Japanese alto-saxophonist Naoko Saito living in Tokyo presents a full solo effort, shaping airy subtones, soft breath, and tentative melodic fragments into a ghostly, introspective soundscape - a contemplative and quietly expressive improvisational voice that marks her emergence as a distinctive new presence on the Deathrash Armageddon roster.

Harnessing extreme tenor-sax techniques, Yong Yandsen - known for his collaborations with Christian Meaas Svendsen, Paal Nilssen-Love, Rick Countryman, Sabu Toyozumi, &c. - delivers a solo album that immerses listeners in wet, murky textures and grainy, pressure-driven timbres, shaping breath, multiphonics, and noise into an uncompromising sound world that deepens his distinctive improvisational voice.

A powerful 1972 duo performance from alto saxophonist Mike Osborne and pianist Stan Tracey, and the 2nd release on Cadillac Records, recorded live at Surrey Hall and unfolding as a nearly 47-minute continuous improvisation, blending OsborneÕs fierce, vocal intensity with TraceyÕs harmonically adventurous, percussive drive in a richly inventive and compelling exchange.

Three intimate chamber works from composer-cellist Laura Cetilia unfold in finely sculpted layers of cello, voice, violin, and vibraphone, blending delicate harmonics, quiet resonance, and attentive presence into a spacious, quietly immersive soundworld that bridges classical lineage with exploratory clarity and luminous restraint.

Recorded live at the Bimhuis, Ziv Taubenfeld's Full Sun gathers Michael Moore, Joost Buis, Yung-Tuan Ku, Nico Chientaroli, Rozemarie Heggen, and Onno Govaert for a slow-unfolding suite steeped in polyphonic colors, lyrical interplay, and spirited homage to Jimmy Lyons, Duke Ellington, Sun Ra, and Misha Mengelberg, shaping a warm, exploratory, and deeply communal sonic journey.

A refined collaboration between pianist Melaine Dalibert and David Sylvian, transforming Dalibert's algorithmic piano works through subtle, impressionistic electronic treatments that deepen their harmonic resonance, creating a luminous and contemplative soundworld shaped by spectral motion and quiet atmospheric detail.

A vibrant 2014 large-ensemble performance recorded live in Nijmegen and Moers, with Fred Frith leading an extraordinary lineup including Marie Abe, Kasey Knudsen, Aaron Novik, Lisa Mezzacappa, Ava Mendoza, William Winant, Dominique Leone, Wobbly, Kaethe Hofstetter, and Jordan Glenn in dynamic, genre-blurring interpretations of his Gravity-era compositions.

Recorded in two powerful live sets at Café OTO, Sophie Agnel's first solo LP channels her post-recovery reinvention into a fiercely physical language for prepared piano, unleashing dense sound masses, interior textures, and sudden moments of clarity as she reshapes the instrument into a raw, personal terrain of gesture, resonance, and fearless exploration.

Reimagining and transforming Ahmed Abdul-Malik's Jazz Sahara in their first studio session, the [Ahmed] quartet of Pat Thomas, Joel Grip, Antonin Gerbal, and Seymour Wright ignite four compact, single-take explorations that fuse percussive intensity, kaleidoscopic group interplay, and a fearless reshaping of tradition into dizzying, future-leaning improvisation.

Capturing their first UK appearance since 2016, the duo of Toshiji Mikawa and Fumio Kosakai unleash two blistering sets of "hard noise" at Cafe Oto, forging scorched-earth tape loops, feedback vortices, and pedal-chain eruptions into a ferocious, fire-music-level onslaught that channels pure chaos into a gripping, cathartic sonic upheaval.

Duo music from Robert Evans and Laurie Scott Baker for crwth, tambura, lyre, fiddle, double and electric bass and metal percussion, four slowly evolving pieces rooted in the harmonic series and Pythagorean tuning, weaving airy but focused textures of resonant strings and shimmering overtones into quietly luminous, immersive soundscapes.

The Expanse ensemble navigates an electronics-leaning improvisation as horns, bass, percussion, and a wide array of auxiliary acoustic and electronic instruments merge into a continuously shifting sonic palette, with long-time Evil Clown collaborators shaping vivid transformations through deft doubling, real-time processing, and deeply seasoned interplay.

A richly textural electro-acoustic improvisation from a seven-member Expanse lineup, unfolding through shifting combinations of horns, synthesizers, fretless bass, and a wide array of percussion and auxiliary instruments, all shaped by real-time processing into a vivid and dramatically evolving sonic landscape.

Boston's Leap of Faith Orchestra unleashes a sprawling large-ensemble improvisation as longtime Evil Clown collaborators sculpt shifting sonorities from an enormous array of winds, strings, percussion, electronics, and auxiliary instruments, creating dramatic transformations through deeply attuned, high-intensity collective interplay.

The summer edition of Canada's premier music magazine, with cellist Rémy Bélanger de Beauport on the cover, plus articles on sound artist Lola de la Mata, global koto innovators, &c, with a diverse CD featuring new works by Edzi'u, Yoo Doo Right, Kathryn Patricia Cobbler, Rocío Cano Valiño, and others exploring electroacoustic, post-rock, improvisation, and contemporary composition.

Blending freely improvised spoken-word banter from Evil Clown leader David Peck, with a wildly diverse mix of winds, strings, electronics, percussion, and humorous auxiliary instruments, as veteran Evil Clown players and newer voices shape an energetic, narrative-driven performance where playful text, shifting sonorities, and spontaneous interaction collide.

Two fiercely intuitive trio sessions drawn from concerts in Chicago and Milwaukee by Dave Rempis, Jason Adasiewicz, and Chris Corsano, capturing the group's Chicago-forged, ego-free interplay as they shift effortlessly between surging, full-throttle improvisation and finely detailed, pointillistic exploration, always prioritizing collective motion over individual display.

MusicWork's Fall 2025 publication is wide-ranging issue exploring contemporary experimental practice through profiles of artists including Lisa Conway, Kalun Leung, Susie Ibarra, Mali Obomsawin, and Marek Tyler, alongside features on MontrealÕs late-night listening scene and reviews spanning new music, improvisation, electronic sound, and interdisciplinary performance.

Blending Arabic maqam with jazz-inflected improvisation, ElSaffar's new quartet — joined by Tania Giannouli, Ole Mathisen, and Tomas Fujiwara — delivers an intense and expressive live performance whose spontaneous, newly composed material unfolds with lyrical depth, microtonal color, and dynamic interplay, captured at Berlin's Pierre Boulez Saal with additional alternate takes.

Blending Arabic maqam with jazz-inflected improvisation, ElSaffar's new quartet — joined by Tania Giannouli, Ole Mathisen, and Tomas Fujiwara — delivers an intense and expressive live performance whose spontaneous, newly composed material unfolds with lyrical depth, microtonal color, and dynamic interplay, captured at Berlin's Pierre Boulez Saal with additional alternate takes.

Exploring the tradition of night music with subtle, dreamlike elegance, Zorn's latest piano-trio work — the fourth in his series with Brian Marsella, Jorge Roeder, and Ches Smith after Suite for Piano, Ballades, and Impromptus — unfolds as a lyrical and expressive creation performed with seemingly telepathic, virtuosic, and finely nuanced interplay.

A rich all-vocal rendering of the Bible's sensual Song of Solomon, featuring five distinguished female voices with narration by Barbara Hannigan and Mathieu Amalric, and guided by Jeremy Fogel's new translation, this lush limited-edition CD book highlights one of Zorn's most evocative and beautifully realized creations in a single extended work.

Three chamber works from Canadian composer Eldritch Priest trace his distinctive blend of lyric drifting and restless detail, from a fragile, noise-tinged string quartet to a reflective solo piano piece and a shifting, daydream-like ensemble work, each drawing on his interest in improvisation, ambiguity, and melodies that wander with deliberate aimlessness.

Blending acoustic trio writing, subtle electronics, and everyday vocal gestures, Argentine composer Santiago Diez Fischer's decade-spanning set of five works for Gyre Ensemble shapes a raw, sculptural, and "punk-poetic" sound world where baritone sax, accordion, and percussion merge with the composer's vocal and electronic interventions to reveal music poised deliberately between rough material and refined form.

Acoustic ensemble realizations of two electroacoustic works by Marja Ahti, in which members of the Italian ensemble Blutwurst translate her drifting textures, elemental timbres, and spatial sensibilities into slow, finely detailed instrumental environments, expanding the original works into patient, resonant soundworlds shaped by pitch nuance, breath, and sustained collective focus.

A brooding work for ten musicians, Jürg Frey's crepuscular score intertwines Japanese haiku and poems by Anne Perrier through hushed voices, fragile instrumental colors, and suspended textures, inviting ensemble]h[iatus, led by Le Quan Ninh and Martine Altenburger, into a slowly unfolding landscape where uncertainty, breath, and quiet tension shape a haunting world on the edge of darkness.

Jakob Ullmann's Solo I and Solo IV are realised together as two ultra-quiet, long-form works in which graphic notation, fixed pitch sequences, and subtle performance choices guide quarter-tone flute and double bass through slowly shifting regions of colour and resonance, blending live sound with tailored playback to create a fragile, immersive acoustic environment.

A tightly focused and interactive trio session pairing spoken word with expansive instrumental color,bringing Jane's incisive poetry into close dialogue with Albey onBass's grounded sonorities and David Peck's wide-ranging reeds, electronics, and resonant objects, revealing an articulated improvisational language where text, texture, and collective intuition lock together.

A bristling electro-acoustic duo encounter in which Ilia Belorukov's restless modular synthesis collides and intertwines with Alex Riva's recorder work and effects, generating playful yet volatile improvisations that shift between lo-fi textures, glassy winds, and surging electronic fragments, as tension, friction, and timbral curiosity drive the music through constantly mutating sonic terrain.

An intimate, immersive duo recording in which Tom Jackson's finely articulated clarinet and Daniel Thompson's responsive, highly attuned guitar create a richly expressive terrain of spontaneous sound, channeling the spirit of free improvisation's pioneers in a deeply communicative exchange of timbre, space, and dynamic nuance.

A deeply immersive duo performance from saxophonist Don Malfon and percussionist Vasco Trilla, this exploratory session unfolds as a richly textured dialogue of breath, resonance, and rhythm, where haunting tones, shifting densities, and subtle dynamics blur the lines between experimental jazz, ambient improvisation, and abstract sound sculpture, revealing a finely balanced interplay of intensity and restraint.

A densely layered electro-acoustic ensemble improvisation in which expanded electronics, tightly integrated horns, and richly colored percussion generate a constantly evolving sonic field, balancing muscular collective energy with intricate textural detail as shifting instrumental roles and deep ensemble cohesion drive a forward-moving exploration of sound and form.

A ferocious meeting of three seasoned innovators, this live set from Charles Hayward (drums, vocals), Guy Segers (bass), and Kawabata Makoto (guitar) channels decades of rock, punk, psychedelia, and free improvisation into an explosive power trio performance, where raw energy, shifting polyrhythms, and searing intensity collide in a fiercely immediate and unfiltered sonic assault captured on stage in Brighton in 2013.

A lively sampler of Evil Clown's expansive improvisational universe, this collection assembles fourteen concise, high-energy performances drawn from livestream sessions across multiple ensembles, where shifting instrumental combinations, dense textures, and spontaneous interaction distil the label's long-form aesthetic into sharply focused bursts of collective invention.

Concentrating their work from the Pulverize the Sound trio, trumpeter Peter Evans and drummer Mike Pride reveal a ferocity that pushes free improvisation to its extremes, balancing explosive virtuosity with kaleidoscopic percussive interaction through dense sound clusters, fractured grooves, unexpected silences, and wild exploration, in seven high-risk dialogs tempered by moments of striking clarity.

This self-titled debut from the Berlin-based duo of Danish alto saxophonist Mia Dyberg and Argentine drummer Axel Filip explores freely improvised jazz through spontaneous structures and shifting sonic playgrounds, with a sharp focus on timbral nuance, textural interplay, and an upbeat creative immediacy that unfolds into vivid, evolving sound narratives rooted in exploratory expression.

Distilling their work from the Chamber Quintet, this intimate duo recording pairs Vinny Golia's varied woodwinds with Kelsey Mines' resonant bass and subtle vocalizations, unfolding a carefully balanced exchange of gentle and sharp gestures shaped by classical-leaning abstractions, where attentive interplay allows fluid musical forms to emerge with clarity inside open improvisational space.

This duo release pairs bassist Kelsey Mines and saxophonist Erin Rogers in a deeply interactive exploration of free improvisation, where resonant low-end textures and expressive reeds weave concise, atmospheric vignettes shaped by bold contrasts, emotional clarity, and an immersive sense of motion that balances raw energy with carefully sculpted space.

Recorded at Nevessa Studio in New York, Camila Nebbia joins Marilyn Crispell and Lesley Mok in a fiercely intuitive trio session blending open scores and full improvisation, where elastic group interplay, textural sensitivity, and eruptive momentum allow the music to breathe as a single organism while leaving space for sharply defined individual voices to emerge.

Marking the closing of Mills College and the end of Zeena Parkins' long association with its experimental community, this solo release presents three commissioned works alongside the ongoing acoustic piece berlin bedroom, unfolding a deeply reflective exploration of harp and electronics that honors artistic lineage, collective devotion, and the Bay Area's enduring spirit of experimental music-making.

Asked to rethink the solo sax format, Adia Vanheerentals transforms this release into a series of site-responsive improvisations, engaging the soprano sax in active dialogue with surrounding environments — echoing spaces, incidental sounds, and ambient noise — using extended techniques, breath & texture to shape concise statements where location is a partner in an open improvisational framework.

PROMO W/ CUT CORNER

PROMO W/ CUT CORNER

PROMO W/ CUT CORNER

Drawing from deeply personal listening histories, this richly illustrated volume assembles 100 essential free jazz and improvisation recordings from 1960-80, presenting album art, notes, and reflections that frame the music as non-hierarchical and interlinked, offering an immersive guide for adventurous listeners interested in the lineage, spirit, and lived culture of creative freedom.

Uniting bassist Stephan Crump, drummer Eric McPherson with alto saxophonist Darius Jones, this trio channels a deeply connected improvisational language built on evolving vamps, elastic grooves, and shared momentum, as Jones's emotionally direct alto moves freely through shifting forms shaped by trust, vulnerability, and a collective pursuit of intensity without hierarchy or hesitation.

In a subtly detailed journey, Nate Wooley layers field recordings, trumpet, piano, sine tones, whistling, and bodily sound into a stark, reflective work that probes the uneasy coexistence of nature, machinery, and human presence, shaping a quietly political soundscape in which environmental detail, isolation, and mechanical intrusion collide in fragile, contrapuntal tension.

Blending field recordings, percussion, tapes, and modular synthesis with Marina Katsarou's voice and text and Eva Matsigou's flute, Eventless Plot reshape urban sound into a finely detailed electroacoustic work that invites listeners to reconsider noise as a living, expressive presence, revealing the shifting textures, hidden meanings, and poetic potential embedded within the everyday sonic fabric of the city.

Expanding their language through dense composition and open improvisation, this iteration of Peter Evans's ensemble moves fluidly between explosive dynamics, electronic textures, orchestral color, and rhythmic propulsion, as brass, vibes, synths, and percussion interlock in a restless, polyphonic music driven by play, risk, and a continually evolving collective imagination.