Trumpeter Wadada Leo Smith assembles recordings from 2017-2022 with Sylvie Courvoisier, Marcus Gilmore, Bobby Naughton, Lamar Smith, Bill Laswell, Melvin Gibbs, Pheeroan akLaff, and percussionists, moving between intimate acoustic improvisation and electrified ensemble exploration, with layered bass, distorted guitar, and expansive rhythms shaped through inventive studio composition.

Violinist and composer Jason Kao Hwang reunites his Human Rites Trio with bassist Ken Filiano and drummer Andrew Drury for four extended compositions blending structured passages with intuitive free improvisation, where expressive violin, resonant bass, and an expansive array of percussion create shifting moods, intricate rhythms, and dynamic collective interplay balancing composition and spontaneity.

Trumpeter Michael Sarian leads his quartet Esquina with Santiago Liebson, Marty Kenney, and Nathan Ellman-Bell through seven expansive electric jazz explorations, blending processed trumpet, analog keyboards, effects-laden bass, and fluid drumming into hypnotic, psychedelic improvisations influenced by Miles Davis's electric period and the atmospheric textures of trip-hop.

A live Helsinki performance bringing together Lithuanian saxophonist Liudas Mockunas, Argentinian electric guitarist Gon Muruaga, and Finnish drummer Teemu Mustonen for seven collective improvisations, balancing lyrical passages, abstract textures, and shifting rhythmic interplay through attentive listening and spontaneous interaction, including a reflection on Ornette Coleman's "Lonely Woman."

A live Helsinki performance bringing together Lithuanian saxophonist Liudas Mockunas, Argentinian electric guitarist Gon Muruaga, and Finnish drummer Teemu Mustonen for seven collective improvisations, balancing lyrical passages, abstract textures, and shifting rhythmic interplay through attentive listening and spontaneous interaction, including a reflection on Ornette Coleman's "Lonely Woman."

German cellist Elisabeth Coudoux and NY guitarist Chuck Roth explore the physical and acoustic possibilities of their instruments across three extended free improvisations, combining unconventional bowing, unprocessed electric guitar, abrasive textures, delicate resonances, and shifting densities in an intimate, unpredictable dialogue that blurs the boundaries between acoustic and electric sound.

Norwegian sound artist Sindre Bjerga presents two extended live performances recorded in Lithuania in 2020 and Germany in 2022, combining crude tape manipulation, musique concrète, buzzing drones, cheap electronics, and percussive interventions into unpredictable sound collages that balance fragile sonic structures with playful, sometimes slapstick experimentation.

Portuguese percussionist Sofia Borges and Brazilian saxophonist Yedo Gibson explore seven spontaneous improvisations recorded in Lisbon, combining prepared percussion, metallic objects, tenor and soprano saxophones, and extended techniques in a restless dialogue of breath sounds, fragmented phrases, shifting rhythms, and delicate resonances, balancing playful interaction with abstract textures and expressive restraint.

Acid Mothers Temple founder Kawabata Makoto joins New York avant-garde bassist Tim Dahl and underground percussionist Nandor Nevai for a ferocious collision of psychedelic noise rock, space metal, and free improvisation, combining heavily treated guitars, electric and washtub bass, guzheng, percussion, and unruly vocalizations in a volatile, confrontational trio session recorded in December 2024.

Percussionist and electronic musician Matt Weston presents four immersive electroacoustic works that merge site-specific recordings, predetermined structures, and spontaneous physical gestures, transforming percussion, electronics, and environmental resonances into layered sonic constructions that blur the boundaries between composition, improvisation, and musique concrète.

Luke Martin and Morgan Evans-Weiler document three live improvisations from their 2017 East Coast tour, using no-input mixing board, cassettes, violin, and sine tones to explore sustained textures, subtle electronic fluctuations, and acoustic resonance, allowing the distinct environments and audiences of performances in Holyoke, Buffalo, and Baltimore to become integral elements of a quietly evolving electroacoustic dialogue.

French tenor saxophonist Bertrand Denzler and drummer Antonin Gerbal expand their volatile free jazz duo Sbatax with Jean-Philippe Gross on electroacoustic devices, delivering two extended improvisations of relentless rhythmic drive, muscular saxophone, feedback, and crackling electronics, where explosive acoustic energy collides with dense electronic textures in a fiercely physical and tightly coordinated performance.

Experimental duo Erin Demastes and Dylan Burchett transform found objects, household appliances, toys, game calls, handmade electronics, and synthesizers into four playful electroacoustic improvisations, creating unpredictable combinations of mechanical rhythms, buzzing textures, and unusual acoustic gestures that explore the musical possibilities of everyday materials.

Dublin-based experimental musician David Lacey presents a four-part tape composition with clarinet contributions from Conel Ryan, transforming field recordings, found objects, song fragments, and manipulated tapes into intricate electroacoustic collages that draw on musique concrète, cinematic sound design, and dub to explore memory, space, and the hidden musicality of everyday environments.

British experimental sound artist Thomas LaRoche, recording as Creep Of Paris, presents two extended electroacoustic compositions blending environmental sounds, drones, fragmented voices, and abrasive textures into unpredictable collages, exploring the boundaries between musique concrète, noise, and spoken word through an eccentric, distinctly personal approach to sound construction.

Drummer Jonathan Delazer leads the Göttliche Skizzen trio with Tobias Delius on tenor saxophone and clarinet and Jakob Obleser on double bass in eight original compositions that intertwine microtonal experimentation, free improvisation, and contemporary chamber jazz, drawing on medieval musical traditions, European folk rhythms, and glissando techniques in a fluid exploration of melody, texture, and rhythmic form.

Berlin's GULF of Berlin sextet, featuring Antje Messerschmidt on violin, Gerhard Gschlössl on trombone and tuba, Gebhard Ullmann on reeds, Maike Hilbig on bass, Jan Leipnitz on drums, and Michael Haves on live electronics, creates nine collective improvisations blending free jazz, chamber abstraction, ambient textures, noise, and evolving rhythms through real-time electronic transformation.

Berlin-based saxophonist Gebhard Ullmann joins longtime collaborator Steve Swell on trombone with a newly assembled rhythm section of bassist Joe Morris and drummer Charles Downs for a set of instant compositions, combining Ullmann's tenor saxophone and live electronics with the quartet's collective improvisational interplay, drawing on their extensive experience in avant-garde jazz and free improvisation.

Inspired by the French Supports/Surfaces art movement, Belgian improviser Pierre Gerard on guitar, voice, and electronics joins French experimental musician Bruno Duplant on electroacoustic devices for 11 restrained compositions that balance sparse gestures, electronic textures, and carefully placed silences, creating delicate sound environments that emphasize subtle variations in resonance, texture, and space.

Recorded live at London's Hundred Years Gallery, double bassist Alan Niblock and percussionist Mark Wastell explore the subtleties of acoustic free improvisation across six spontaneous pieces, weaving deep bass resonances, delicate percussion, extended techniques, and moments of silence into shifting soundscapes that emphasize attentive listening and the expressive possibilities of texture and space.

An adventurous quartet of European improvisers — Philipp Wachsmann on violin, Jean-Michel Van Schouwburg on voice, Pascal Marzan on 10-string microtonal guitar, and Lawrence Casserley on signal processing — come together for three collective improvisations that merge extended techniques, vocal improv, microtonal textures, and electronic transformations into richly detailed, constantly evolving soundscapes.

Poet K. Curtis Lyle, a founding member of the Watts Writers Workshop and longtime Julius Hemphill collaborator, joins St. Louis violinist Alex Cunningham for two extended improvisations intertwining expressive spoken-word poetry with restless violin textures, fractured melodies, and free-form interplay, creating a dynamic dialogue between language and sound; includes a 10-panel booklet of Lyle's poetry.

St. Louis violinist Alex Cunningham unleashes seven raw acoustic improvisations that push the instrument toward the extremes of free improvisation and harsh noise, using aggressive bowing, alternate tunings, and extended techniques to generate grinding textures, guttural resonances, and fractured melodies while retaining occasional echoes of traditional American fiddle music.

Composed by Satoko Fujii to celebrate the 20th anniversary of a beloved Nagoya arts cafe, this four-part suite for her 16-member Orchestra Nagoya combines adventurous arrangements, expressive solo improvisations, and powerful brass and reed passages, blending free jazz with infectious rhythmic grooves in a joyful, forward-looking celebration of community and creative collaboration.

Viennese saxophonist Sophie Hassfurther leads an octet blending contemporary jazz, chamber music, and free improv across ten original compositions inspired by ideas of empathy, identity, and transformation, weaving intricate horn arrangements, shifting rhythmic patterns, and expressive solos into richly layered ensemble passages that balance composed structures with spontaneous and collective exploration.

A deeply personal collaboration between pianist Sonelius Smith and bassist Adam Kahan, bringing together recordings from 2023-2026 that move between intimate jazz trio explorations and expanded ensembles with tenor saxophone, trumpet, and flute, combining original compositions and spontaneous improvisation with inventive interpretations of jazz standards by Wayne Shorter, George Gershwin, and Sidney Bechet.

An eight-member Philadelphia ensemble led by percussionist Kevin Diehl brings together tenor saxophones, flute, trumpet, clarinets, guitars, bass, and Afro-Cuban percussion in a double album of adventurous collective improvisation, blending graphic scores, structured compositions, free jazz, and layered rhythmic exploration into an expansive dialogue between form and spontaneity.

Polish saxophonist and bass clarinetist Mikołaj Trzaska joins UK improvisers John Edwards on double bass and Mark Sanders on drums for a dynamic live performance at London's Cafe OTO, moving between explosive free jazz, intricate rhythmic exchanges, and lyrical passages across 9 spontaneous compositions marked by intense collective interaction, shifting textures, and masterful improvisational dialogue.

An extraordinary 1979 recording of Cecil Taylor's Unit performing live with Jimmy Lyons on alto saxophone, Ramsey Ameen on violin, Alan Silva on bass and cello, and Jerome Cooper on drums, capturing a rare quintet configuration in a powerful exploration of free jazz, collective improv, and expansive compositional structures, previously unissued and originally intended for NPR's Jazz Alive program.

German pianist Simon Lucaciu explores the transformative possibilities of grand piano and electronics through 14 original compositions, investigating variations in tempo, register, direction, and musical structure, drawing on contemporary classical composition, experimental processes, and free improvisation to create a series of contrasting studies in sound, form, and the reshaping of musical ideas.

A collection of 12 concise compositions by violinist Morgan Evans-Weiler, performed with percussionist Carlo Costa, exploring minimalist structures through sustained violin tones, gently resonating percussion, and subtle rhythmic repetitions, with sparse gestures and delicate shifts in texture creating an intimate, meditative dialogue between the two instruments, balancing restraint, repetition, and the expressive possibilities of sound.

Bringing together his Knarr ensemble for a second recording, bassist and composer Ingebrigt Håker Flaten leads Mette Rasmussen, Karl Hjalmar Nyberg, Erik Kimestad Pedersen, Oscar Grönberg, Jonathan F. Horne, Olaf Moses Olsen, Oddrun Lilja Jónsdóttir, and Joakim Rainer Petersen in an exuberant homage to Jaimie Branch, weaving spirited improvisation, textured arrangements, and collective joy into a vibrant and heartfelt statement.

On his first solo recording, Cuban-born drummer and composer Francisco Mela transforms memories of Santiago de Cuba's annual carnival, Carnaval De Oriente, into an intimate meditation on family, place, joy and loss, performing drums, voice, glockenspiel, percussion and guitar in a fluid blend of vocal improvisation, original songs, spontaneous invention and ritual.

Guitarist Hedvig Mollestad joins Stale Storlokken on organ and synth and Ole Mofjell on drums for six wide-ranging instrumental pieces balancing riff-driven rock weight, free improvisation, lyrical rubato passages and explosive ensemble interplay, extending Weejuns' chemistry through shifting dynamics, disciplined structures and moments of cathartic chaos.

Rare and unreleased Sun Ra recordings from the Sun Ra archive are radically reworked by Masami Akita (Merzbow), merging Sun Ra's cosmic jazz language with dense layers of Japanese noise, feedback and electronic abrasion, collecting for the first time the material previously divided between the original vinyl and CD editions, along with the previously unreleased "Granular Jazz Part 5."

Vocalist Tenko, pianist Satoko Fujii and no-input mixing-board pioneer Toshimaru Nakamura form Ten-Toh-Maru for three extended free improvisations balancing wordless vocal expression, resonant and percussive piano textures, and finely controlled electronic feedback, unfolding through patient collective listening into sparse, ritualistic, abrasive and dreamlike sound environments.

Clarinetist Michael Thieke and guitarist Beat Keller explore microtonality, resonance and controlled feedback across six restrained improvisations, Thieke's breath-driven clarinet tones intertwining with Keller's feedbacker electric guitar in slowly shifting sustained textures where acoustic and electronic sounds blur, separate and recombine through minute changes in timbre, pitch and intensity.

Satoko Fujii's Orchestra Berlin with saxophones, trumpets, trombone, synthesizer, bass and dual drums builds a five-part suite from cued fragments, collective improvisation and open-form structures, balancing composed materials with spontaneous ensemble invention, including a striking section performed with newspapers that extends Fujii's ongoing exploration of freedom within large-ensemble composition.

Bringing together DC double bassist Luke Stewart with Chicago mainstays Edward Wilkerson Jr., Ken Vandermark, Jim Baker and Avreeayl Ra, the Exposure Quintet blends collective improvisation with field recordings and samples, creating spacious, exploratory music combining saxophones, clarinets, strings, keyboards, bass and percussion with a strong sense of place.

The second duo album from French harpist Helene Breschand and New York guitarist Elliott Sharp, pairing harp and guitar in an angular, hard-edged exchange that moves freely between composed and improvised forms, with Sharp's extended sonic language and Breschand's theatrical, Dada-tinged vocal presence giving the music a restless, expressionistic character.

The second collaboration between Ukrainian sound artist Tungu and guitarist Henry Kaiser, layering field recordings, samples and electronics with Kaiser's exploratory guitar across ten shifting electroacoustic environments, moving from atmospheric drift to fractured abstraction, with cellist Hui-Chun Lin joining the extended "Shadows That Slowly Catch Up."

Recorded live at Cafe OTO in London, the first trio meeting of David Toop on flutes, objects, electronics, African fiddle and assorted sound sources, Ecka Mordecai on cello, and Christian Kobi on saxophones unfolds as a finely detailed improvisation of breath, friction, fragile resonance and charged silence, their distinct timbres continually merging into an elusive and organic sonic environment.

The first full-length collaboration between Bonner Kramer and Thurston Moore, presenting seven requiems for the children of Gaza through a somber mix of improvised guitar, bass, keyboards, sampler and voices, moving between outsider rock, ambient drift, noise and abstraction with an elegiac, often haunted atmosphere shaped by spontaneous interaction and spacious electronic textures.

Collecting four long-form pieces recorded in Fair Oaks, California from 2019-2021, the Bren't Lewiis Ensemble expands its surreal musique-concrète language into spacious improvisations of loops, electronics, distressed guitar, voices, found sound and acoustic debris, balancing eerie drift with the group's characteristic burbles, squeaks, abrupt edits and absurdist interventions.

A nearly hour-long solo construction from Dai Koelakanth, assembling frantic sound poetry, shouted and fractured speech, electronic noise, hiss, distorted textures and obsessive tape-style editing into a deliberately unstable audio collage, balancing abrasive outsider expression and absurd humor with an intensely personal approach to concrete poetry and radio-art composition.

Marking three decades of collaboration, tenor saxophonist Ivo Perelman and pianist Matthew Shipp distill their remarkably intuitive improvisational language across two Park West Studios sessions recorded weeks apart, their spontaneous exchanges moving through melody, silence, density, rhythmic momentum and abrupt shifts of register with the immediacy of a conversation shaped by years of shared musical experience.

Marking 40 years since its 1985 ZTT release, Andrew Poppy's landmark The Beating of Wings returns newly remastered by Stephan Mathieu, presenting four prescient post-minimal works where Poppy's piano, keyboards, voice and sampler, Glyn Perrin's electric piano, orchestral winds, brass and strings, guitar, bass, Fairlight and drum machine merge acoustic composition with the studio as a compositional instrument.

NYC electronic composer and improviser Ikue Mori gathers music created from 2016-2025 into an imaginative CD/DVD work pairing her intricate electronic worlds with handmade dolls, puppets, animation and miniature sets, joined on pieces by Satoko Fujii and Natsuki Tamura, Koichi Makigami, and Zeena Parkins in eight pieces moving through fantasy, science fiction, Japanese ghost imagery and detailed electroacoustic sound.

Pianist Joel Futterman and tenor saxophonist Ike Levin mark their 16th recording collaboration in 25 years with three spontaneously created works balancing intensity and reflection, density and space, drawing on their long-developed improvisational rapport to move fluidly through free jazz, lyrical exchange, rhythmic momentum and layered interaction.

Argentine tenor saxophonist Camila Nebbia leads The Hanged One with Julia Bi at on cello, Arne Braun on guitar, Andres Marino on electronics, Vinicius Cajado on double bass and Lukas Akintaya on drums, navigating nine tightly composed yet volatile works where angular ensemble writing, free improvisation, electronics and rock-weighted rhythms continually fracture, regroup and transform.

Tenderlonious reimagines John Coltrane's Africa/Brass with pianist On-Ly, bassist Horatio Luna and drummer Tim Carnegie, reducing the original large ensemble to a searching quartet whose extended readings of Africa, Greensleeves and Blues Minor transform Coltrane's melodies and modal foundations through fiery improvisation, rhythmic elasticity and spacious collective interplay.

Berlin improvisational trio Primitive Structures - David Roeder, Kashual Plastik founder Frans Aembient and Timu - shape nine spontaneous pieces from degraded electronics, improvisatory guitar, fractured rhythms and blurred melodic fragments, moving through post-industrial ambience, deconstructed jazz, psychedelia and oblique soundtrack-like spaces with a distinctly woozy, half-dreaming logic.

Restoring Rick Potts and Joseph Hammer's 1983 Dinosaurs With Horns cassette for its first CD release, Krim Kram presents fourteen wonderfully dislocated home recordings where Optigan loops, reel-to-reel manipulation, Casios, toy electronics, musical saw and thrift-store sound fragments collide in a woozy LAFMS-bred mixture of musique concr�te, primitive sampling, mutant exotica and spontaneous lo-fi invention.

Reuniting after a nine-year hiatus, Marteau Rouge — Jean-Francois Pauvros, Jean-Marc Foussat and Makoto Sato — joins longtime associate Daunik Lazro on tenor saxophone for a live Montreuil performance of seven compact improvisations, merging distorted guitar, Synthi AKS electronics, percussion, voices and toys with Lazro's incisive tenor in a volatile mix of free jazz, noise and free rock.

Recorded live at Cafe Oto, this first-time quartet of percussionists Paul Lytton and Eddie Prevost, trumpeter Nate Wooley and saxophonist Seymour Wright brings together overlapping histories of long-standing, renewed and entirely new collaborations, using those contrasting degrees of familiarity to shape a freely improvised performance of shifting alliances, layered interaction and distinct individual voices.

Guitarist Jon Madof leads bassist Yoshie Fruchter and drummer Nate Rappaport, with percussionist Moshe Sobol, in a powerful trio blending Jewish melodic traditions, surf guitar, jazz improvisation, post-rock, punk and metal, balancing lyrical passages, heavy riffs and open improvisation in a compact extension of Madof's work with Rashanim and Zion80.

Polish cellist Julia Biłat presents ten live solo improvisations for acoustic cello, with voice on one track, using harmonics, rough bow textures, drones, percussion and silence in an intensely physical language shaped by years of intuitive exploration and Butoh practice, each piece named for a beetle species and tracing ideas of hidden space, transformation and metamorphosis.

Lance Austin Olsen and Pierre Gerard construct three extended variations from guitars, voices, MIDI organ, shruti box, field recordings, sho and amplified objects, shaping sparse electroacoustic environments where speech, sustained tones and tactile sounds drift through layered edits, including material from Olsen's *Shadow Worlds*, in a study of texture, memory and transformation.

Italian sound artist Marie Rose Sarri and French composer Bruno Duplant shape two extended electroacoustic studies from analog and digital sources, field recordings and acoustic/electronic devices, building dense but fluid environments where layered textures, shifting resonances and circulating sound events create a lively, continuously transforming sense of space.

Drawing on live and studio recordings made in Switzerland in 2005 and 2006 and rediscovered nearly two decades later, Antoine Chessex and Dave Phillips reshape archival material into two extended works of musique concrete, noise and dense electronics, threaded with spectral voices from the Swiss Silvesterchlausen tradition and transformed through layering, decomposition and temporal dislocation.

Composer Amanda Feery, with guitarist/electronic musician Declan Synnott, builds a 43-minute electroacoustic "Mass for the Tenant" from organ recordings made at St. Fin Barre's Cathedral in Cork, choral recordings by 4 in a Bar, electronics, tin whistle and guitar, examining home as sanctuary and contested space through themes of displacement, occupation and belonging.

A five-CD survey of Jon Rose's Rosenberg Museum, the violinist's decades-long Gesamtkunstwerk of invented, altered and repurposed string instruments, documenting a practice that treats the violin as a limitless field for acoustic experiment, cultural critique and sonic invention, with John Oswald contributing to this expansive archive of new instruments, new sounds and unstable musical histories.

Composed by Weston Olencki and performed by Rimouski percussion trio Bascaille - Tom Jacques, Antoine Létourneau-Berger and Noam Bierstone - this tactile set uses fiddles, homemade zithers, found debris, piano, guitar, motors, speakers and electronics to build ritualistic, unstable sound worlds of friction, resonance and lopsided pulse, including a transformation of the Québécois "Reel de Rimouski."

Colombian reedist María Valencia on alto saxophone and clarinet joins Argentine cornetist Leonel Kaplan for eight finely detailed improvisations recorded in Belgrade, developing patient dialogues of breath, resonance, extended technique and fragile lyricism that shift between sparse isolated gestures, intertwined textures and unexpectedly animated exchanges.

Three cross-cultural improvised dialogues pair voice with instrument: Jean-Michel Van Schouwburg with Pascal Marzan's 10-string microtonal guitar, Bill Young with Noel Taylor's clarinet, and Rodrigo Brandão with João Madeira's double bass, preserving speech and environmental sounds to expose the intimate, spontaneous exchanges behind each performance.

Reuniting for their first Japanese performances together since 2019, Martin Taxt on tuba, Tetuzi Akiyama on guitar and Toshimaru Nakamura on no-input mixing board present two extended 2024 live improvisations from Tokyo and Kamogawa, balancing low brass resonance, tactile guitar detail and unstable electronic feedback through patient, spacious interaction shaped by a collaboration dating to 2006.

Berlin-based singer, guitarist and composer Margareth Kammerer gathers nine songs recorded between 2007 and 2019 with Chris Abrahams, Werner Dafeldecker, Axel Dörner, Steve Heather, Bernd Jestram, Big Daddy Mugglestone, Valerio Tricoli and Bo Wiget, blending intimate song form, restrained improvisation and electroacoustic detail across music originally developed in part for film.

Percussionists Ted Byrnes and Jeph Jerman follow their 2023 collaboration Passenger with ten entirely acoustic drum-set improvisations created through iterative file exchange, exploiting heads, rims, shells, hardware and resonant surfaces for dense collisions of impact, scrape, rattle, fractured pulse and finely detailed interaction, dedicated to their friend and inspiration Tim Barnes.

Jessica Pavone expands her long-running solo viola practice with effects and guest contributions from Fred Frith on guitar and Joe Lally on bass, using open-string resonances, electronic texture, and remotely developed collaborative material to create a set of compositions that balance solitude, resonance, and carefully structured interaction.

Ken Ikeda on synthesizer and Roger Turner on a reduced kit of snare, floor tom, hi-hat, and cymbals reunite for two extended live improvisations in Tokyo, developing a finely balanced electroacoustic dialogue of hovering electronic tones, metallic resonance, sparse percussion, and sudden dynamic shifts shaped through close, responsive listening.

Saxophonist Nathan Hanson on tenor and soprano joins drummer Steve Hirsh for three spontaneously composed improvisations recorded in Sandstone, Minnesota, developing an intuitive dialogue of lyrical and fractured reed lines, shifting rhythmic momentum, texture, and silence as the two allow form to emerge entirely through attentive, moment-to-moment interaction.

On their sixth album, FEN — Otomo Yoshihide, Ryu Hankil, Yuen Chee Wai, and Yan Jun — present four 15-minute works originally devised for the 2018 Gwangju Biennale, combining guitar, electronics, Max/MSP, and field recordings through a blind process of cutting, rearranging, and chance-based assembly that turns separation, chance, and juxtaposition into the music's organizing principles.

Portuguese duo Ricardo Guerra Pires (electric guitar) and Bruno Parrinha (alto saxophone) follow their debut vas-y with thirteen intense free improvisations using live electronic processing and loops to transform their instruments into dense layers of industrial noise, fractured free jazz, glissandi, distortion and resonant detail, balancing abrasive sonic force with remarkably controlled interaction.

Drummer Chris Corsano and guitarist Tashi Dorji unleash a volatile live duo set recorded in Asheville, North Carolina, moving between polyrhythmic free-jazz eruptions, fractured rock grooves, angular riffing, feedback, and psychedelic noise in a fiercely interactive performance that captures both players at their most restless, physical, and responsive.

Winnipeg duo Savant Flaneur — cellist Nathan Krahn and violinist Gage Salnikowski, both on electronics — improvise within a series of custom Max/MSP systems that alternately interrupt, constrain, redirect, and rebalance their interaction, producing five works that move through free improvisation, noise, drone, and experimental chamber music.

Drummer and electronic artist Federico Ughi joins his sons Alberto, Martino, and Benjamin, with additional family voices, transforming improvisations, conversations, and childhood performances recorded from 2021-2025 into a vibrant collage of free-form hip hop, electronics, percussion, song, and sound design, preserving spontaneous family creativity while shaping it into a deeply personal collective document.

A remarkable 1967 Radio Bremen session uniting leading figures of emerging European free improvisation, with Alexander von Schlippenbach, Irène Schweizer and Fred van Hove on piano; Peter Brötzmann and Gerd Dudek on saxophones; Manfred Schoof and Manfred Miller on brass; three bassists; and Sven-Åke Johansson, Jaki Liebezeit and Mani Neumeier on drums and percussion.

Seoul-born gayageum virtuoso and vocalist DoYeon Kim makes a striking bandleader debut with a quartet of Tyshawn Sorey on drums, Mat Maneri on viola and Henry Fraser on bass, merging Korean string and storytelling traditions with contemporary improvisation in a forceful, deeply expressive set of compositions and group interactions that move from bristling acoustic intensity to communal, humanist resonance.

Legendary Japanese guitarist Keiji Haino and London drummer/percussionist Steve Noble meet live at Cafe OTO in 2012 for a volatile duo performance moving between near-silence, blues-tinged reflection, dense feedback and explosive free improvisation, with Haino on electric guitar, electronics and wooden flute against Noble's expansive percussion setup, balancing raw intensity with spacious, highly responsive interplay.

Japanese improviser Junji Hirose documents two 2024 solo sessions at Tokyo's Pool using his evolving self-made SSI sound instruments � including bicycle-wheel and metal-tray constructions � plus a final piece directing compressed air onto microphones, producing five works that move between metallic resonance, white noise, subtle textures and explosive acoustic force.

French electronic music pioneer Eliane Radigue performs her three-part composition Triptych, recorded in her Paris studio and inspired by Tibetan Buddhism and the elemental forces of water, air, fire, and earth, presenting a patient, immersive work of sustained electronic tones and subtle transformation, here issued as a double LP with the complete pieces preserved without editing or cuts.

Four major electroacoustic improvisers — Bryan Eubanks on soprano saxophone, electronics and modular synthesizer, Gert-Jan Prins on electronics and percussion, Tetuzi Akiyama on guitar, and Toshimaru Nakamura on no-input mixing board — each recorded separate solo performances, assembled by Prins, Eubanks and Nakamura into four distinct collective works of shifting textures and sonic interplay.

Pianist Myra Melford's Fire and Water Quintet with Mary Halvorson on guitar, Ingrid Laubrock on tenor and soprano saxophones, Tomeka Reid on cello, and Lesley Mok on drums, continuing Melford's Cy Twombly-inspired balance of cellular composition, collective improvisation, lyricism, counterpoint, and rhythmic momentum in a richly interactive studio recording.

Composer and reedist Henry Threadgill reconvenes his long-running Zooid quintet with Liberty Ellman on acoustic guitar, Jose Davila on tuba and trombone, Christopher Hoffman on cello, and Elliot Humberto Kavee on drums, extending his interval-based language through shifting meters, compact forms, and non-hierarchical interplay in music that balances structural rigor with elastic, conversational improvisation.

A strikingly restrained side of Albert Ayler emerges on this 1964 session of spirituals and devotional songs, with his tenor and soprano saxophones joined by Call Cobbs Jr. on piano, Henry Grimes on double bass and Sunny Murray on drums, emphasizing melody, blues-inflected tone and deep vibrato while revealing the gospel and New Orleans roots underlying his more radical later language.