An anthology of contemporary Greek experimental composers focused primarily on works since the 1980s, attempting to map the breadth of approaches while delineating different understandings of what "Greek" or "experimental" may stand for, by means of zeroing in on the numerous, often overlapping, realities and micro-scenes that are associated with the former.

An anthology of contemporary Greek experimental composers focused primarily on works since the 1980s, attempting to map the breadth of approaches while delineating different understandings of what "Greek" or "experimental" may stand for, by means of zeroing in on the numerous, often overlapping, realities and micro-scenes that are associated with the former.

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 in composer and audio explorer Anthony Pateras' "Collected Works" series, a sturdy 5 CD box set assembling 26 collaborations and solo works that bridge experimental and contemporary compositional work investigating electro-acoustic orchestration, temporal hallucination and sound phenomena, a remarkably diverse and fascinating collection.

Performing at Japan's Playhouse in the Kitakyushu Performing Arts Center in 2015, legendary Japanese underground vocalist Phew joins Oren Ambarchi on guitar and Jim O'Rourke on piano & synth for the two part "Patience Soup", Phew's extreme vocal technique and electronics a powerful foil to the rich sonic environments of frequent collaborators Ambarchi & O'Rourke.

In 1977 David Behrman programmed a Kim 1 microcomputer developed at Mills College to analyze the music performed by the duo of bassoonist Arthur Stidfole, flutist Maggi Payne; and then the solo work of cellist David Gibson; for each work, the Kim 1 following Behrman's instructions, becoming a virtual musician responding to and interacting with the playing of each setting.

Repressed for 2019!
Daphne Oram, founder of the BBC Radiophonic Workshop, in a remarkable 44-track collection 4 LP release showcasing her important work and curious nature: 155 minutes/8 sides of vinyl in a heavyweight 300 gram gatefold sleeve with rare archival material.

With sections of dark grooves, wild free improv, seething electronics, and even moments of "Set the Controls..." surrealism, the trio of Alexandre Vaz on keys, guitar & saxophone, Joao Silva on synths & drum machine, and Vasco Marques on bass & synth, take their listeners on an unexpected and wide-ranging journey of uneasy and informed, rich exploration.

Using an electric guitar, preparations, and objects as a tool of reflection, Nicola L. Hein presents an album of philosophical bent, about the question of skepticism in music, or a skeptical form of improvisation, through tumultuous playing of impressive technique caught live at Spectrum in NYC, as each track title presents observations or questions that Hein seeks to resolve.

A live recording of the first encounter between Henry Cow/Radar Favourites/Ex-Wise Heads reed, wind and electronic artist Geoff Leigh and Acid Mother Temple guitarist and solo artist Kawabata Makoto, performing at Urbanguild, in Kyoto, Japan, in 2014 for a set of electronic, psychedelic improvisation of great detail using a vast arsenal of experimental approaches.

In the 1980's guitarist and eccentric sound artist Eugene Chadbourne started a series of cassettes that ultimately became the LP "Country Music in the World of Islam"; this new and astonishing archive collection culls material from that and blends it in studio collage with live material from Elliot Sharp, Sun City Girls, Jon Rose, phone messages from Derek Bailey, &c &c.

In the 1980's guitarist and eccentric sound artist Eugene Chadbourne started a series of cassettes that ultimately became the LP "Country Music in the World of Islam"; this new and astonishing archive collection culls material from that and blends it in studio collage with live material from Elliot Sharp, Sun City Girls, Jon Rose, phone messages from Derek Bailey, &c &c.

A 5 CD box set of compositions written by Michael Pisaro using field recordings captured along the Grosse Muhl River in Austria during the 2011-15 Flussaufwartstreiben project, now accompanying performances made along that river by Antoine Beuger (flute), Jurg Frey (clarinet), Marcus Kaiser (cello), Radu Malfatti (trombone), Andre Moller (guitar), and Kathryn Pisaro (oboe).

Spanish sound artist and vocalist Mattin in his 6th "Songbook" album, performed with Farahnaz Hatam, Pan Daijing, Colin Hacklander, Werner Dafeldecker, and Dean Roberts, a vicious mix of essentially no-wave rock and experimental music, six songs at exactly six minutes each covering topics of the conflicts, confusion and frustrations of our modern age.

Making something out of "nothing", audio explorers and sonic organizers Eric La Casa from France and Australian Eamon Sprod spent a week on the waste grounds in the North East of Paris along the Canal Ourcq, capturing field recordings which they used to develop these active compositions, captivating by morphing everyday sounds into something intriguingly mysterious and remarkable.

Bringing together two New York percussionists for a wild ride of that finds drummer Jason Nazary performing exclusively on electronics against and alongside Neither/Nor label-leader Carlo Costa's percussion, using glitch and aberrant electronics in actively constrained ways as the two dart and weave around each other in an exciting and unique improvisational dialog.

Doc Chad pays homage to classic horror flicks with this experimental album blending collages of spoken word from the original movies, with an emphasis on Vincent Price/Hammer Horror era epics, creating a new soundtrack to accompany them through effected guitar work in a Chad/Horror/Rake mode, a freakish and fun blend of improvised and planned performance.

Using historical references to rethink the present--the first 7 months of the Russian Revolution; and the accusal of Marius Plateau's murder by Germaine Berto--and working with Lucio Capece, Marcel Dickhage, Farahnaz Hatam, Moor Mother & Cathleen Schuster, Mattin performed this intense work of sound and narrative at the Digging The Global South Festival in Cologne, 2017.

845 label leader and sonic explorer Tim Olive uses magnetic pickups and electronics in this meeting with radical living room concert sound artist, poet and improviser Yan Jun in Kobe, Japan, Jun using a variety of electronics, radio and field recordings as the two improvise in a wonderfully mischievous set of errant dialog and restrained deconstruction.

Like mad scientists of sound, sonic explorers Tim Olive and Cal Lyall met in a Tokyo studio in 2012 armed with hydrophones, magnetic pickups and electronics to record this richly detailed and slowly unfolding work, blending organic and mechanical elements of indeterminate origin, finding absorbing dialog without clamor or tumult; intriguing and engrossing.

Retrospective of Terry Rusling, a Canadian composer of electronic music working for the CBC in the 60's, who was introduced to the Electronic Music Studio at the University of Toronto, where he was awarded the title of Research Associate, receiving a Canada Council Grant to travel and work in Belgium, Utrecht, Paris, &c.; 2 of his graphic scores are part of John Cage's "Notations" project.

Using multiple voices, field recordings and electronics, Brazil-born composer living in Berlin Laura Mello works with spoken language as she explores human perception of acoustic phenomena in relation to spoken language, here in 8 compositions or excerpts that reveal hallucinatory and unusual aspects of speech complemented by elusive aural environments.

Drawn from 305 traditional ballads from England and Scotland alongside their American variants, anthologised by Francis James Child during the second half of the nineteenth century, are here sung by Ed Pettersen in the fascinating intersection of traditional lyrics and experimental interpretations of melodies, performed by the 11-piece London Experimental Ensemble.

A fun, odd and eccentric album constructed from extracts of hours of tape reels and audio cassettes by Montreal turntablist Martin Tetrault, a mix of plunderphonic sources, unusual turntable technique, and experimental audio collage drawn from an insanely diverse set of sources, in this sequel to his 1992 "Snipettes!" cassette, here with 31 new fascinating miniatures.

An adaptation from "Sileen", a composition commissioned by Musica For The Festival Oortreders at Neerpelt, Belgium, 2016 performed with 50 members of a local music school; "Sileen II" was realized with only Gareth Davis on bass clarinet plus sounds from Machinefabriek, recorded in the same pitch and tempo as "Sileen', then slowed to half its speed and one octave lower.

Two hallucinatory works for keyboards that envelop their listeners in deep, slowly shifting sound, from composer and electronic explorer Eliane Radigues, the first "Geelriandre" from 1972 and realized on an ARP 2500 synthesizer, with Gerard Fremy on prepared piano; "Arthesis" from 1973 was realized by Radigue on a Moog Synthesizer at the University of Iowa.

Important Records released the 12-CD box set "Reverberations: Tape & Electronic Music 1961-1970" in 2012, presenting an overview of Oliveros' experimental music along with early and unreleased music; this is the 1st volume in the vinyl Reverberations series, which will reissue those CDs on LP, here presenting two works: "Time Perspectives" and "Mnemonics".

Before her Deep Listening work and other noted output as an improviser, composer Pauline Oliveros made a systematic exploration of tape and electronic music from the late 1950s through the 1960s, recording these four fascinating and inventive pieces, which are collected in this strictly limited run of 400 copies on silver vinyl LP.

Rutger Zuydervelt, aka Machinefabriek, presents 33 pieces made for the score of the VPRO-produced documentary series Sahara, in which Bram Vermeulen explores political turmoil, social issues and cultural heritage in the Sahara region, here in a beautifully heterogenous album presenting upbeat rhythmic, melodic, and lyrical music balanced by moody dark sonic environments.

A sublime album contrasting the physical acoustics of upright, grand and prepared pianos with elusively slippery electronics, plus some Buchla and Serge synthesizer additions, as New York electroacoustic improviser Ikue Mori and Danish experimenter Christian Ronn meet at the Elektron Musik Studion (EMS) in Stockholm to record this wonderfully hallucinatory album.

The 3rd phase of French sound artists Jean-Luc Guionnet & Thomas Tilly's art and research project, recorded at the Center for Contemporary Art at La Synagogue de Delme and joined by percussionist Will Guthrie, bagpiper Claude Grandjean, and violist Cyprien Busolini, creating a remarkably diverse installation of audio frequencies, voices, instrumental sections, rhythms and silence.

Using material from solo live performances in San Francisco, Berlin, Zurich and London between 2010 and 2015, composer and sound artist Antoine Chessex developed the two compositions of this album, extracting his electroacoustic altered saxophone work and developing them into larger works that bridge extreme and psychoacoustics approaches with great sonic depth.

"Ke I Te Ki" signifies the sound of an alarm, as frequent collaborators Akio Suzuki and Aki Onda push themselves in a live multi-track recording at the NY Emily Harvey Foundation (former home of Fluxus founder George Maciunas), using field recordings, objects, layers of melody and rhythm, sustained drones, and diverse textures and timbres to create these absorbing recordings.

The final issue of the premier Canadian new music magazine Musicworks' 40th anniversary year, with Darcy Spidle on the cover, plus articles on Luke Nickel, Lina Allemano, Andre Cormier, Joseph Shabason, Thanya Iyer, the Ociciwan Contemporary Art Collective, plus a 9 track CD with music from Darcy Spidle, Shabason, Iyer, Luke Nickel & Heather Roche, &c. &c.

Drummer/percussionist and electronic artist Weasel Walter's solo album presents 99 tracks that represent 4 large movements of "detailed abstract madness", titled "Curse Against Humanity", "Casting Destruction", "Ode To The Death Of Enemies", and "Cursed in Eternity", each a vicious and intensely captivating set of elusive movement in accord and discord; fascinating.

Separated by 1,000 KMs and speaking a different language, the collaboration of Quebec bassist Eric Normand and Australian saxophonist Jim Denley, both dedicated experimenters, share a common aesthetic in free improvisation as they release their third album: five dialogs using reeds, electric bass, drums, objects and tools to create unusual sonic conversations.

A unique sound document originally envisioned as a sound map of Ireland, collecting and composing with live recordings from performances in Doon, Dungarvan, Plaistow, Shoreditch, Singo & Stratford, using song, sound, spoken word, extraneous, ambient recordings and abstract and unidentifiable elements, making for an absolutely fascinating and somewhat bizarre album; recommended.

Accompanied by Japanese master tabla player U-zhaan, the 3rd album from Australian guitarist and experimenter Oren Ambarchi and Chicago/NY/Japan musician Jim O'Rourke uses U-zhaan's warmly active rhythms as a platform for shifting sounds and resonant repetition, hypnotic and psychedelic as it draws the listener into wonderful swirls of sound.

Composer Eliane Radigue's "Jouet Electronique" (1967) for feedback on magnetic tape and "Elemental I" (1968) for feedback of natural sounds on magnetic tape, recorded at Pierre Henry's Studio Apsome; "Jouet Electronique" applies studio modifications to feedback from microphones and speakers; "Elemental I" explores recordings of water, fire, air and earth.

Two studio recordings of objects, tapes, devices and guitar from the duo of Steve Jansen and Jeph Jerman, starting with seemingly random elements of sound that transform into rich soundscapes with subtle activity and extraneous, unidentifiable sound, keeping the listener's curiosity and interest, as the two pieces slowly build in sonic richness and force.

Two live performances of objects, tapes, devices and guitar from the duo of Steve Jansen and Jeph Jerman: "Second" captured at a "homecore" performance during the 2016 Idea Festival in Houston, TX, and "First" recorded at the Blanton Museum of Art in Austin, TX during the same festival; consuming and stunning journeys in sound.

Rapid beats, quirky percussion, drifting bass and unusual tones, Eli Keszler's 9th solo album was inspired by his move from Brooklyn into Manhattan, as the creative drummer fuses environments of avant-jazz and electronica into 12 understated pieces, developing embraceable and warm soundscapes over which he reveals an astonishing stream of restless, rhythmic dexterity.

Rapid beats, quirky percussion, drifting bass and unusual tones, Eli Keszler's 9th solo album was inspired by his move from Brooklyn into Manhattan, as the creative drummer fuses environments of avant-jazz and electronica into 12 understated pieces, developing embraceable and warm soundscapes over which he reveals an astonishing stream of restless, rhythmic dexterity.

Christina Kubisch developed software to react to the variations in sunlight reflected on solar panels installed at an historic mill complex in the Massachusetts Museum of Contemporary Art, the sun's interactions driving pitch-shifted and envelope-altered samples from the original bells of that museum's clock tower to create a beautiful and illusory long-form recording.

Covering the period of 1966-1990 of French Acousmatic composer and electronic music pioneer Bernard Parmegiani, this 1st volume of "Memoire Magnetique" presents never-released commercial and secret music, 17 short but intensely creative compositions that reveal a wealth of compositional strategies composed for film and performance.

18 never-released recordings by French electro-acoustic composer Francois Bayle including the title track, an "imaginary" soundtrack, and a piece for Bernard Parmegiani, released on the 60th anniversary of Groupe de Recherches Musicales (GRM), which joined with Institut National de l'Audiovisuel in 1975 to create INA-GRM, with Bayle at the head of the record label.

Guitarist and composer Wendy Eisenberg leads her powerful Downtown trio with Trevor Dunn on bass and Ches Smith on drums as they present hard-edged work including a piece inspired by poet Alice Notley, blending experimental and rock forms into a strange brew of eccentric improvised pieces, with an angular menacing approach and a fury of irrepressible determination.

The duo of Sarah Hennies and Greg Stuart, who are both a part of the Meridian trio, performing at the Banff Centre for the Arts and Creativity, in Alberta, Canada, for two extended pieces using piano, percussion and objects, employing strategies and improvisation to generate indeterminate sources and sounds that create a cohesive and mysterious narrative.

Commissioned for the Chicago performing space LAMPO and The Renaissance Society, Olivia Block composed this large work of drone and sound from 2016-2017, premiered on the massive Skinner Organ at Rockefeller Memorial Chapel in a free concert that included a sound installation of 6 speakers placed through the chapel playing white noise, sine tones, and prerecorded organ sounds.

A thick and sick album of heavy electro-improvisation when the French quartet Chaos Echoes of brothers Ilmar Uibo on drums & percussion and Kalevi Uibo on guitar and effects, Fabien W. Furter on guitar and effects, and Stefan Thanneur on bass and effects meets with baritone saxophone Mats Gustafsson for two intense and dark tracks cut to transparent blue vinyl.

After working together on the theater production Das Fliegende Kind (The Flying Child), the trio of Mats Gustafsson, David Sandstrom (Refused), and Andreas Werliin (Fire!) recorded this 18 minute improvisation, a work of percussive force and rolling sax tone that builds to an explosive fury of sound, released on a stunning 1-sided picture disc.

Recorded in one day without any overdubs, the duo of electric guitarist Ryley Walker and Maxwell Allison improvising on a cassette deck with pre-recorded tapes of synthesizer, drum machine, and loops, present a diverse and wildly schizophrenic collections of genres including drone ambience, krautrock, skronky juxtapostions, and free-jazz electronics.

Discursive and disruptive sound using voice,recordings, close micing, indecipherable sound sources, and the occassional oversaturated voice from Maine-based Matt Anderson, aka Crank Sturgeon; 9 strange recordings of assertive but mysterious intent that engage through their intriguing structures, the album named for an ingratiatingly flattering flower stalk.

Two guitarists with unique approaches to their instruments -- Paris-based Julen Depsrez and Lisbon-based Luis Lopes -- in an experimental album of evolving sound through extreme modification of guitar sound and sustain, mysteriously building their interactions from whispering sonics to growling harmonics, tightly controlled but bristling with complex energy.

Two electroacoustic improvisers and composers--Lucio Capece on reeds, analog synths, effects, field recordings, drums machines, speakers in motion, and Marc Baron on field recordings and analog devices--developed these 6 extraordinary recordings that blend motion, perspective, sound and noise, and concrete references in a mystifying and mesmerizing journey in sound.

The second collaboration between sound artist Vanessa Rossetto and writer and sound artist Matthew Revert is a monumental work that studies the evolution of communication through fragments of spoken words, and a rich tapestry of sound from acoustic and electronic instruments, field recordings, and perplexing and dramatic sources of sound.

A welcome reissue of two 1980s, forward-thinking albums of electronic compositions from Milanese ethnomusicologist composers, sound engineers and performers Giovanni Venosta and Roberto Musci, incorporating exotic field recordings from their world travels into accessibly sophisticated pieces, creating unexpectedly innovative, novel and melodically rich hybrids.

The SYNTHI AKS was developed by Electronic Music Studios in 1971, a portable modular synthesizer that used no keys, instead a generative music machine with a matrix patch panel allowing great flexibility in modulation, reverb, effect like delay, and glitch, here in 13 pieces composed by Yoshio Machida layering patterns developed on the SYNTHI.

Rutger Zuydervelt, AKA Machinefabriek, expanded the existing score for Marta Alstadsaeter & Kim-Jomi Fischer's dance piece "Engel", which is a contemporary piece combining dance and circus acrobatics, the new soundtrack a large work combining rich mirages of electronica, ambient sound, assertive noise, and even a section of Paal Nilessen-Love's drumwork.

Three tracks from Yoshio Machida's works for the SYNTHI AKS, the 1971 portable modular synthesizer developed by Electronic Music Studios using a generative music machine with a matrix patch panel allowing great flexibility in modulation, reverb, effect like delay, and glitch, in a 7.5" lathe cut vinyl release, numbered in a silk-screened antistatic package.

Hollywood, California-based media artist, writer, and filmmaker GX Jupitter-Larsen's project The Haters in a cassette release of cyclical noise, the title an apt description of the sound, like a baggage compartment on a train in transit as the wheels thunder in metallic rhythm in a trance of thick harmonics.

Thick fuzzy sound with subliminal interventions and a subsumed squiggly lead line makes the first side of this cassette release from American sound artist Matt Taggart, AKA PCRV, balanced by a ringing work of ambient harmonics that creates beautiful hypnotic tone textures that shifts slowly with illusional transitions.

Pregnant Spore is Justin Marc Lloyd, Chicago-based experimental noise artist who performs under a variety of monikers, here in a rapid-paced album of rich and ruptured sound, unusual rhythmic sources, reverse phonetics, quickly changing pace and direction while maintaining an odd sense of cohesion; fascinating and perplexing.

British noise artist Hal Hutchinson (Der Bunker Records) in a record of apparent field recordings of metallic factory sounds, a machinist's daydream of rotating and subdued lathe sounds, each side of the cassette with a distinct timbre and recording ambiance as the mysterious sounds provide a cantankerously complex set of audio environments.

Japanese artist Yoshio Machida and Belgian artist Constantin Papageorgiadis recorded these 12 tracks on an EMS Synthi 100 keyboard, a modular analogue/digital hybrid synth designed in 1971 of which 31 were constructed, this one being on loan from Gent University in Belgium, here manipulated without keyboards to create these rich electronic "Generations" and "Experiments".

Tokyo-based electronics artist Toshimaru Nakamura's 9th album of No-Input Mixing Board music, elucidating sound from the mixing board without any audio sources, showing the amazing evolution of his approach as he turns this "empty" "instrument" into an amazing source of rhythmic and assertive sound that's both surprising and wonderfully musical.

Using sampler, dictaphone, and voice, the duo of Sidsel Endresen and Jan Bang improvise and interact to create unorthodox hybrids of fractured electronics and articulated word, as edgy and engaging as it is unusual, captured live at Victoria Nasjonal Jazzscene, in Oslo, Norway in 2016, a great followup to Bang's "And Poppies From Kandahar" Samadhi album.

The first new release from William Key Ransone's Small Cruel Party, two 12 minute pieces, the first a work of subtle noise that ebbs and flows in subliminal ways; the second a work of strong tone combinations with distracted percussion and unusual tonal interruptions, a unique album of atmosphere and tension.

Sprawl Imprint label leader Douglas Benford developed this fascinatingly layered composition with a diverse set of instruments, objects, and field recordings from captures made at the Stockholm Music Museum and at performances in Lithuania and England between 2009 and 2017, assembling them to create this exceptional odyssey of concrete, ambient and ethnic sources.

UK Sound experimenter Stephen Cornford took the bare wires of two microphone cables and submerged them in the cavaties of a large but run-down car battery, plugged it into a mixer, panned hard left and right and recorded, adding a 12 Volt trickle charger to the external terminals of the battery and made a second recording, the results heard here unchanged.

The Rita, the duo of Sam McKinlay and Arlie Doyle, made samples from 1930's pre-code exploitation films, focusing on the sounds made in the changing rooms of female prostitutes depicted in those films, and manipulated the sounds to make these two tracks, inscrutably crunchy and static filled manifestoes with a sense of age and decay from the period captured.

Detroit sound artist Andrew Coltrane recorded this work of complex noise and feedback in Detroit in 2011, recording to 4-track cassette with instrumenation including saxophone, flute, bowed strings, voice, synthesizer, tape loops, short wave, field recordings, and electronics, creating a thickly detailed album of unpredictable yet uniquely organized sound.

The Los Angeles grindcore/noise band of Charlie Mumma, John Wiese, and Phil Blankenship in a cassette of brutal noise performed at Bronson, in Los Angeles California in 2014, both tracks using a similar explosive approach to sound, "Deja Vu" having more space between events while "Unfolding Universe" adds a thick noise floor that approaches white noise at time.

Expanding on Burkhard Stangl colo concert at the 2014 Reheat festival at Kleylehof based on Consuelo Velazquez's song "Besame Mucho", the duo of Stang and Angelica Castello recomposed it, mixing new pieces with old plus home recordings, accidental recordings, live performances, &c, creating a Chesterfield diary of songs, of noise, of longing and of dreaming.

Tokyo-based electronic composer Yui Onondera (critical-path) and New York experimenter Stephen Vitiello use a variety of sound sources--electric violin, electric & acoustic guitars, field recordings, found objects, modular synthesizer, toy piano, &c--to create a set of 8 "Quivers" from trembling agitation to exquisite atmospheric repositories of sound.