Recycled Cotton, Combed Ring Spun, Fabric washedWe have collaborated with long term Cafe OTO friend Han Bennink to design the first ever OTO t-shirt. These are made on good quality fair trade Stanley/Stella tees - more info under the design detail.  The Dutch drummer and multi-instrumentalist Han Bennink has had a colossal impact and influence in the fields of free jazz and improvised music - not just as a percussionist but also as an organiser, designer and visual artist. Bennink trained at the Gerrit Rietveld Academy in Amsterda and was strongly influenced by the anti-art of Dada. Out of what he calls 'a kind of involvement with things', Bennink reuses seemingly worthless objects from his immediate environment, such as broken drum skins and sticks. They are given a second life in his sculptures and installations. For his drawings and collages, Bennink draws on his personal memories and intuition. Birds and airplanes often return in these, symbols of the same freedom that he personifies during his performances. His artwork graces the covers of several corner stone recordings released on FMP, ICP, Incus, hat ART, psi and more. "It simply has to be beautiful and preferably appeal to an emotion as well. In [Bennink's] case that emotion doesn't have to be very dramatic or deeply hidden. You could rather call his art, his visual art anyway, light-footed, the way poems by Rutget Copland and Hans Verhagen can be." - Hans Sizoo, Jazzwereld nr 16. Photo by Corral