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."

Electronic innovator Ikue Mori presents a captivating 9-part work drawing inspiration from Lafcadio Hearn's chronicles of Japanese folklore, through intricate laptop electronics and synthesizer work, conjuring a series of instrumental miniatures that evoke the ethereal presence of fox spirits, phantoms, and other spectral entities, a mysteriously enchanting and seductive work.

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 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.

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.

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.

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.

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.

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.

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.

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.

Using microphone, tractor, shovel and tape, Henry and Ken's Dead Mallard project turns rural machinery and found objects into raw electroacoustic noise on a winter 2026 recording from Pennsylvania, extending the absurdist farm-equipment experimentation of their self-titled debut through mechanical drone, object percussion, environmental resonance and tape manipulation.

Swiss turntablist and Sudden Infant founder Joke Lanz joins Fargo-based PCRV electronics artist Matthew Taggart for a compact 7-inch collaboration, bringing Lanz's volatile cut-up language and musique concrète instincts into contact with Taggart's improvised harsh electronics, abrupt textures and noise structures for an intensely concentrated meeting of two underground experimental practices.

Philadelphia sound artist, writer and Street Rat creator Gladys Nobriga transforms a 2020 book of original poetry into an intimate sound work, combining the texts with audio created in 2023-24 through a practice rooted in found objects, contact microphones, analog textures and raw performance, connecting written language, physical materials and deeply personal experimental sound.

Indonesian sound artist Theo Nugraha shares a split with Steve Davis' long-running +DOG+ project, pairing Nugraha's 15-minute "Dokset" with +DOG+'s equally expansive "April" in a meeting of Samarinda's experimental noise culture and an American project active since 1991, joining two independent approaches to electronics, improvisation, texture and underground sound.

Steve Davis returns to his cryptic Money project with a fifth installment, extending the Love Earth Music series' stark world of dark ambient electronics, glitch, low-frequency vibration and slow-moving noise, an intentionally reduced and enigmatic counterpart to his +DOG+ work where repetition, suspended textures and uneasy electronic stasis become the organizing language.

Returning to his custom Koll 8-string guitarbass for the fifth volume of the Octal series, Elliott Sharp builds improvisations from concepts in physics, language and philosophy, using a prime-number-derived tuning system alongside preparations, slides, EBow and spring bows to exploit the instrument's broad bass-to-guitar range, resonant body and richly layered electroacoustic color.

Across six CDs and more than six hours, Kevin Drumm develops a vast electroacoustic environment of drones, micro-acoustic detail and shifting frequency structures, balancing stasis and motion through gradual transformations in density, resonance and spatial depth, for an immersive study in the physical and perceptual qualities of sound; mastered by Jim O'Rourke.

Summer 2026 issue of Musicworks, featuring Anju Singh on sound art and bodily listening, [MONRHEA] on technology and ancestral knowledge, guitarist Arthur Bull's six decades of improvisation, drummer-composer John Hollenbeck and Mili Hong, plus Panayiotis Kokoras on his prize-winning Viper Snake, Toronto's Ministry of Phonic Services, reviews, and an accompanying compilation of works by featured artists.

Reissuing the 1979 debut from the Colorado collective that evolved through Mnemonists into Biota, four extended improvisations place Hugh Ragin, William Sharp, John Herdt and a large ensemble amid brass, reeds, prepared piano, electric instruments, voices, found percussion and tapes mixed live into volatile intersections of free jazz, musique concrète, sound poetry and industrial texture.

Composer Finola Merivale surrounds Catherine Sikora's layered tenor saxophone, breath tones and multiphonics with electronics and field recordings gathered in County Cork, New York and other changing environments, creating three immersive electroacoustic works that move from stark detail to surging masses of sound while exploring landscape, displacement, memory and the unsettled meaning of home.

Extending their TRAC debut Cylinder Plus, Teddy Ryles and Alexander Cooper shape a 90-minute two-CD computer-music composition developed with custom source-filter modeling and cepstral-based transfer methods, transforming digital artifacts, modeled resonance, spectral detail, and unstable electronic textures into a long-form electro-acoustic study of timbre, residue, structure, and abstraction.

Pairing Carver and Steven Meketa's electronica, electronics, and harmonica as Meketa Power Electronics with Cut's solo composer/performer works, this Love Earth Music split moves through devotional power electronics, abrasive noise, breath-driven instability, and concentrated sound pressure, contrasting raw spiritual confrontation with direct, stripped-down underground sound construction.

The solo noise project of Noah Jerge, also associated with the power-electronics project Mindcrawler, Autophagia turns communication into overload on this Love Earth Music release, using harsh electronics, damaged signal, feedback, density, and physical pressure to create a raw California underground statement where speech collapses into rupture and amplified confrontation.

Montreal composer Virginie Reid layers piano, synthesizers, samples, voice, Jeremi Roy's resonant double bass, and Erika Angell's spectral vocals into five patient electroacoustic works, moving from fragile melodic gestures through cavernous drones and luminous choral textures in an intimate, nocturnal meditation on grief, vulnerability, memory, and the persistent search for light.

Demonstrating the striking diversity modern solo percussionists present, the Italian tape label TSSS Tapes compiles an international set of solo works from explorers Tim Daisy, Jeph Jerman, Ted Byrnes, Wojtek Kurek, Clinton Green, Rie Nakajima, Emilio Berne, Shakeeb Abu Hamdan, Lucie Nezri, Karen Willems, Paolo Sanna, Li Qing, Carlos Godinho, and Rodrigo Vieira.

A three-part solo cassette from Jeph Jerman, transforming found sounds, object textures, and electroacoustic detail into a patient study of friction, resonance, space, and decay, with the title possibly alluding to Alvin "Shipwreck" Kelly's 1920s flagpole-sitting endurance feats, suggesting suspended listening, precarious balance, and heightened attention to an exposed sonic environment.

A tender, dreamlike collaboration between Stefano Pilia on guitars and Oliver Mann on vocals, expanded with Mick Turner's guitar, Zona MC's vocals and lyrics, and brass from Christopher Grace on trumpet, Freya Hombergen on horn and Jackson Bankovic on trombone, shaping nine intimate pieces where electro-acoustic texture, art-song fragility and experimental folk merge in a quiet meditation on friendship, memory and distance.

Lob Instagon gathers poems, sound art, loops and live Instagon recordings into a headphone-minded collage of spoken word, outsider blues, experimental jazz fragments and noise texture, with Lob's compositions and performances joined by Dan Shinder, Rooster Sanchez, Lattney Brian Jones, Mingus Murado and Ruben Riera in a rough-edged, playful document of Thee Instagon Foundation's ongoing creative magick.

The third electronics-only collaboration from Cleveland sound artist Jim Szudy and Steve Davis' +DOG+ unfolds as ten compact-to-extended pieces of industrial drone, electroacoustic noise, distortion, scrape and low-frequency pressure, continuing +Felladog+'s harsh but carefully shaped language of rusted texture, buried signal, abrupt rupture, and immersive sonic decay.

Italian avant-grind duo Dysmorfic pair Davide Buccedi's volatile drumming with Tom Conte's fretted and fretless bass, then fold in Steve Davis' +DOG+ electronics for five compact assaults where grindcore velocity, prog-jazz dislocation and harsh ambient noise collide, turning riffs into unstable events and brief tracks into dense, abrasive miniatures of rhythm, texture, tension, resistance, and rupture.

A family-centered +DOG+ vinyl release led by Steve Davis with Lob Instagon, Edward Giles, Mackenzie Kourie, Chuck Foster, Bobby Almon and Jack Szymczak, shaping eleven compact pieces of experimental noise, drone, abrasion and collage into a reflective sequence where harsh electronics meet themes of memory, witness, animals, forgiveness, hope, and everyday love.

The cross-coastal duo of Los Angeles experimental artist FETUSK on guitar, drones, keys, bass, beats and screams with Massachusetts synthesist Steven Davis, recorded between The Womb and MDP Studios in 2025, creating six volatile works of industrial drone, damaged electronics, guitar abrasion, buried rhythm and dark ambient pressure for a dense, confrontational and immersive Love Earth Music release.

Philadelphia sound performer Gladys Nobriga's Street Rat project brings a raw solo noise document to Love Earth Music, with four 2025 studio pieces and a closing live recording from Calvary Center, using DIY electronics, object-based sound, physical gesture and abrasive texture to shape a stark, tactile and confrontational album of pressure, decay, rupture and aftermath.

The Arizona sound-art and performance collective of Ashiki on Butoh and percussion, Steve RampaNt Guardino on power acoustics, synths, electronics and circuit bending, Vic VOID on electroacoustics, sound sculpture, synths and electronics, and Parker Weston on synths, samples and prepared guitar, creating a ritualized field of industrial drone, dark ambient texture, prepared-guitar abrasion and unstable electroacoustic noise.

The Boston duo of Chris Strunk on snare drum and percussion and Andrea Pensado on electronics and voice unleash six live performances from 2018-2025, forging a raw and volatile language of harsh electronics, extreme vocal force, rattling percussion, snare-driven impact and free improvisational tension rooted in noise, physicality and underground experimental performance.

The mysterious Massachusetts project Money returns with a two-disc set of dark electronic glitch and oppressive texture, its four long tracks moving through distorted pulses, damaged surfaces, brutal eruptions and long stretches of seismic stasis, creating a difficult but focused sound world of innuendo, tension, disruption and slow-moving electronic pressure.

The Montague, Massachusetts noise project Mephitick Ooze delivers a forty-four-minute barrage of distorted, tortured sound in a harsh and challenging long-form work that moves glacially through ripped textures, overloaded frequencies and brief pockets of relief, shaping its abrasive force into a slow, deliberate arc of sonic pressure.

The first release from TRAC, the duo of Teddy Ryles and Alexander Cooper, brings together their shared Oberlin TIMARA background and solo electro-acoustic practices in a rigorously processed work built from reconstituted digital artifacts, using spectral decomposition, deformation and iterative procedures to shape dense, unstable electronic forms where texture, residue and structure continually erode and recombine.

A new solo work from Steve Davis's long-running +DOG+ project, recorded in Sudbury, Massachusetts across 2025 and 2026, continuing the Love Earth Music founder's exploration of experimental noise, drones, abrasion and collage-like electronics in a raw sound environment where distortion, density and unstable resonance bloom into a tangled, immersive field of sonic growth and decay.

A new solo work from Steve Davis's long-running +DOG+ project, recorded in Sudbury, Massachusetts across 2025 and 2026, continuing the Love Earth Music founder's exploration of experimental noise, drones, abrasion and collage-like electronics in a raw sound environment where distortion, density and unstable resonance bloom into a tangled, immersive field of sonic growth and decay.

Collecting Machinefabriek works from singles, EPs and compilations released between 2015 and 2025, Rutger Zuydervelt presents a 17-track, 76-minute continuous mix that serves as both a personal selection of favourites and an inviting entry point into his immersive world of ambient detail, drone, field recordings and electro-acoustic texture.

Using field recordings captured inside working printing houses in Santiago, Chile, Amanda Irarrazabal merges industrial machine rhythms, electro-acoustic manipulation, and studio improvisation into immersive sound works that balance hypnotic repetition, dense textural abstraction, and fragile resonant space, transforming mechanical process into fluid and deeply tactile experimental composition.

An electronic project from Phillip Klampe following his album The Contaminist, this 16-track release assembles cerebral atmospheres and surreal soundscapes from layered textures and abstract tonal fragments, where familiar and obscure elements blur into shifting, otherworldly environments that invite immersive listening and subtle psychological dislocation.

A solo work from D. Petri assembling three cassette-based recordings from 2016-2017, blending abstract guitar voicings with prepared tapes across partially and fully improvised performances, where lo-fi textures and fragmented structures reflect memory reconsolidation, reshaping emotional resonance through layered, obscured, and reassembled sonic material.

A compelling issue of Musicworks spotlights Montreal artist Quinton Barnes and his hybrid of free jazz, drone, and experimental R&B, alongside features on composer Corie Rose Soumah and writer/musician DeForrest Brown, Jr., with additional artist profiles, festival coverage, and reviews of contemporary experimental music.

Beginning with recordings of an electric induction cooktop made in his kitchen, French sound artist Éric La Casa constructs an electroacoustic work from improvisations and environmental sounds, which Spanish composer Francisco López then transforms into a dense studio mutation, the two discs tracing a dialogue of listening, transformation, and immersive sonic textures drawn from everyday objects and resonant spaces.

A 7-CD retrospective from guitarist and composer Steve MacLean collecting decades of inventive work, from chamber jazz-rock and electronics to playful sound experiments, including Frog, Bug, Guitar, Computer, the Steve MacLean Ensemble�s GPS, the Chris Cutler-featured Year of the Dragon, the double-CD Bridges, Ordinary Objects and Other Distractions, and the long out-of-print Radial Circuit.

Exploring the volatile meeting point of acoustic percussion and electronics, Jordan Topiel Paul uses amplified snare drum to generate rattling friction, taut rhythmic fragments, and metallic resonance while Bryan Eubanks' modular synthesis answers with unstable pulses and evolving textures, the duo constructing a tense and detailed electroacoustic dialog where rhythm, noise, and timbre continually blur and reform.

A trans-continental mail collaboration between sound artists Adam Bohman and Gen Ken Montgomery, channeling their respective roots in experimental acoustic improvisation and sound art into a single continuous electroacoustic dialogue, blending tactile textures, violin, off-kilter spoken word and electronics in a fluid, open-ended exploration of experimental sound.

Forged across continents in Amherst, Bern and Shenzhen, Annie Aries, Brian House and Marcel Zaes transform the glitches, delays and temporal distortions of online connection into rigorously structured rhythm, as locked vinyl grooves and network artifacts collide in a tightly choreographed performance that reframes digital failure as percussive invention.

Evan Lindorff-Ellery's cassette-length solo sessions, the inaugural release from Disseminated Light and Sound Recordings blend cymbals, electric guitar, digital piano, snare drum and activated objects into patient, textural improvisations that emphasize resonance, tactile surface and gradual transformation, masterfully shaped into an immersive study of sustained tone and subtle sonic decay.

Recorded outdoors along Stony Kill Creek in Wawarsing and in a Mt Tremper studio, Evan Lindorff-Ellery and Naomi Juniper blend acoustic guitar, voice and glass jar with electric guitar, piano and activated objects into intimate yet friction-laced improvisations that merge environmental presence with tactile surface work, balancing fragile song-forms against raw, textural interplay.

Rooted in Afro-Caribbean rhythmic traditions yet intent on dismantling them, Tony Lugano and Frank Rosaly engage drums and electronics in a dense, dialogic exploration where traditional Caribbean patterns are fragmented into indiscernible matrices and charged sonic fields, transforming percussion into an act of cultural remembrance, resistance and deeply physical free improvisation.

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.

Experimental guitarist Fetusk and synthesist Steven Davis collaborate on a brooding electronic work where drones, processed guitars, beats, and field recordings merge into slowly evolving soundscapes, balancing industrial grit, ambient suspension, and textural density in a restrained, immersive exploration of atmosphere and transformation.

Compact yet unpredictable electronic sound worlds that unfold through shifting textures, rhythmic abstraction, and dynamic synthesis, inviting listeners to embrace chance by playing the album on shuffle and discovering new interplay between evolving motifs, tactile synthesis, and subtle sonic gestures that balance thoughtful design with an open, exploratory spirit.

Operating under the Jaw Surgery moniker, Filipino noise artist Chester Masangya constructs a ritualized power-electronics work driven by distortion, breath, and deliberate restraint, where extended techniques, hostile pressure, and ceremonial pacing collide in a stark, uncompromising exploration of spiritual collapse, sonic violence, and meditative endurance at the outer limits of noise.

+DOG+ constructs sprawling, immersive noise landscapes across four extended pieces that juxtapose dense textural layering, dynamic distortion, and live improvisational intensity with shifting durations and visceral energy, capturing both studio-crafted depth and raw performance as the MA experimental project expands the boundaries of glitch-inflected sonic exploration and immersive audiovisual abstraction.

Rodger Coleman's solo electronics and synthesizer work on Journey to Brno unfolds extended, immersive soundscapes of layered synthesis and nuanced modulation, forging a personal path between contemplative drones, aberrant rhythms, and abstract electronic gestures as shifting timbres and deliberate pacing shape an expansive and sometimes disruptive sonic journey.

The duo of Carlos Santos and Jorge Valente developed this project around the metallics of a cymbal, recording it and digitally manipulating and transforming it into a musical structure using the maxmsp programming; this recording was captured live at the Hertzoscopio Festival in Fabrica da Polvora, Barcarena, Portugal in 2004.

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.

Unusual glitch and extreme electronics improvised by the duo of New York artist Dominic Cole and Chicago/NY artist Hunter Brown (Sound Tribe Sector Nine), using approaches including glitch, noise & circuit bending in 9 pieces with tongue-in-cheek titles, balancing erratic moments with exploratory sections and near silence, an interesting and enigmatic album of aberrant electronics.

Visual artists Maria Lucchese is also a multi-instrumentalist and voice performer based in Berlin, working with Gio Kaptra, a filmmaker, visual artist and scientist based in Urbino, take their listeners on a 7 part cosmic exploration using tibetan bells, theremin, voice, modular synth, breath and sound processing, the title translating to "through hardships to the stars".

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.

Two radically reimagined trumpets meet as Nicolas Collins' sensor-driven "!trumpet" electronics and Birgit Ulher's object- and radio-extended brass collide and converge, producing a strikingly unified language of shifting textures, pressured breath, metallic resonance, and quick-fire interplay that constantly blurs the line between acoustic gesture and electronic artefact.

The quartet of Ryan Easter (trumpet, voice), Elias Stemeseder (synths, una corda piano), Lester St. Louis (cello, electronics), and Jason Nazary (drums, synths) unleash a feverish collision of noise-encrusted free jazz, spoken word, mutant hip-hop rhythms, and fractured traditions, weaving sinister intensity with playful unpredictability through deeply reactive and explosive improvisation.

The quartet of Ryan Easter (trumpet, voice), Elias Stemeseder (synths, una corda piano), Lester St. Louis (cello, electronics), and Jason Nazary (drums, synths) unleash a feverish collision of noise-encrusted free jazz, spoken word, mutant hip-hop rhythms, and fractured traditions, weaving sinister intensity with playful unpredictability through deeply reactive and explosive improvisation.

Dan Greenwood and Steve Davis fuse noise-driven textures and unpredictable sonic collisions into an uncompromising experimental work on III, channeling their rooted DIY and extreme aesthetics into fractured soundworlds that confront, unsettle, and expand the boundaries of underground audio exploration.

Using self-built breath vessels alongside tuning forks, sine waves, and voice, Liz Allbee creates a form of speculative folk music shaped by respiratory rhythms, resonant drones, and tactile gestures, unfolding a quietly epic, intimate, and immersive soundworld that imagines future collectivity through shared breath, material resonance, and electro-acoustic communion.

Bringing together robot-controlled piano, percussion, and voice, Nicholas Bussmann, Sven-Åke Johansson, and Yan Jun construct a dreamlike improvisation that balances playful artifice and genuine interaction, where fragmented rhythms, unconventional vocal techniques, and mechanized piano gestures blur distinctions between jazz, ritual, and abstraction.

The second collaboration between Steve Davis and Jim Fellahean Szudy, recorded in 2025 and unfolding across fifteen carefully shaped tracks that move fluidly between droning loops, harsh noise, hypnotic textures, and death-ambient atmospheres, with each piece functioning as a self-contained narrative while contributing to a cohesive, emotionally charged whole of sustained intensity.

Steven Meketa, aka Meketa Power Electronics, in a solo work of sermons and electronics channels where Meketa's power electronics evoke a raw, faith-driven expression of endurance and confrontation, using grinding textures, spoken testimony, and sustained intensity to transform personal suffering into a stark and uncompromising sonic statement.

Working alone with electronics, radios, field recordings, homemade instruments, and voice, Georgy Orlov-Davydovsky constructs immersive electro-acoustic pieces shaped by specific physical environments, layering noise, drone, and fragile gestures into meditative sound narratives that explore borderline psychosonic listening states through dense textures and unstable sonic detail.

Recorded, mixed, and edited at Speed Semen Clove Factory in late 2024, Steve Davis (+DOG+) and Eric Wood (Bastard Noise) deliver two extended pieces of harsh electronics and processed sound, driven by abrasive vocals and bleak, mantra-like text, as dense noise pressure and corrosive timbral detail evolve over long durations into a sustained, confrontational sonic mass.

Recorded across various public spaces in Paris, this collaborative work extends the practice of Eric La Casa and Seijiro Murayama as they document subtle vocal interventions and field recordings that explore attentive listening, bodily presence, and sonic autonomy, positioning sound-making as a quiet, animist act of witness within complex urban environments.

Under the Fortrexx moniker, Squidco's own Phil Zampino, aka CHANGES TO blind, shapes field recordings, samples, and electronics into subliminal sonic environments that drift and mutate beneath conscious attention, forming enveloping sound tapestries that fill silence without intrusion and function fluidly at low or high volume for contemplation, altered states, or quiet immersion.

20th anniversary reissue of Fennesz's 2004 release Venice, as a deluxe version remastered by Denis Blackham, with new and extra tracks not on the previous CD or vinyl versions, in a DVD-format with a booklet of texts by Fennesz, Denis Blackham, and Jon Wozencroft, photographs from the 2004 sessions, and David Sylvian's original handwritten lyrics for "Transit."

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