Ensemble leader and tuba player Carl Ludwig Hubsch created this musical concept inspired by the guitar player Keith Rowe, exploring one static sound in the ensemble, maintaining it and in the same time interacting with utmost care and openness for any necessary change, in a 22-piece ensemble of exceptional players.

Taking two of Montreal's most vital musicians, guitarist Rene Lussier and clarinetist Robert Lepage, and joining them with the far-ranging string quartet Le Quatuor Bozzini for a stunning album that merges chamber music, noise music, and improvisation without leaving behind melody, intention and direction; magnificent!

Two live recordings at Theatre au Clain, in Poitiers, France and at le Bistrot, in Bayonne, from the free improvising quartet of Christiane Bopp on trombone, Jean-Marc Foussat on synth & voice, Jean-Luc Petit on bass clarinet and sopranino sax, and Makoto Sato on drums, for submersive interchanges blending electronics and acoustics in remarkable ways.

The Far East Side Band blends Asian and Western musical traditions in a quartet featuring Jason Kao Hwang on electric violin with Yukio Tsuji on shakuhachi and percussion, Sang-Won Park on Korean zithers, and Joe Daley on tuba and electronics, performing extended compositions that weave structured improvisation, delicate string dialogues, breathy flute lines, and deep brass tones into richly textured cross-cultural soundscapes.

Italian trumpeter Pino Minafra leads a quartet with Sandro Satta on alto saxophone, Giorgio Occhipinti on piano, and Vincenzo Mazzone on drums in a spirited live performance recorded in Paris, blending Mediterranean lyricism with jazz-rooted improvisation as melodic themes, rhythmic drive, and free-flowing exchanges unfold in a lively dialogue between composition and spontaneous interaction.

Captured live at the 1996 Festival International de Musique Actuelle de Victoriaville, guitarist Thurston Moore joins drummer Tom Surgal and percussionist William Winant for a continuous performance of evolving free improvisation, the trio shaping dense waves of guitar noise, driving percussion, and textural resonance into a long-form exploration that bridges Moore's experimental rock sensibility with the festival's avant-garde improvising tradition.

An exciting album crossing free improvisation with chamber approaches and extended techniques from Serbian violist Szilard Mezei performing in a trio with pianist Marina Dzukljev and drummer/percussionist Vasco Trilla, recording in Novi Sad, Serbia in 2017.

Udo Schindler's Salon for Sound and Art at Krailing in Krailing, Germany is the setting for this superb live duo concert, capturing Schindler and Ove Volquartz both on bass and double bass clarinet, showing the breadth of sonic possibilites and diverse approaches from the deepest of clarinets performed by two masterful musicians.

The Danish/Norwegian trio of Thomas Eiler on drums, Niklas Adam on electronics & guitar, and Danielle Dahl on sax and electronic wind instrument draw inspiration from early electronic minimalism, punk rock, noise and free jazz in the full-length debut, surprising the listener as the music shifts from abstract reductionism to full-on assault.

A compilation of sound artists within the 910 area code, the North Carolina coastal region including Wilmington, NC, the home of Squidco, with artists including Carl Kruger (Caucasians, Baby Daddy), Grant Stewart as subterrene, Ryan Lewis in Food World and Baby Daddy, Phil Zampino (CHANGES TO blind), Jason Ward, August Traeger, and Authorless.

A strong and enthralling set of dialogs captured live from the working duo of pianist Stephen Grew and saxophonist Trevor Watts on alto & soprano, intricate exchanges of great energy but also great compassion and introspection, a well-rounded set of adventurous exchanges that highlight the incredible skills of both players.

Violinist and percussionist Nick Smith, having access to St. Mary's Church at Great Baddow for music performance and rehearsals, made his first use of the space in 1996 in a duo with Mark Wastell on violincello, preparations and percussion, where they used the acoustics of the church to enhance their detailed and absorbing improvisations.

A combination of cyclical themes, made-up folk dances, and invented improvisations from UK reedist Chris Cundy, performing on bass clarinet at the Cheltenham Synagogue for 10 compositions developed specifically for this Confront recording as playful pieces intended as popular music for solo bass clarinet.

A collaboration between American sound artist Jeph Jerman and Italian percussionists Paolo Sanna and Giacomo Salis, twelve intriguing short improvisations using extended techniques and lowercase approaches that include minimal textures, field recordings, abstract atmospheres and organic sounds.

US West Coast multi-instrumentalist Patrick Shiroishi performs an unorthodox set at 2575 Mission in Los Angeles, California, using alto saxophone, bells, electric toothbrush, ipod, pie tin, spoons, tape player, and voice to create a yearning work expressing the frustration of longing and estrangement.

A new trio at the time, TIN is trumpeter Axel Dorner, bassist Dominic Lash, and drummer/percussionist Roger Turner, captured live in three locations during their 2015 UK tour, presenting masterful avant improvisations of sound-oriented work using an immense technical vocabulary to creative inventive and captivating dialog.

Starting from John Cage's Zen quote--"Every day is a good day"--the trio of Rachael Wadham on piano, Philippe Lenglet on acoustic guitar and cithar (a type of harp), and contrabass, recorded these improvisations approaching their instruments not for melodies but as tools for experimentation, from which this trio finds a wealth of inventive sound.

Eric La Casa documents his home environment in Paris through audio investigation and field recordings, creating 3 large works that reveal the properties, singularities, banalities and features of his audio environment in perspective to his status as a citizen of the city, presented in a gatefold CD package with a color 60-page booklet of photos and text.

A live concert at Les Soirees Tricot Festival in Paris, France in 2016, dedicated to the "City of Light", from the quartet of Luis Vicente on trumpet, Theo Ceccaldi on violin, Valentin Ceccaldi on cello and Marcelo dos Reis on acoustic guitar and prepared guitar, in music that, like the city, exhibits gorgeous simplicity through intricate sophistication.

After a six year break the Humcrush duo of Stale Storlokken on keys and Thomas Stronen on drums & electronics return with this studio album of rhythmic angularities and experimental sound worlds, drawing on their experiences with bands including Supersilent, Food, Elephant9, Time is a blind guide, Meadow and Motorpsycho.

A lyrical outing from the Chicago working trio of Nick Mazzarella on alto saxophone, Matt Ulery on doublebass, and Jeremy Cunningham on drums, performing live at the Whistler in Chicago, Illinois in 2016, recorded for this debut album of Mazzarella compositions, flexible pieces that balance jazz traditions with avant options for the players.

Bizarre, disruptive, aberrant sound from twisted experts in the field Lambs Gamble, comprised of George Cremaschi on bass & electronics, Fritz Welch on drums, percussion and voice, and Eric Boros (Vialka) on electronics and voice, recording in Switzerland for a fantastic album of intelligent abnormality.

Two legendary improvisers, Downtown New York multi-reedist and shakuhachi player Ned Rothenberg met Chicago drummer Hamid Drake at Ciagoty I Tesknoty, in Lodz, Poland in 2016 to record this effusive, extraordinary live concert of improvised music, demonstrating both enormous instrumental skill while imparting wonderfully upbeat energy; outstanding!

Eric La Casa and Jean Luc Guionnet recorded this conceptual work in Melbourne, Australia, combining different scales of time, space, & attention, with different working strategies to create a gallery installation, and this book & DVD package exploring the acoustic phenomenon of "standing waves" to engage with the physical relationship between sound and space.

The Korekyojin trio of Tatsuya Yoshida on percussion, Kido Natsuki on guitar and Mitsuru Nasuno on fretless bass, plus violinist Miyamoto Rei on several tracks, take their intricate and exuberant rock into acoustic territory with this impressive album, which includes acoustic takes on "Arabesque", "Careless Heart", "Four Holes in the Sky", &c.

An amazing solo CD of free improvisation from guitarit David Stackenaus, showing incredible technique and melodic intent, equally at ease when exploring tonality and melody or abstract noisy textures; compelling and impressive playing!

Two CDs representing two extended improvisations of the IKB Ensemble with slightly different personnel, with each ensemble slowly unfolding an amazingly textured work of acoustics and electronics with strong intent and incredible technique, balanced by close listening and attention to detail; an excellent 21st century improvisation orchestra captured live.

The trio of bassist Achim Tang, prepared pianist Philip Zoubek, and trombonist Matthias Muche extended with Sven Hahne on computer and Christian Thome on drums and electronics in a freely improvised electroacoustic album of subtle pacing and diverse approaches, with many of the rhythmic elements imparting a gamelan feeling.

The 2nd album for this quartet, with Daniele Martini on saxophones, Giovanni di Domenico on piano, Goncalo Almeida on doublebass, and Joao Lobo on drums, for an album of slowly building free improv starting in a Necks mode and developing into frenetically lyrical passages, a great blend of modern and traditional approaches to free jazz.

Antoine Beuger performs composer Maria De Alvear's 1995 contemplative work "Besando El Tiempo" (Kissing The Time) written using an automatic script and originally composed for the flautist Caren Levine; after hearing Beuger's interpretation she requested that he record it, the result this rendition that takes the composition on an introspective journey.

The duo of Beat Keller and Philipp Bowee on electric guitars perform 6 subtle compositions from Turkish-born sound artists and composer Cem Guney's, including 'a bas relief of a talisman' dedicated to Charles Ives and 'soft kill incubator' dedicated to Sylvia Alexandra Schimag.

American organist and composer Carson Cooman performs three sontatinas, each in three movements, and the 2014 work "drones", by German contemporary composer Eva Maria Houben, a member of the Wandelweiser group, all slowly evolving works of tone and subtle harmonics.

The MaDam Electroacoustic Improvisation Collective based in Spain performs the first in Pisaro's 34 piece Harmony Series, which attempts to create the conditions for a harmonic situation without giving any actual notes, just numbers, durations of tones, and pauses; this work is based on "swell piece (for alison knowles)" (1967) by James Tenney.

Composer Burkhard Schlothauer, co-founder of Editions Wandelweiser and a member of Zeitkratzer and the Wandwelweiser Composers Ensemble, in a five part work conceived as a single part, combining previous works into various possible versions as "events", working with spatial distribution, slow beats, noise, and pulse, superimposed from their origins.

After a six year break, the Humcrush duo of Stale Storlokken on keys and Thomas Stronen on drums & electronics return with this studio album of rhythmic angularities and experimental sound worlds, drawing on their experiences with bands including Supersilent, Food, Elephant9, Time is a blind guide, Meadow and Motorpsycho.

Lawrence Casserley is a pioneer of real time electroacoustic music, since the 60s working with other artists and developing his Signal Processing Instrument, using physical gestures to process and morph sounds; here he works with British vocalist and Deep Listening teacher Viv Corringham in an other-worldly collaboration of voice and electonics.

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).

German trombonist Konrad Bauer presents a solo performance recorded live in Toronto, combining trombone with echo, looping, and electronic processing to create spacious, quietly inventive explorations where blues and jazz hints emerge within fluid improvisations, the instrument's resonant tones unfolding through layered textures and circular structures that subtly reshape the sonic landscape.

Uniting trombonist Konrad Bauer with bassist Peter Kowald and percussionist Günter "Baby" Sommer, this live recording from the 1992 Festival International de Musique Actuelle de Victoriaville presents an inventive acoustic trio performance where spirited improvisations and individual solos weave playful gestures, rhythmic interplay, and exploratory textures into a dynamic example of the German free improv tradition.

A studio collaboration between electro-acoustic harpist Hélène Breschand and avant-rock guitarist Jean-François Pauvros, recorded in France in 2004-2005, merging harp pickups, electronics, and heavily processed guitar into a stark electro-acoustic soundscape where fragile drones, bowed tones, bursts of noise, and quiet resonant spaces intertwine, the duo reshaping each other's sonic language through intense improvisational interplay.

Combining live recordings from Victoriaville and London with studio sessions in England, pianist Chris Burn explores inside-the-piano techniques and prepared textures, shaping cerebral yet inventive improvisations that reveal a wide sonic palette and a focused, exploratory approach to solo performance.

Recorded live at the 2003 Festival International de Musique Actuelle de Victoriaville, this electroacoustic quintet unites Xavier Charles, Diane Labrosse, the Kristoff K. Roll duo, and Martin Tétreault in a spatially conceived improvisation where turntables, samplers, vibrating speaker surfaces, household objects, and electronics generate a finely detailed fabric of quiet sounds, playful gestures, and layered textures within an immersive sound environment.

Recorded live in Toronto and at Victoriaville in 2000, Paul Cram leads a vibrant large ensemble through groove-tinged themes, bold brass writing and energized improvising, blending playful funk elements with adventurous big band strategies for a spirited, contemporary orchestral sound.

Recorded live at the 1987 Festival International de Musique Actuelle de Victoriaville, pianist Marilyn Crispell delivers a powerful solo performance that moves between explosive free improvisation and lyrical introspection, weaving dense clusters, driving rhythmic passages, and delicate melodic reflections into a deeply expressive exploration influenced by Cecil Taylor while asserting Crispell's own distinctive voice.

Featuring J.A. Deane on trombone, bass flute, lap steel guitar, percussion and sampler, this 1992�93 studio project blends atmospheric grooves, ambient textures and loop-based soundscapes, presenting an accessible electroacoustic journey marked by evocative moods and spacious instrumental color.

Led by bassist Lisle Ellis with a fierce San Francisco contingent, this 1993 studio session brings together saxophonists Christopher Cauley, Joe McPhee, Glenn Spearman, and Larry Ochs with guitarist James Ruthier and drummer Donald Robinson, delivering energetic free jazz rooted in the 1960s tradition but propelled by raw interplay, bold horn lines, and committed group momentum.

Recorded in Montreal during the 1994 Victoriaville Festival, this first solo album from Charles Gayle presents deeply spiritual improvisations for tenor sax, bass clarinet, piano, drums and voice, a raw and passionate outpouring where intense expression and prayerful conviction drive every sound.

Clarinetist Ben Goldberg leads a sextet featuring Larry Ochs, John Schott, Lisle Ellis, Trevor Dunn, and Michael Sarin in a program of composed pieces and improvisation dedicated to a childhood friend, blending klezmer-tinged melodies with avant-jazz structures, dual bass resonance, and dynamic ensemble interplay in a reflective yet spirited exploration of modern creative jazz.

Bringing together four adventurous improvisers — guitarists Henry Kaiser and Jim O'Rourke, violinist Mari Kimura, and saxophonist John Oswald — this studio session captures a spontaneous meeting of distinctive voices, where intertwined guitars, expressive violin lines, electronics, and saxophone textures unfold through exploratory collective free improv shaped by shifting timbres, subtle interactions, and open-ended sonic experimentation.

Recorded live in Mexico in 1999, violinist Mari Kimura and multi-instrumentalist Roberto Morales Manzanares create a poetic and emotionally charged set of concise improvisations, shifting between violin, flute, piano, harp and electronics as they blend lyrical expressiveness with bold, exploratory interaction.

Recorded in a church in Novi Sad in 1994, saxophonist-composer Boris Kovac leads a chamber ensemble of voice, reeds, piano, strings and percussion through a solemn and meditative suite blending spiritual themes, modern classical elements and traditional dance inflections, shaping an evocative acoustic soundworld rooted in deep cultural reflection.

Directed by composer Miya Masaoka, this expansive orchestra brings together a large ensemble of strings, winds, electronics, and world instruments — including contributions from George Lewis, Hafez Modirzadeh, Liberty Ellman, and Trevor Dunn — for two ambitious works that blend chamber writing, improvisation, tape, and street recordings, exploring themes of nuclear history and urban social conflict through layered textures, shifting styles, and provocative sonic collage.

Multi-instrumentalist Roscoe Mitchell explores sparse, exploratory settings in this studio recording featuring tenor and soprano saxophones, whistles, bells, percussion, and woodwinds, joined in various duos and trios by bassist Richard Davis, drummer Vincent Davis, violinist Vartan Manoogian, and Steve Sylvester on bullroarer, the ensemble shaping spacious improvisations that investigate texture, overtone resonance, and the shifting architecture of sound.

Recorded in Montreal in 1992, pianist Paul Plimley, bassist Lisle Ellis, and drummer-vibraphonist Gregg Bendian shape a dark-hued free jazz session with strong compositional ideas, shifting between shadowy swing, turbulent energy, and adventurous textures, while Bruce Freedman�s sax adds sharp focus on select tracks.

Pianist Paul Plimley leads a trio with bassist Lisle Ellis and drummer Scott Amendola in a dynamic program that moves fluidly between adventurous free improv, modal lyricism, and inventive reinterpretations of jazz tradition, the ensemble's intuitive interplay shaping intricate counterpoint, playful rhythmic turns, and spacious harmonic explorations that highlight Plimley's distinctive compositional voice.

Captured live at the 1997 Festival de Musique Actuelle de Victoriaville, this improvising quartet brings together Lee Ranaldo on guitar, voice, and electronics with drummer-vocalist William Hooker, organist Jim O'Rourke, and saxophonist Gianni Gebbia, unfolding a spontaneous performance where spoken word, surging percussion, drifting guitar textures, organ electronics, and saxophone lines merge into a shifting, immersive dialogue of experimental rock energy and free improv exploration.

A live concert at the 11Th Festival International De Musique Actuelle De Victoriaville on May 19th, 1994, from the free improvising trio of Frederik Alarie on contrabass, Paul Leger on drum, Yannick Rieu on tenor saxophone.

The West Coast Rova Saxophone quartet in a 7 track studio album from 1995, from Jon Raskin on alto saxophone, baritone saxophone, sopranino saxophone, Steve Adams on alto saxophone, sopranino saxophone, Bruce Ackley on soprano saxophone, tenor saxophone and Larry Ochs on tenor saxophone, sopranino saxophone.

Exploring the intersection of electroacoustic experimentation and rhythm-driven sound design, Elliott Sharp and Zeena Parkins perform as Psycho-Acoustic, combining harp, doublebass, bass clarinet, synthesizers, sampler, and electronics to construct layered textures, pulsing beats, and surreal sonic gestures that balance structured grooves with exploratory improvisation in a strikingly inventive duo collaboration.