The electroacoustic duo of singer Andrea Silvia Giordano and drummer Nicholas Remondino, working with Pierre Bastien, E-cor Ensemble, Gianluca Verlingieri, Maria Dybbroe and Torstein Lavik Larsen, create uniquely motioned works of decay, deconstruction and destruction, percussion and voice weaving amid unusual sonic sources both abstract and rhythmic.

Frond, aka Richard Bultitude, is a UK sound artist who creates rich soundscapes of guitar, synthetics, field recordings and other ethereal elements, the mix of live instrumentation over drone and ambient environments adding warmth and personality to beautifully crafted works, each exuding a sense of inner calm through innately melodic music replete with detail.

Inspired by Jeroen Diepenmaat's Xerox collage art book, "co//age co//py", sound artist Jos Smolders developed these tracks as a response through 9 brief works and one larger construction, intersecting voice, synth, sax, piano and field recordings in a mix of oddly and abruptly sliced sound offset with periods of beauty; a compellingly curious album.

Rutger Zuydervelt (aka Machinefabriek) invited 41 drummer/percussionists including Tony Buck, Vasco Trilla, Tim Barnes, Greg Stuart, Cyril Bondi, &c. to take part in a project by recording a few short fills or phrases, which Zuydervelt used as "Lego Bricks" to build a series of short rhythmical collages, the results being 24 diverse and fascinating compositions.

Drummer Gerald Cleaver continues his explorations in electronic music, taking his compositions of modular electronics, synthesis, FM tones, and muted drum machines into intricate and wide-ranging territory, compelling through the solid and natural rhythms he imparts to each piece, many of which are titled for musicians who have influenced him.

Drummer Gerald Cleaver continues his explorations in electronic music, taking his compositions of modular electronics, synthesis, FM tones, and muted drum machines into intricate and wide-ranging territory, compelling through the solid and natural rhythms he imparts to each piece, many of which are titled for musicians who have influenced him.

Three connected journeys in drifting tones, unidentifiable and sometimes aberrant intersections and melodically abstract guitar work, composed by guitarist Lance Austin Olsen and performed with guitarist Barry Chabala, using layers of sound like an audio version of a colour field painting, emulating a field of seeds waiting for changing conditions to allow them to emerge.

Argentinian sound artist Alexis Perepelycia explores his influences in an extended sonic work, drawing on his roots in the sounds of garage, punk, metal, industrial music into his work in academia, using abstract references of assertive and acousmatic sound with powerful electronic emphasis as he seeks his ghosts amidst references like Russolo, Stockhausen, &c.

Using percussion, cymbals, various objects, computer and sound sculptures made by Bruno Girardi, Italian percussionist Lucio Bonaldo, known for the group L'imbroglio, presents a set of recordings performed live and direct, captured between 2018 & 2019, including a Sonorization of a literary passage taken from "Traviso" by Alberto Cellotto, and "Altken", an overdubbed work.

Since 2010 the Indonesian duo Senyawa of vocalist Rully Shabara and instrumentalist Wukir Suryadi have merged traditional Indonesian music with experimental approaches, heard here in their seventh album, released through a cooperative arrangement with more than 30 labels across the globe, in an attempt to decentralize the hierarchical structures of the music industry.

Four pieces from Oier Iruretagoiena (Tusuri, Larraskito Audio Dissection Unit) using computer generated sound of an abstract nature, with irregular rhythms and intersections in harmonics and feedback, actively reserved and avoiding extremes while creating a cohesively curious collection of quirky, aberrant, cranky and surprisingly compelling connected sounds.

An actualization of Manfred Werder's text score, "2015³", taking a quote from Walter Benjamin, "through excessive fatigue I had thrown myself on my bed in my clothes in the brightly-lit room, and had at once, for a few seconds, fallen asleep", the Regler trio present an abstract interpretation through location recordings of the band setting up and falling asleep.

Spanish electronic musician and artist Estanis Comella in 14 concise pieces of angular electronic rhythmic intersections and interventions, quirky pieces that deconstruct and reconstruct in unusual ways, using the electronica language of, but definitely not intended for, the young dance/edm generation.

Taking modular synths into unusual territory, Autumn Records label leader and relentless audio explorer Greg Davis spent years using a computer controlled modular synthesizer system to generate an obsessive set of synthetic and electronic sounds -- swooping, burbling, chattering, &c. -- assembled into this quick witted and energetic set of compositions.

A solo album from Italian percussionsit Lucio Miele, presenting six works of layered percussion with live electronics and, on three tracks, recitation from actor Simona Fredella, each piece sound-oriented with an incredibly diverse set of percussive variety, detailed atmospheric settings and diverse rhythmic foundation; a remarkable and sometimes hair-raising album.

A live solo recording made using the amplified and processed sounds of snow, hail, and wind, captured by sound artist Max Hamel using a piezoelectric disc taped to a metal plate stuck out his window during the first snow storm of 2019, processed in real time using resonant filters, delay lines, and chaotic processors, the whole edited for these two compositions.

Tokyo sound artist Elico Suzuki attached or arranged "gadgets" including a small electric fan, a motor and a radio, to an upright piano whose upper and lower panels were removed and insides exposed, using their inherent sounds and those created by touching them to the piano strings to generate overlapping and evolving sound, ending each piece with force through the keyboard.

One circular and one continuous composition from Argentinian composer Sergio Merce, using rich tones like clouds of sound generated by a microtonal saxophone, synthesizer and wind synth, the title referring to his sense of music a channel to see, to reveal, a channel that opens through intuition, observation and attention but not through thinking; beautiful.

"An invitation into our perceptual periphery, where noise(s) — and perhaps we — can be somewhat disobedient" read the liner notes to Colombian composer Sergio Cote Barco's sound work, three compositions from extreme minimalism and silence to rich sound, each varying the topography and envelopes of sound, ostensibly performed by "electronic music".

Using guitars, violin, electronics, field recordings, abstract voice, and a "sound knife in the sand", Pierre Gerard recorded this set of 13 works in Liege, Belgium, and Wimereux, France, in 2019, using intuitive approaches to his minimalist electroacoustic compositions as he assembles his elements to convey human gesture and architectural form in sound.

Guitarist, computer musician, and improviser Eric Wong (D.N.A.N.D.N.A. with Simon Rose) focuses on sound textures and perception of sound, in three works composed using Ableton Live that explore concepts of psychoacoustic sound through dissonance, harmonic interference and hallucinatory sound, slowly developing works of rich sonic characteristic.

Various facets of German composer and experimenter Florian Wittenburg's interests, in two iterations of two pieces and two compositions, using voice, vibraphones and ringing bowls, treated electronically to emphasize unique characteristics of sound from warmly rich to mysteriously fragile, balanced with space and careful timing; a valuable introduction to his work.

A duo improvisation recorded at Shichoshitsu Jinbo-cho, in Tokyo, Japan between no-input mixing electracoustic improviser Toshimaru Nakamura and Doubtmusic label leader and member of mn and MNK, Jun Numata on guitar, oscilator, radio, in a varied and turbulent affair of extreme electronics, sound and noise that takes the listener on a wild ride.

Beginning in 1995 in Seattle, audio explorers Jeph Jerman & David Knotts explore lo-fi approaches using cassettes, mini-cassettes, dictaphones, various assortments of homemade instruments & collected materials, this 2020 cassette including recordings of mouth, stone, wood, glass, metal, paper, plastic, radio, and input from a number of contributors.

Rutger Zuydervelt (aka Machinefabriek) invited 41 drummer/percussionists including Tony Buck, Vasco Trilla, Tim Barnes, Greg Stuart, Cyril Bondi, &c. to take part in a project by recording a few short fills or phrases, which Zuydervelt used as "Lego Bricks" to build a series of short rhythmical collages, the results being 24 diverse and fascinating compositions.

The fourth album in 20 years from the Schnee duo of guitarist Burkhard Stangl (efzeg, Polwechsel) and Christof Kurzmann performing on lloop, voice and "ruber bands", creating music for films that have not yet been created through intensely moody electroacoustic environments, Kurzmann's voice sometimes guiding the narrative of their visionary sound.

English experimental composer and musical performer John White recorded the pieces on this 2 CD retrospective set between 1980 and 1995, a combination of serious, popular and novelty pieces, often exploring areas of contradiction, particularly linear and rhythmic, within an unlikely sound-world in which parameters such as volume, timbre, texture and speed remain fixed.

Reissuing The Necks' pianist Chris Abrahams' 2004 solo album, a unique set of recordings that reflects both on his improvisational life and his explorative nature, recorded using a Positive Organ, Forte Piano, DX 7 and an acoustic piano, each piece evoking distinct sonic environments and approaches to playing and compositions that makes sense in the overall presentation.

Each side of these 2 LPs is take from one of four installations by Marina Rosendfeld in Frankfurt, Donaueschingen, and NYC, presenting the installation Deathstar; a piano performance within the Deathstar; a re-notation in the form of a concerto for piano and chamber orchestra; and the orchestration's reduction to something like chamber music.

Restricted by pandemic, bassist John Edwards took compositions for Remote Viewers written by Dave Petts along with recordings from himself and saxophonists Caroline Kraabel, Sue Lynch, Adrian Northover & David Petts, using digital compositional methods to maintain Petts' concepts while manipulating and inverting each piece in wonderfully riotous and unexpected ways.

A compilation of compositions for conventional, acoustic, musical instruments, performed through synthetics and computer processing as an album of electronic music, composed by Lisbon based sound and media artist André Gonçalves, each of 9 parts simply titled "Instrumental", and each a fascinating microcosm of kinetic, synthetic-acoustic potential.

A conceptual performance piece from Christina Kubisch, composed and recorded between 1974-84 while in Italy, including a NY performance recorded by Phill Niblock, realized with Arturo Morfino on drums, guitar & objects and Fabrizio Plessi gargling water; an unusual, engrossing and excursive work integrating electronics, field recordings, wind instruments and voice.

Composer Andrew Lafkas' large ensemble piece with performers including C. Spencer Yah, Ron Stabinsky, Barry Weisblat, Sean Meehan, Ben Owen, &c. is a meditative work intended for live performance, this album the 2nd of 3 performances, a brooding and resonant rendering of rich and subtle detail that evolves over 70 minutes, carrying its listeners in a profound revery.

Recordings from 3 days of live performances in May, 1984 at the Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) in France, using AACM legend and computer music innovator George Lewis' interactive virtual improvisor sytem Rainbow Family in virtual duo, trio and quartet settings with Douglas Ewart, Joelle Leandre, Derek Bailey & Steve Lacy.

The culmination of 15 years of work is this ambitious installment of Bryan Eubanks with Joe Foster, Dan Brown, and Dan Reynolds' sound project, in a CD of diverse compositions merging concrete, acousmatic sources and field recordings, with an accompanying 391 page book of letters, notes, aphorisms, scores, images, and commentary from the artists & contributors.

Keyboardist Annie Lewandowski (London Improvisers Orchestra, Fred Frith, Samech) composed this song cycle about ancient Greek figures in collaboration with David Yearsley, Theresa Wong and Russell Greenberg, poetic pieces contrasting traditional use of instruments with subtle experimental approaches in a unique and fascinating set of compositional strategies.

A fascinating 2-CD retrospective of the solo piano and computer work from 1990 to 2016 of San Francisco Bay Area experimental composer Chris Brown, whose work focuses on evolving paradigms of human-machine interaction through live signal processing, generative polyrhythmic textures, and a cohabitation of both formal control and indeterminacy.

A dynamic collaboration between This Heat/Massacre legendary drummer Charles Hayward and the Dungeness improvising sound duo Harmergeddon of Polyphoniefae and Nathan Greywater, who use photophonics, electromagnetic fields and consumer electronic junk to create detailed and interactive sound environments that propel Hayward into exultant rhythmic territory.

Using electronic and digital tools similar to those that fuel his Arcane Device project, New York sound artist David Lee Myers presents an accessibly engaging set of compositions using modular electronics, feedback matrices, guitar textures, voices, and frogs in 11 polyrhythmic adventures; quirky yet non-chaotic, sublime experimental works of tone and texture.

Taking their lead from John Cage's 1956 Radio Music, the Opening Performance Orchestra in collaboration with the radio & a/v device archive at the Tesla Museum in Trest, present this 72-minute piece from a private live performance in July 2018, the 7 members of the Orchestra plus 2 guest operating 13 historical radio sets, dating from between 1935 and 1961.

A gorgeous and rich drone composition from New York composer Phill Niblock, intended for maximum volume to bring out shifting and slowly interacting harmonics from a nonet of incredible guitarists — David First, Rafael Toral, Robert Poss, Susan Stenger, Alan Licht, Kevin Drumm, Lee Ranaldo, and Thurston Moore — with Jim O'Rourk engineering the album for optimal warmth.

As much a solo percussion album as a collection of large-scale compositions, Tatsuya Nakatani created hundreds of recordings of his collection of gongs, meticulously capturing each instrument's voice and arranging them into seven large works, maintaining the character of each instrument as material for these wonderfully dramatic and resonant works of silence, space and texture.

A work composed from field recordings of performances around Los Angeles during the winter of 2018-19, the Pisaura trio of Michael Pisaro, Amber Wolfe Rounds & Jarrod Fowler (Zizia) used astrological charts to determine patterns of composing, performing, recording, and producing music with celestial and terrestrial rhythms; a mysteriously detailed and almost reverent work in sound.

The 4th of 5 Xerox releases from electronic and sound composer Carsten Nicolai, based on the concept of digital replication of source material, Nicolai replicates his recordings and utilizes their changes, in Volume 4 creating melodic ambient works, warm tones that are colored and affected by subtle texture, creating a beautiful set of 14 cinematic expressions.

The sixth album of embraceable electroacoustic and acousmatic French composer Bérangère Maximin, whose work with Ina-GRM, Stockholm's EMS points to her extraordinary skills in organize other-worldly sound, imbued with her ability to create warmly embraceable works with mystery amongst propelling rhythm, here exploring recordings from city parks & abandoned properties.

While developing a soundtrack with violinist and violist Anne Bakker, Rutger Zuydervelt aka Machinefabriek, began editing a series of Bakker's improvisations, creating new works from those recordings by layering them into succinct short works or "scenes"--twenty of them in the end--that he sequenced into this album of confidently dramatic and delicately beautiful episodes.

A selection of Machinefabriek's (Rutger Zuydervelt) favorite remixes made between 2005 and 2015 of his reworks and reinterpretations of tracks by Mensenkinderen, Wouter Van Veldhoven, Fieldhead, Aaron Martin, Coppice, de la mancha, The Moi Non Plus, Djivan Gasparyan, Amon Tobin, Gareth Hardwick, Fiium Shaarrk, Vladimir and Red Stars Over Tokyo.

Based on a series of improvisations on a very hands-on hardware setup, with an old tone generator, effects pedals, dictaphones, contact mics, &c., Machinefabriek (Rutger Zuydervelt) took these recordings into the studio to compose these four works, 2 brief pieces and the 2-part, intricate "Amalgaam", in an absorbing album of dramatic texture & sound.

A long-form ambient composition from Portuguese composer and electroacoustic performer Rafael Toral, combining piano (Joana Gama), harp (Angelica V. Salve), vibraphone (Luis Bittencourt), clavinet (Joana Baulho), Rhodes (Riccardo Dillon), and sinewaves (Rafael Toral) a generative piece that avoids repetition while creating a floating and vast sense of reverberant space.

A 5-part concert and encore from Masami Akita, AKA Merzbow, performing in Australia at Room40's Open Frame Festival in 2019, a wrenching performance of distinctive yet diverse noise sources and textures revealed as a controlled tumult; all profits from this edition will be donated to assisting wildlife recovery in the wake of the Australia bushfire crisis of 2020.

The trio of guitarists Patricia Bateira (NATurlich), Jochen Arbeit (Einstürzende Neubauten) and Vitor Rua (Vitor Rua & The Metaphysical Angels) combine to create a new style of long-form electronic music, a richly continuous work seemingly without start or end, incorporating sustain, effects, & field recordings into a beautifully abstract aural environment.

A stunning exploration of interior architecture through recordings of the elements of three spaces including La Casa's own apartment, finding micro and macro-scopic sound in common elements that he uses to create fascinating compositions reflecting both the captivating fullness and stillness of each space, as the composer questions his relationship with each space.

Belgian composer Pierre Gerard presents a work that examines what we see around us, and what sometimes remains invisible, in three dramatic minimal works of powerful tones and tension, silence and motion: the first is 'the mechanics', the second 'the structure of a rock on a high mountain', the third 'the distance between the elements in a small forest area'.

Two massive drone works for organ and pre-recorded tracks commissioned by Musica Festival Strasbourg for organist Hampus Lindwall, with tapes by Emanuel Schmelzer-Ziringer, each piece titled anagrammatically (ie. Nagro = Organ) and recorded with the composer at the Manufacture d'orgues Thomas and Orgelbau Klais organ in the Collegiale Sainte-Waudru, in Mons, Belgium.

An album of ecstatic noise improv with an experimental edge from the trio of Ulrich Krieger on tenor saxophone & contrabass clarinet, Nandor Nevai on "throats" & drums, and Wolcott on oscillator & electronics, viciously assertive music in seven track of mostly succinct statements composed or conceived by each of the band members; cathartic.

Phill Niblock's "Baobob", a rich drone work on a massive scale, is realized by the German sound collective The Dorf (German for The Village) augmented as a 35-member orchestra, released in a 2-CD set alongside "Echoes", a compositions from Jan Klare in three parts recorded the same evening with the same large edition of The Dorf ensemble.

Three works from Italian composer and sound artist Bernard Parmegiani, the title track "Violostries" performed with violinist Devy Erlih and Parmegiani on sound projection, intersecting several of Parmegiani's research concepts and presented as simultaneous dialogues; plus "Capture Ephemere" an active acousmatic work; and the rotating composition "La Roue Ferri".

Recording with an Italian ELKA 400 electric accordion organ, pioneering electronic and sound aritst Kaffe Matthews presents two sonification of the word F O R E I G N E R, reflecting on her experience regularly moving from country to country, dealing with varying borders and governmental laws, by organizing sound in clusters that attempt to cross a compositional line.

A split 7" release between Cremaster (Alfredo Costa Monteiro (electronics) and Ferran Fages (feedback mixing board and electroacoustic devices); and the Komora A trio of Karol Koszniec (electronics), Dominik Kowalczyk (laptop) and Jakub Mikolajczyk (modular synth).

Innovative experimenter Matt Weston's latest LP is a live recording of two new electroacoustic songs mastered by Jason Lescalleet, inspired by the "revolutionary experimental filmmaker" Joseph Levitch, aka Jerry Lewis, using percussion, electronics & objects in unique, explosive, and unexpected ways to create a wonderfully chaotic audio image of the comedic master.

Berlin-based songwriter Dean Roberts' first album in 12 years is a collection of dark and melancholic songs, set in unusual formats based around guitar, electronics, strings, with subtle rhythmic elements, performed by Dean's Dark Moth Ensemble, with additional musicians that include Boris Hauf on piano and The Neck's keyboardist Chris Abrahams on harp.

A work of silence and intervention from Manhattan-based Chinese composer and sound artist Bin Li presenting two versions of the title track, with Stefan Thut on viol & voice on the 1st version, and voice only on the 2nd, using the locations of Manhattan and Gimmelwald, Switzerland as the background of careful viol and voice placement; intriguing and compelling.

Five "Soleil Clandestin" soundscapes using abstract voice, guitar, electronics, field recordings & percussion from sound artists Bruno Duplant and Pierre Gerard, on the surface peaceful, minimal and using space and silence, but buried inside are disquieting additions through vocal abstractions placed in unusual position to the sound; curious and captivating.

Schizophrenically skronky improv of ea-cutups and semi-maniacal segments that resolve to near-stillness from the West Coast TONED trio of Nathan Corder on electronics, Leo Suarez on drums, and Tom Weeks on sax, using a nonlinear and nonhierarchical organizational process and multiple layers of compositional feedback loops to create unpredictably bizarre and overtly fun music.

Bringing together NY drummer/percussionist John Hollenbeck, also on prepared piano, with Berlin bassist Bernhard Meyer for an album that blends textural rock, electronic and jazz approaches in 9 elusively calm yet structurally turbulent pieces, using complex systems of cross rhythms against atmospheric immersion, occasionally disruptive but generally eccentrically controlled and exploratory.

A set of beautiful electro-acoustic compositions, dream-like and rich in details using sources of acoustic instruments, field recordings, guitar, electronics and voice, organized into hazy and beautiful reflections, with contributions from Margaret Hermant on xylophone & violin, Jeremy Young on electronics, and Lee Ranaldo providing field recordings and voice.

The soundtrack for Dutch/Belgium/Italian co-production "Porselein" (Porcelain), a psychological drama by Jenneke Boeijink, recorded with cellist Francesco Guerri and using a motif from Henry Purcell's "The Fairy Queen", the album release including 12 additional tracks; powerful, emotional and passionate music of great tension and brilliant performances from Guerri.

Viennese-born, Berlin-based electro-acoustic composer Werner Dafeldecker (Polwechsel, Fennesz, &c) creates an intense and beautiful musique concrete and acousmatic journey in two parts, examining "perspective, extreme subjectivity and the specters that haunt our auditory worlds" through mysterious sound and enveloping sonic construction, a profound and riveting work.

Sound and visual artist Gen Ken Montgomery released this album on cassette on the Directions Music label in 1990, here reissued in 2020; the two side-long pieces were performed live and then remixed, creating a fascinating and elaborate tapestry of tapes, concrete and mechanical sounds alongside instrumentation of percussion, violin, voice, &c.

Filmakers and composers Nicolas Humbert and Marc Parisotto revisit the tapes recorded by Jean Vapeur for the film by Humbert & Werner Penzel, "Step Across the Border" with soundtrack by Fred Frith, extracting more of Vapeur's fascinating field recordings and adding music by Fred Frith with additional music & voice from Tom Cora, Iva Bittova, John Zorn, &c.

A unique album blurring acoustic recordings from saxophonist Mats Gustafsson with the electronic machinations and rhythms of Wendy Gondeln, aka Albert Oehlen, a German experimental electronic artist, the two inviting Martin Siewert for additional guitar on two tracks, and Wolfgang Voight to remix two tracks; funky, unpredictable, amusing, and seductively tantalizing.

Winter 2019 issue of Canada's premiere new music magazine and CD, with articles on Buffy Sainte-Marie, Pierre-Yves Martel, Jennifer Thiessen, Wesley Shen, Julia Kent, Tim Olive, Kimia Koochakzadeh-Yazdi, the CD including works by each, plus reviews of recent Canadian and international recordings as well as the fourth annual Calgary New Music Festival.

Two astounding and wide-ranging electroacoustic improvisations from 5 prominent musicians on the Swiss experimental scene--Joke Lanz (turntables), Jason Kahn (synth, radio, mixer), Norbert Moslang (cracked everyday electronics), Gunter Muller (ipods & electronics), and Christian Weber (bass, revolver)--captured live at the 2018 Mikroton Mikroten Festival in Kaliningrad and Moscow.

Their first release in 2000 performing Cornelius Cardew's "Treatise", for 20 years the Formanex quartet of sound artists, conceptualists and experimenters Anthony Taillard, Christophe Havard, Emmanuel Leduc, and Julien Ottavi are heard here in collaborations with Keith Rowe, Kasper T. Toeplitz, Ralf Wehowsky, Seth Cluett, Michael Pisaro, Radu Malfatti, &c.

Swedish bass player Egil Kalman, here on modular syntheizer, joins Norwegian guitarist Fredrik Rasten for a lovely album of drifting electronics and beautifully entwining acoustic guitar, unhurriedly developing environments of warm, slowly evolving chord structures that show influences from players like Catherine Lamb or the Wandelweiser collective.

Using toys and handmade instruments alongside guitar, bass, synths, plundered recordings and electronics, the French Toys'R'Noise trio are a live performing group that borrows from electro-beat rock forms with overtones of IDM/ambient forms, building extended sections and then amusing with quick-witted sections that bridge a clear love of the music.

Montreal-area's Mystery and Wonder Records duo of Elizabeth Millar on clarinet and Craig Pedersen on trumpet met sound artist Tim Olive in Tokyo's famed Gok Sound studio to record these absorbing electroacoustic improvisations, employing hand-made microphones in metal and wooden tubes, corrupted consumer sound devices, and electro-magnetism through analog circuits.

Minimalist Chilean guitarist Cristian Alvear and Tim Olive first played together in October 2016, doing three concerts in Japan, Alvear returning to Japan in October of 2017 for additional performances in Kyoto and Osaka, then spending a day recording in Kobe; this single improvised piece he result of that day, heard as it was recorded, with a few structural edits.

Blending live improvisation with studio composition & production, NY-based Dutch drummer, pianist and composer Flin van Hemmen spent 3 years making recordings with guitarist Todd Neufeld, double bassist Eivind Opsvik and himself, transforming them with layering, studio effects, processors and field recordings to create these intensely fascinating compositions.

Italian sonic explorer Francesco Gregoretti uses his drumkit like a lead instrument, amplifying and modifying its sound through effects, as he pursues his varied "Imploded" bands (Strongly Imploded, Grizzly Imploded) fueled by the mathematics of Chaos Theory, here with guitarist Maurizio Argenziano in an album of dense sound, from near-minimal to highly interactive.

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.

Recordings from the 4-channel sound composition for the ESS Florasonic installation series at Lincoln Park Conservatory in Chicago, of Rob Mazurek's work using recordings of electric eels from National Institute of Research and Technology in Manaus, Brazil, combined with analog/digital synthesis to create environments of beautiful undulating and radiant sonic textures.

One of three releases in Rob Mazurek's Marfa Trio, recorded in Marfa, TX, using 106 distorted still images and fragmented skipping sound from video shot at Abbaye Royal de Fontevraud, France in 2005, repurposed for this intense and wild sound work which processes the images through modular synth and computer, shaped by Mazurek's unique approach to sound.

An unusual and distinctive record from violinist and ornithologist Hollis Taylor, a book with 2 CDS presenting 41 tracks of recordings of the Australian pied butcherbird, each track pairing a bird, environmental sound, and a single instrumentalist, with an impressive list of performers who take unique approaches to the challenge of accompanying a bird.

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.