A 60 page book and CD from sound artist Jason Kahn, the audio composition representing an interconnected set of sound impressions focused on the Indian city of Varanasi, using field recordings of life on the street, the people, animals & music heard there, into the holy sites of the city, the school rooms, ending with a cremation and inevitable quiet at end of day.

Recording as An Orchestra of PEKs--overdubbed tracks performing with his arsenal of metallic, percussive and electronics devices--intermediate mixes here of electric cello and electric upright bass through Moogerfooger stomp box and syntrix analog synthesizer and a metallic percussion mix, the various timbres interacting as a larger environment for PEK's reed improvisations.

Music written to accompany a light & juggling performance by German contemporary circus artist Kolja Huneck, Rutger Zuydervelt developing the compositions of these works using only short looping structures that weave and develop into a tapestry of sound, inspired by the repetitive motions of Kolja's performance and the 30 centimeter round discs with which he performs.

A stunning sound collage made from recorded fragments of Fujii's studio piano, captured inside and out using traditional piano sonorities and preparations that often microscopically detail the instrument, then edited into two electroacoustic compositions of startling and unexpected expansiveness and wonder; a unique and fascinating release in Fujii's large oeuvre.

A stunning solo album showing the widely diverse interests of UK clarinetist and guitarist Alex Ward, recording in the studio in 10 multi-track pieces using clarinets, saxophones, guitars, keyboards, electric bass and assorted software instruments in a mix of pre-composed and improvised approaches, burning the spectrum from contemplative to aggressively assertive performance.

Two major works designed for multi-channel sound projections from electronic composer Marcus Schmickler: "Sky Dice / Mapping the Studio", a work for ARP 2500, Publison DHM89B, Publison Infernal Machine and Computer, premiered at Donaueschinger Tage fur Neue Musik in 2018; "Fortuna Ribbon" a 6-part work based on spatial hearing and auditory otoacoustic distortions.

Based in NY but born the Netherlands, sound artist Flin Van Hemmen's title refers to observations from his hometown of Nijmegen, the concept focusing his work, with many samples originating from his previous Casting Spells & The Coves album, along with new field recordings and studio work, resulting in richly detailed worlds of sound and momentum.

Exploring the details of everyday life as he examines the relationship between his environment and himself, microscopic audio explorer Éric La Casa investigates sounds beyond the threshold of auditory hearing, capturing barely perceptible sonic manifestations with incredible clarity and detail, constructing engaging works from these surprising and intriguing sounds.

Conceived by saxophonist Kirstoffer Berre Alberts and Lasse Marhaug, who composed this large acoustic work for strings, percussion, blowing instruments, pipes (organ and accordion) and vocals, soliciting solo recordings created in isolation during the pandemic which they layered and blocked in the studio to create these two remarkable works of eccentric timbre, motion & pitch.

A series of collaborative electracoustic improvisations recorded remotely during the pandemic by long-time associates, electric guitarist Charles K. Noyes and multi-instrumentalist Elliott Sharp, here performing on arches h line (a 9-string double neck instrument), violinoid, triple course bass pantar, analog synthesizers, sax & bass clarinet.

An introspectively lovely and reflective album of electroacoustic composition through minimal electronics, piano, samples and electronics, from the collaboration of Italian sound artists Michelangelo Decorato and Leo Cicala, with trumpeter Luca Calabrese joining on one piece; sophisticatedly languid, alluring and detailed ambient music.

Extremely personal and passionate, cellist Okkyung Lee recorded this album after separation from her instrument for months as she traveled to Korea to be with her dying father during pandemic; the 9 pieces are layered with strings, instrument sounds, voice and with profound timing, creating an intensely beautiful album reflecting the anguish and loss of the time.

One of Corbett vs. Dempsey's Black Cross Solo Sessions, Joe McPhees approaches his album recorded during pandemic lockdown in his home through tenor sax, voice, water, objects and field recordings, the center of the album a cycle of compositions by Charles Mingus, alongside works by Carla Bley and influences by Joni Mitchell, and a virtual symphony of saxes on the title track.

The first album from the duo of American composer & violinist Jordan Dykstra and Dutch composer Koen Nutters, developed by exchanging material of ambient & spacious nature using slow chord development, field recordings, viola, pitch pipe, crotales, piano EBow and electronic programming, the resulting work diverse and constantly evolving through fascinating details.

The first installment in a new series from Alva Noto, aka Carsten Nicola, bringing together heterogeneous composition methods that aim to merge astrophysics phenomena, fiction, and performance movements, inspired by cinematic visual techniques and static images portraying scientific events; includes graphic inserts of notations informed by the album's sonic and acoustic code.

The first installment in a new series from Alva Noto, aka Carsten Nicola, bringing together heterogeneous composition methods that aim to merge astrophysics phenomena, fiction, and performance movements, inspired by cinematic visual techniques and static images portraying scientific events; includes graphic inserts of notations informed by the album's sonic and acoustic code.

The intersection of Austrian violinist, vocalist and sound artist Mia Zabelka and Canadian sound artist and multi-instrumentalist Glen Hall, using recordings of live improvisations, electronics and unusual applications of software to structure fourteen compositions of accomplished playing and startlingly unpredictable sound, a magnificent and often breathtaking journey.

Alarmed by the warning signs of social deterioration, political overreach and planetary damage warning of an imminent need for revolutionary change, composer and sound artist Michael Pisaro-Liu sought and plundered references in sound from historic and current sources, producing 53 tracks that are arranged to tell a story in a mosaic form; an incredible achievement.

Four clarinet-based works in trio, duo and solo from UK composer and musicologist Martin Iddon, performed by Heather Roche on bass and contrabass clarinets, Juliet Fraser on voice for "Muses", Anton Lukoszevieze on cello and James Opstad on double bass; music with intricate, interweaving lines, the title piece a mesmerising work for multi-tracked clarinets and field recordings.

Three distinct compositions from the collaborative work of sound artists Vanessa Rossetto and Lionel Marchetti, the first a wonderfully complex work of musique concrète and acousmatic sources guided by the composers' instincts; "The Tower" expands their concepts through the addition of 18 voices, while the final track features the violin of Anouck Genthon.

The pre-apocalyptic intertwining story of a woman named Reiko, living in a city scarred by climate change and burdened with the imminent threat of viruses, wandering the streets haunted by demons, abstractly envisioned in sound through stunningly effective electronics, field recordings, and developed in parts with Michel Banabila and Rutger Zuydervelt (Machinefabriek).

Essentially a solo album from composer and improviser based in NYC Hampus Öhman-Frölund, this extended work uses a zither as its basis, augmented by a MicroKorg and the voice of Huvudbry bandmate Avery Leigh Draut, using no set tempo and framed and inspired around a picture of the woods near where Öhman-Frölund grew up; really lovely and inspired work.

Composer Andre O. Moller's work for solo double bass, performed by Hans Eberhard Maldfeld, was inspired by Moller's fascination in just tuning & rational frequency relations and an admiration for the work of Hans Eberhard Maldfeld, presented compositionally as a group of 7 pieces for 5-stringed double bass and pre-produced playback, creating a virtual double bass choir.

A stunning album of solo trumpet performance from Natsuki Tamura, who's name in Japanese translates as 'Natsu' meaning 'summer' and 'Ki' means 'tree', performed as layers of remarkable technique led by clarion playing over trumpet drones, sonic turbulence and percussive interaction on a wok, each layer using his extended vocabulary without studio manipulation.

A double album of experimental works and songs, virtual meetings curated by composer Dante Boon, recorded in the performer's individual cities as ensembles formed from musicians who have never met, including the Moscow duo The Same Ensemble of Sasha Elina and Kirill Shirokov, Amsterdamn's Seamus Cater's Tree Space, Berlin's Konzert Minimal, and sound artist Gabi Losoncy.

Insub.Meta director Cyril Bondi developed this work to question the life course of an artist--their starting point, daily routines and essence--realized through sound and narration in an intimate soundscape of six artists who converge, converse, accompany and answer each other, accompanied by sounds made during warm-ups, rituals and rehearsals.

Putting less focus on the strings and more into sonic environments, French guitarist Pierre Gerard releases a set of eight abstract compositions for voice, guitar, cello, piano, violin, bass clarinet, electronics & field recordings, intended for random playing, employing silence and active sections to catch the passive or background listener off guard.

A collaboration recorded in New York City and Paris through the exchange and evolution of sound files between sound artists and instrumentalists, percussionist Flin van Hemmen and pianist Jozef Dumoulin, each using samples, field recordings, percussion, keyboards, voice and programming to create sound portraits of propulsive impetus and reflective evocation.

Five extended works of descriptive ambience from Finnish composer and musician Jukka-Pekka Kervinen, working with algorithmic and electronic manifestations over five pieces--four works "Across" and one "Across (Lines)"--based on environmental field recordings of birds and ambiance, structures that he morphs & reiterates to create different facets of a single outdoor space.

Four improvisations recorded iteratively during the pandemic and assembled into this exquisitely subtle two-part composition with Eva Maria Houben's piano & organ recorded in Berlin in 2020, Guilherme Rodrigues's cello recorded in Berlin and Ernesto Rodrigues's zither recorded in Lisbon in 2021, merged with nocturnal recordings from Carlos Santos captured in Spain & Portugal.

Performed with Stockholm musicians including pianist Alexander Zethson, wind player Martin Küchen and trombonist Mats Äleklint, organist Linnéa Talp explores the areas of sound that emulate breathing, push/pull or back & forth motion, in eight beautifully paced recordings led by the organ's rich and microtonal vibrations & timbre and imbued by the contributor's subtle additions.

Translating to "Blueberries and cat bells", Finnish electronic composer Olli Aarni's sound world is quick paced and surprisingly dense considering an overall feeling of brightness, sounds flashing and swirling by in strange segments of acousmatic exhilaration, pausing form moments before seizing his listener once more with swift streams of alien soundscapes; brilliant.

2nd Offering: Electroacoustic composer Michel Banabila compiles his dynamic works for dance & movement in this beautifully pressed limited double LP, presenting two 2019 works--'Dragonfly II' for "A Trace of Inevitability" (Yin Yue - Pennsylvania Ballet), and "Illicit Acquirement" for "Enough" (Patrick O"Brien - CUNY Dance Initiative)--and six prior pieces featuring his work with Conny Janssen Danst & Annabelle Lopez Ochoa.

The 1st in SpleenCoffin's double-7" series, each featuring exclusive material and packaged in reclaimed 7" audio reel boxes, this volume featuring audio tracks by French synth duo FEMME; NYC's Sunk Heaven; a piece composed from a group recording of Jeph Jerman, Tim Barnes, Bill Hutson & Ten Byrnes; and a work from Romanian audio artist SOMNOROASE PĂSĂRELE.

Two extended sound collages and cut-ups from field recordings and percussion recorded during tours from 2014 to 2017, the title taken from a sign in one of the hotels that Jerman & Barnes stayed at, apt for the mix of punctuating locations, dissipating noise and unusual percussive passages, a fascinating journey that expands and contracts to make captivating stories.

Rutger Zuydervelt, aka Machinefabriek, in a 7" release of two tracks developed for a piece commissioned by Marta Alstadsaeter and Kim-Jomi Fischer for their dance piece "as much as it is worth" in 2017, the first an edited version of the final music used for the piece, a complex yet upbeat and bouncy work, the second side expanding and darkening the music.

Multi-disciplinary artist living in Berlin, Stefan Roigk developed "Suffering For The Promised" over a 14 year period, composing this large work of acousmatic music as an atmospherically intense yet utterly fragile piece, combining concrete sounds, field recordings and devotional vocal fragments in an eclectic and highly intimate composition of great depth and detail.

Italian sound artist Mauro Diciocia presents the second installment in a trilogy of related recordings, informally named "Le Musiche", using field recordings from a variety of settings mostly around Salento in southern Italy, organizing his recordings to create auditory sketches in sound, telling abstract yet compelling stories that envelop the listener.

Composed from a combination of violin, percussion, vocals, field recordings & electronics by Rutger Zuydervelt, who initially merged unrelated recordings from violinist Anne Bakker (also on harmonica, kazoo & saw) and percussionist & sound artist Rene Aquarius, all three then overdubbing and editing the work to create this fascinating tapestry of hallucinogenic sound.

Two innovative sonic luminaries--Japan's Masami Akita, aka Merzbow, and New York City's David Lee Myers, aka Arcane Device--remix each other's work, bringing Myer's unique approach to feedback and ethereal electronics to harness Akita's agressive sounds, and in reverse, Akita's sense of disruptive sonics explode Myer's more contemplative feedback music.

Investigating the possibilities of instability with synthesizers and electronic instruments, sound artists Eryck Abecassis (France) and Lars Akerlund (Sweden) present 7 impressive tracks of "Dark Energy" in two parts, combining electronics and modular synth, with credits to VICC (Visby International Centre for Composers) and EMS (Electronic Music Studio, Stockholm).

"Elytra" are the protective fore-wings of beetles & crickets, which are raised and scraped to create a resonating and projecting sound; Greek composer and sound artist Thanos Chryaskis composed these seven works of deeply detailed, resonant and layered sonic interaction as a form of emulation to the action of the elytron, each piece an absorbing sonic experience.

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Taking his cues from the electronic music of his Detroit roots, free jazz drummer Gerald Cleaver presents an album of synthetic rhythms and sonic landscape, each piece composed in detailed arrangements of compelling and adventurous structures, from propulsive grooves to sinuous soundscapes, a surprising and exciting twist showing Cleaver's strong compositional skills.

Swedish conceptual artist Leif Elggren developed this second album in his trilogy using "The Motor", a soundwork that he's built over many years from basic fragments of sound used in installations and performances, aggregated here in an expanded form as a continuous drone, harsh on the surface but complex in its layers and sonic collisions.

During 2012 Patrick Farmer walked half of the Welsh Coast, writing a series of observations, which on this release are read in environmental settings by Antoine Beuger, Jeph Jerman, Bruno Guastalla, Sally Ann McIntyre, Holly Pester, Daniela Cascella, & Michael Pisaro-Liu.

Two conceptual compositions from Christoph Korn: the first, "Ich Spreche Diesen" (I appeal to this) where spoken word is placed in a loop and then slowly erased by custom software using aleatory procedures; then "Stille" (Silent), a Cage inspired work.

Luke Martin began this work with a field recording at Mentryville Park in Southern California, which was transcribed by himself and Amy Golden, Ben Levinson, Davy Sumner, and Ryan Gaston using Martin's system of notating silence, then combined into the final score for this recording.

PEK and Yuri Zbitnov's working project exploring chaotic rhythms on metallic instruments using a wide range of sonorities, including gongs, chimes, glockenspiel, Tibetan Bowls and other metallic sounds and horns, plus accompaniment tracks, with special guests Bob Moores on trumpet and guitar and Eric Woods on analog synth and performing real time Signal Processing.

Metal Chaos Ensemble, formed in 2015 as a working project to explore rhythms on metallic instruments guided by rules-based chaotic systems of a very large number of small components, in a quintet studio recording using three dedicated drummers, reeds, electronics, and accompanying "tape" mixes, resulting in epic, inspired and wonderfully unpredictable improvisation.

West Coast sound artist Nicolas Snyder is a composer, filmmaker, sound-documenter, gardener, and forager; fascinated by the sounds of nature, he took recordings from streams and National Parks in Vietnam, Pennsylvania, and California and merged them with music composed in the studio to create these works of great beauty as a study of locational and emotional memory.

Five fascinating works by the Belgian composer Maya Verlaak, realized by Apartment House and soloists Sarah Saviet & Mark Knoop, experimental compositions including a work of personal reflection based on "Alouette"; a conceptual game piece; a composition layering pre-recorded segments of "Greensleaves"; and two interactive acoustic & computer pieces.

Xenography is the ability to write in a language which the individual has not learned, an apt description of the rich dialects sculpted from feedback sources and expertly routed through circular circuits of sound processors by New York sound artist David Lee Myers, AKA Arcane Device, captured and layered into these astounding electronic compositions.

Two versions of the soundtrack to the Dutch movie BERG composed by Rutger Zuydervelt, the first rearranging the tracks to the piece to create a long-form work that maintains the meditative qualities of the movie; then an early score proposal and more active concept than the final work, developed with recordings of improvisations from cellist Peter Hollo.

An engrossing set of compositions through field recordings captured around the globe, transitioning by passages of trains, trucks and cars and accompanied by unusual percussive elements and strange melodies, as Niblock invites us to a funeral procession, a collective farm, and untold other exotic and fascinating streets and unexpected environments.

Performed with Stockholm musicians including pianist Alexander Zethson, wind player Martin Küchen and trombonist Mats Äleklint, organist Linnéa Talp explores the areas of sound that emulate breathing, push/pull or back & forth motion, in eight beautifully paced recordings led by the organ's rich and microtonal vibrations & timbre and imbued by the contributor's subtle additions.

25 pieces for solo saxophone in a tribute to and following the logical number games of minimalist composer Tom Johnson, composed by clarinetist and ensemble Dedalus member Farbrice Villard under the inspiration of Johnson's collection Rational Melodies, and performed by the extraordinary French clarinetist Pierre-Stephane Meuge (Counterpoise).

Interested in compositional work involving sound, timing, space, physicality, memory, noise & environment, Dutch composer Reinier van Houdt shares six works developed for erstwhile record's festival AMPLIFY 2020: quarantine, each piece focused on a specific day of the month; and a complementary set of four compositions about everyday recurring situations.

Composers and performers Jani Hirvonen and Johannes Schebler create a complex universe in sound & melody, a veritable forest of sound referencing global and spiritual environments, using warm instrumental sources, field recordings, world percussion and extended use of the studio in a satisfying series of journeys with a mysteriously transcendental and devotional feeling.

A truly unique set of compositions juxtaposing lush field recording with disruptive vocal repetitions, vowel sounds from six different speakers, creating disorienting moments that lull the listener into complacency and then startles them with unexpected interference, as the composer explores how he can establish a subjective relationship with natural environments.

Creating soundscapes from homemade instruments, Text-To-Speech, AI voices, lap steel guitar, found objects, field recording, &c., the duo of sound artists Sam Scranton from Chicago and Neil Quigley from Kilkenny, Ireland, present six unusually unfolding compositions of deceptively relaxed environments layered with mysterious elements and a sly sense of humor.

The followup to their album Oehoe, electroacoustic composer Rutger Zuydervelt (Machinefabriek) developed this set of 10 tracks from improvised recordings on violin, viola and voice by Anne Bakker, creating a fascinating and succinct set of compositions through the deconstruction of her virtuosic playing and Zuydervelt's electronic additions.

A collage of styles and experimentation developed over several years by bassist and multi-instrumentalist Evan Strauss, using long-form graphically notated conceptual compositions based on bird calls along with thematic material from Ursula K. Le Guin, expanded with narration and poetry from Daniel Carter and titled from an excerpt by Virginia Woolf.

Rich harmonics and interstitial interactions between two bass clarinets, as Utah-based Katie Porter and Berlin-based Lucio Capece exchanged recordings to develop two compositions, the first focusing on expression in the context of freedom in time, the 2nd using strict time to explore the effects of overlapping-phasing; reference The International Nothing.

Free jazz recorded one person at a time from the duo of saxophonist Chad Fowler and WC "Chad" Anderson who, constrained by pandemic, chose to create "simulated concerts" by exchanging solo recording, each starting the process for different pieces and surprised at how "live" the results felt, as they built up the twelve excellent, rule-breaking tracks of this album.

Early tape collage works from Fluxus founder and member of the Experimental Media Foundation Philip Corner, five distinct pieces recorded and developed between 1962 to 1963 in New York's Lower East Side, including Lucinda Pastime" for a a dance piece by Lucinda Childs, and "Oracle, a Canata on Images of War" commissioned by the Living Theatre; includes a 16-page booklet.

A followup to The Latest Research From The Department Of Electrical Engineering, Dutch experimental sound artist Michel Banabila shows his most explorative side through eleven compositions using electronics, found sounds, field recordings, synthetics and acousmatic sources, a wonderfully inspired set of contructions that float like machines in a dream.

Using sources from the world about him--field recordings, sampled orchestral noises, and voice recorders--New York composer and sound artist Nickolas Mohanna explores the spatial impressions of sound within a delicate acousmatic language, weaving inexplicable sounds into reorganized, recognizable components, creating a solid and compelling structural language.

Australian sound poet and vocalist Sage J Harlow aka Sage Pbbbt, whose innovative vocal work takes inspiration from Tuvan and Mongolian overtone singing and Inuit throat singing, created this mysterious set of electroacoustic compositions on the unceeded lands of the Whadjuk People of the Noongar Nation, developing four works of spellbinding spectral ambience.

An electroacoustic composition of environment & sound punctuated with subtle percussion and electronic interventions, developed from field recordings, performances on Roosevelt Island, and studio recordings in Brooklyn by the duo of Tucker Dulin on bells, bowl, can, cymbal, lentils, mallet & whistle and Ben Owen on paper mic, speaker boxes, op amps & cassette.

US sound artists Heather Frasch and UK Ryoko Akama, who together run the mumei journal exploring the relationship between text and sound, in works commissioned by Bruno Duplant based on written texts, each interpreted, recorded and edited by the other using objects, field recordings, electronics, cello & voice, with one piece from Frasch and two versions from Akama.

Microtonal composer Kraig Grady in a work for specially adapted brass instruments (Kris Tiner, trumpets; Subhraag Singh-saxophones; Emmett Kim Narushima-trombones) and organ (Terumi Narushima) using a the Meta-Slendro tuning, an obscure 17-tone scale, to create an expansive and organic work assembled from recordings of each musician playing meditations on single notes.

UK sound artist Fermata Ark, aka Harry Smith, composed this work from improvisations recorded by Mark Wastell performing on cello, double bass and harmonium, and Spencer Grady performing on 5-string banjo, ebow, violin bow and brass slide, creating an extended work of immersive and mesmerizing textures and tones, sounds rising and falling in sublime and passionate ways.

Beijing sound artists Yan Jun and Zhu Wenbo developed this hour-long sound composition from independent recordings, a set of abstractions through recordings in the field, mechanical and electronic devices, human voice and utterance, acoustic and electronic instruments, &c. &c., made cohesive and compelling through independent time assignments by each artist; inexplicably interesting.

Stymied by Covid-19, the planned May 2020 tour of sound artists Tim Olive and Phil Maguire was cancelled, motivating each to create four 10-minute solo pieces which were then overlayed to create four "distant duo" pieces, merging Olive's textured home-made electronics and Maguire's reductive approach to audio simplicity and spare sonic environments.

The second-ever solo release from Tim Olive and his first since 2008, in a distinctive set of compositions that layer and superimpose multiple, darkly intense recordings of improvisations made with magnetic pickups, metal plates, springs, wire, tuning forks, electromagnets, bow, breath, dental floss, envelope generator, fuzz, spring reverb, and preamplifier.

A 3 CD box set with a booklet and bow hair marking violinist/conceptualist Jon Rose's 60th birthday, all previously unreleased works ranging from radio documentary and radio fiction to virtuoso performances using acoustic violin and his hyperstring interactive bow system.

For their 2nd collaboration, sound artists Toshiya Tsunoda & Taku Unami present a series of acoustic experiments, each track using a single field recording — fishing spots, birds, a hiking trail, &c, — recording and manipulating those recordings using specific processes, seeking to emulate the way our minds process the senses that we encounter to create our perceived reality.

New Pricing April 2019: Recordings from the Berlin Inventionen Festivals for New Music 2005 and 2006 featuring compositions by Edgar Barroso ("ODD"); Mario Verandi ("Comme un jeu des images"); Paul Wilson ("Trhough the Rain"); Ricardo Climent ("Wallwoodpeckers"); Vladimir Djambazov ("The Secret Life of a Snare Drum"); and Ludger Brummer ("Glasharle").

The second volume of this excellent German sound magazine and audio CD, 9 artists working in sound art, electroacoustic composition; a "listenable exhibition" of modern compositional approach.

Originally released in 2013 on CDR, this meeting of sound artists Jeph Jerman and Aaron Dilloway show the skill, subtlety, and disruptive sonic skills of two innovators, using objects, damaged electronics, electronic loops and live acoustic sound to create large tapestries: 4 pieces that defy characterization through diverse approaches to impactful sound.

Using musique concrète techniques, ECM-inspired jazz, rich layers of synths and hints of pop into immersive and affecting structures, composer Eiko Ishibashi, along with collaborators including Jim O'Rourke on guitar & acoustic bass, create a musical portrayal in two parts plus a coda of the character Jack McCoy, portrayed by Sam Waterston in the TV show Law & Order.

The 2nd album from the duo of Japanese circuit bender Kayu Nakada, using circuit boards from electronic instruments short circuited for new effects, and Japan-based Canadian electronic instrument maker Tim Olive (845 Audio) on shortwave radio, magnetic pickups & undokai, recorded together in Kobe, Japan and then edited and composed into these two intriguing works.

An unusual sax and drum duo from saxophonist Seymour Wright and percussionist Paul Abbott, taking recordings from a dozen years of their work together and assembling, mixing and re-recording them into these two impressive works of "mutated multiphonics and triggered percussion" offset with periods of reflection; startling, unexpected, amusing, awe inspiring.

Multi-instrumentalist & experimental composer Weston Olencki in three historically-driven sound works, recording with saxophonist Anna Webber as they explore the tenor sax in jazz and recording studio technology; the banjo with bluegrass and the mechanized modernism of the Carolinas; and a pump organ with Sacred Harp hymnody and the aging marble industries of Vermont.