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.

Recorded with a handpicked ensemble of well-known jazz musicians, vocalist and lyricist Aly Berry presents a debut that draws on classic jazz phrasing with a contemporary, observational touch, her storytelling framed by performances from Dave Green, Scott Hamilton, Andy Watson, Natalie Rozario, and Neil Bullock in a polished, traditionally rooted jazz setting.

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.

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.

Captured on the trio's December 12-13, 1977 Rome dates, Alvin Curran's piano, trumpet and synthesizer set melodic fragments and minimalist pulses in motion while Evan Parker and Andrea Centazzo answer with spiralling sax multiphonics and electrified percussion, the three languages finding a volatile common ground where groove, texture and rupture keep swapping roles in real time.

Recorded on December 14, 1977 in Pistoia's cavernous, half-empty sports pavilion, the Curran/Centazzo/Parker trio plays with surprising translucence as piano and synth glint, trumpet flashes, sax lines braid into overtones, and percussion radiates in airy space, the room's unlikely acoustics giving the music an ethereal transparency that makes every attack, shimmer and sudden silence feel magnified.

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.

In this duo setting, violinist Angharad Davies and percussionist Burkhard Beins achieve an extraordinary level of focus and trust, unfolding detailed free improvisations through intersecting and consonant playing that moves through episodic, suite-like forms, where texture, space, and timbral transformation dissolve individual roles into a single, continuously evolving musical presence.

Composed by Kris Davis for piano and string quartet and recorded in 2024 with the Lutosławski Quartet, this eight-movement suite channels the concept of solastalgia — homesickness amid environmental loss — through a deeply expressive dialogue between piano and strings, unfolding music that is elegiac, urgent, and resolute as it navigates climate-driven grief, instability, and a fragile sense of hope.

Recorded live in Berlin and later in Hannover, this trio of acoustic and electric guitars, objects, electronics, and voice embraces playful disruption and material intervention, blending sounddrawings, tactile gestures, and noisy fragments into a volatile form of free improvisation that balances humour, abrasion, and performative tension within a constantly shifting ensemble space.

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.

Cellist Isidora Edwards, violinist Biliana Voutchkova, and hardanger d'amore player Zosha Warpeha create an immersive trio of intuitive improvisations, blending luminous overtones, delicate harmonics, and tactile bowing textures into slowly shifting sound-fields where silence, resonance, and timbre drive the music's quietly intense momentum.

An archival recording from 1982 at The Piedmont Center For The Arts in Worcester, MA captures visionary saxophonist Julius Hemphill and multi-reedist Marty Ehrlich in a deeply intuitive exchange across soprano and alto saxophones, flute, and bass clarinet, blending open exploration with blues-rooted lyricism as their long-standing creative dialogue unfolds in richly expressive improvisation.

Two expansive clarinet-centered works explore psychoacoustic perception and collective illusion, the first album a swarm-like octet performance by The Paranormal Clarinet Society built from simple instrumental language with a rigorously structured multi-track, the second a solo improvisation that imagines ensemble interplay through breath, density, spatial awareness, and finely calibrated sonic detail.

Spanning Morton Feldman's three expansive trios for flute, piano, and percussion, these performances by the GBSR Duo with Taylor MacLennan immerse the listener in an extended temporal field where quiet intensity, precise timbral balance, and fragile rhythmic relationships unfold with hypnotic patience, transforming duration itself into an expressive element of listening, presence, and sustained attention.

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.

Through delicately balanced free improvisation, American percussionist Stephen Flinn, French reed and flute player Sylvain Monchocé, and South Korean tenor saxophonist Jung-Jae Kim cultivate a finely grained sonic environment shaped by breath, touch, and resonance, where small gestures, spatial awareness, and attentive silence coalesce into quietly immersive and meticulously detailed acoustic forms.

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.

Pianist Joel Futterman presents a compelling solo program of concise yet richly layered improvisations, weaving sustained resonances, sharp staccato gestures, evolving tonal relationships, and intimate melodic fragments into a reflective and interconnected musical journey marked by continual transformation and emotional depth.

Pianist Joel Futterman presents a compelling suite of concise yet intricately connected solo improvisations, weaving sustained resonances, sharp staccato gestures, shifting dynamics, and evolving tonal relationships into a richly reflective musical journey that continuously transforms while maintaining a strong sense of unity and expressive depth.

Performing solo piano at the 2025 New York Forward Festival, Leo Genovese delivers a strikingly fluid and exploratory set where abstract, dreamlike themes move freely between lyricism, volatility, and spontaneous invention, revealing a deeply personal improvisational language shaped by risk, intuition, and the raw immediacy of live performance.

Balancing structure and spontaneity, pianist Haeun Joo presents an intimate and searching debut that moves between lyrical solo piano improvisations and sensitively interactive trio pieces with bassist Chris Tordini and drummer Steven Crammer, capturing music made fully in the moment with clarity, restraint, and a quietly compelling sense of forward motion.

Recorded in the former home of self-taught painter Rex Brasher, Christopher Hoffman performs a deeply introspective solo work for acoustic and electric cello, channeling solitude and creative intensity into resonant textures and evolving melodic forms that echo both the environment and Brasher's singular artistic vision, creating a powerful meditation on place, perception, and personal expression.

Recorded in the former home of self-taught painter Rex Brasher, Christopher Hoffman performs a deeply introspective solo work for acoustic and electric cello, channeling solitude and creative intensity into resonant textures and evolving melodic forms that echo both the environment and Brasher's singular artistic vision, creating a powerful meditation on place, perception, and personal expression.

Elliott Sharp and Rainer Jancis fuse dense guitar textures, electronics, and driving rhythms into a raw and psychedelic blend of polymetric grooves and alchemical sound transformations with experimental intensity, joined by drummer Rob Heth and accordionist Tuulikki Bartosik to create stormy and highly expressive sonic landscapes.

UK saxophonist John Butcher presents a diverse collection of solo performances across tenor and soprano saxophone, ranging from expansive live improvisations to intimate studio explorations, feedback-driven textures, and multitracked works, with several pieces referencing artists including Derek Bailey, Keiji Haino, Eliane Radigue, Lester Young, and Joe McPhee.

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.

In this duo setting, Daniel Levin and Laurent Estoppey engage in a deeply exploratory dialogue for cello and saxophone that blurs the line between intention and execution, unfolding mercurial, soaring improvisations that push the expressive limits of their instruments while inviting attentive listening without the need for explanation or resolution.

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.

The quintet of Ra Kalam Bob Moses (drums), Hein Westgaard (electric guitar), Margaux Oswald (piano), Art Edmaiston (tenor saxophone), and Kevin Cheli (percussion fuse spiritual free jazz with European improvisational energy, drawing on ancient Egyptian concepts of the soul to shape a fiery and resonant sonic ritual, recorded live in Memphis in an atmosphere of raw and uncompromising interplay.

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.

Restored from the December 12, 1977 Padova concert, Evan Parker's soprano/tenor torrents collide with Andrea Centazzo's percussion and electronics, turning audience heckles into rocket fuel as long, scorching sequences leap from whispering key-click detail to volcanic blasts, capturing a decisive moment when Italy's free scene opened wide to Northern Europe's most inventive sax voice.

Moving between breath, resonance, and memory, the trio of Kory Reeder, Ryan Seward, and Andrew Weathers present two immersive works — one dedicated to Jeph Jerman, the other to Jan & Herb Conn — where cello, reed organ, radio, sine tones, and winds unfold as haunted exterior meditations, funneling lived experience into tangible sound while blurring the boundaries between cave, church, and unseen interior spaces.

The trio of Max Ridley (double bass, voice), Eleanor Elektra (guitar, voice), and Nat Mugavero (drums, voice) create an intimate and spiritually charged improvisation that weaves deep listening, expressive interplay, and moments of resonant silence into a continuous musical communion, recorded live in Cambridge as a heartfelt exploration of sound, stillness, and collective devotion.

Recorded in Berlin in 2022, this quartet of violin, flute/bass clarinet, alto saxophone, percussion, and cello unfolds a restrained improvisation focused on fragile textures, breath-driven tones, and microtonal tension, as shifting timbres and sparse gestures accumulate into a patient, weathered soundscape shaped by decay, resonance, and collective listening.

Recorded live at BLACK BOX in Münster, the trio of Ernesto Rodrigues (viola, crackle box), Erhard Hirt (electric guitar, electronics), and Guilherme Rodrigues (cello, objects) unfolds a focused, textural improvisation where tactile electronics, bowed strings, and percussive gestures move from fragile passages toward denser mechanical motion, shaping a richly detailed sonic environment with subtly shifting momentum.

Captured live as part of the Creative Sources Improvised Music Series in Lisbon, this quartet performance brings viola, crackle box, alto trombone, piano, and percussion into a finely balanced improvisation where texture and restraint guide the music's unfolding, revealing a deeply interactive dialogue shaped by close listening, fragile electronics, and quietly evolving sonic relationships.

This quartet of viola and crackle box, cello, tenor saxophone, and acoustic guitar/voice captured live in Berlin at Richten25 unfolds a finely balanced improvisation shaped by contrast and restraint, as acoustic textures and electronic disruptions interact through tension, fragmentation, and close collective listening within a continually shifting sonic landscape.

Portuguese improvisers Ernesto Rodrigues and son Guilherme Rodrigues juxtapose a live Berlin performance with field recordings from Pico Island in a quietly probing duo set where viola, cello, crackle box, and environmental sound blend in austere, texture-driven improvisations that move between subtle acoustic detail and atmospheric ambiguity.

Recorded live at Lisbon's Cossoul during the Creative Sources Improvised Music Series, Ernesto Rodrigues (viola, crackle box, objects), Inês Ferreira (violin, whistle), Carlos Santos (modular synth), and Monsieur Trinité (percussion) shape a single, textural improvisation where austere string detail, small percussion, and unstable electronics drift from near-silence into sharper, eccentric turns.

Recorded live in Berlin by Bryan Eubanks, Ernesto Rodrigues, Guilherme Rodrigues, Jung-Jae Kim, Eric Bauer, and Stephen Flinn shape six long-form improvisations from bowed grain, air tones, faint circuitry, and brushed resonance, letting micro-events and room sound accumulate into a patient, quietly luminous architecture of texture and space.

Emerging from Ernesto Rodrigues' post-Cage investigations, this quintet with Jung-Jae Kim, Guilherme Rodrigues, Eric Bauer, and Stephen Flinn shapes sparse, deeply relational music where strings, winds, electronics, and percussion hover in spectral balance, forming a quiet "ghost dance" of held tones and subtle motion that blurs interior and exterior spaces while sculpting time through restraint and resonance.

Recorded live at Sistema Smop in Lisbon across two performances in late 2023, the trio of Ernesto Rodrigues (viola, crackle box), Nuno Torres (alto saxophone), and Carlos Santos (digital electronics) are captured sustained improvisations where acoustic timbre and electronic gesture converge in an expansive dialogue that alternates between subtle textural pulses and unpredictable sonic paradoxes.

Captured live in Bavaria in February 2025, these six improvisations pair frequent collaborators German wind instrumentalist Udo Schindler and Catalan pianist Jordina Milla in a series of dialogues where timbre, texture, and spontaneous interplay shape an immersive, poetic sound world influenced by Sylvia Plath's Ariel, blurring the line between composition and open improvisation.

Recorded live in Munich in December 2024, this trio performance brings together Udo Schindler, bassist Paul Rogers, and sound-builder Ardhi Engl in an expansive LowTone Studies session where shifting instrumental roles, theatrical interplay, and esoteric timbral variety generate a richly dynamic music rooted in transition, texture, and collective exploration.

Minimal yet potent, Spanish cellist Paula Sánchez and French percussionist Rodolphe Loubatière engage in a direct, viscerally charged interplay that foregrounds extended techniques, physical resonance, and deep listening, forging an intimate, exploratory sound world where texture and gesture outweigh convention and form.

Austere yet deeply communicative, this trio session pairs Swiss double bassist Daniel Studer's articulate resonance with Swiss/Swedish Sebastian Strinning's expansive reed textures and German drummer Daniel Weber's perceptive, responsive interaction, forging improvised soundscapes defined by attentive gesture, shifting timbres, and the eloquence of silence itself.

Drawing from a period of intense experimentation in the mid-1980s, Jessica Williams transforms a prepared piano into a newly imagined and startlingly creative instrument, shaping music that moves from Satie-like lyricism to controlled cacophony through altered strings, tactile resonance, and deeply expressive melodic voicing-forward-thinking and intimate work unheard for nearly four decades.

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.