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.

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.

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 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.

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 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.

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 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 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.

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.

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.

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.

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 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.

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.

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.

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.

+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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Compositions from Éric La Casa and Jérôme Noetinger built from site recordings made while exploring buildings emptied of their activities, crossing spaces abandoned by their occupants and drifting through the ghostly traces of vanished presence, revealing a mysterious electroacoustic force that lingers within the shifting textures of these emptied environments.

A refined collaboration between pianist Melaine Dalibert and David Sylvian, transforming Dalibert's algorithmic piano works through subtle, impressionistic electronic treatments that deepen their harmonic resonance, creating a luminous and contemplative soundworld shaped by spectral motion and quiet atmospheric detail.

Elliott Sharp unites six electric guitarists in a powerful, overtone-rich work built from droning harmonies, graphic scores, shifting rhythms, and open improvisation, transforming his long-running compositional ideas into a vibrant, resonant soundscape that channels the tension of our present moment into bold, electrifying musical energy.

MusicWork's Fall 2025 publication is wide-ranging issue exploring contemporary experimental practice through profiles of artists including Lisa Conway, Kalun Leung, Susie Ibarra, Mali Obomsawin, and Marek Tyler, alongside features on Montreal�s late-night listening scene and reviews spanning new music, improvisation, electronic sound, and interdisciplinary performance.

Capturing their first UK appearance since 2016, the duo of Toshiji Mikawa and Fumio Kosakai unleash two blistering sets of "hard noise" at Cafe Oto, forging scorched-earth tape loops, feedback vortices, and pedal-chain eruptions into a ferocious, fire-music-level onslaught that channels pure chaos into a gripping, cathartic sonic upheaval.

Elliott Sharp's impressive series "Never Metaguitar" with releases on Clean Feed and Klanggalerie continues in this 6th volume of 18 remarkable and diverse approaches to the stringed instrument, effected and not, with contributors including Dougie Bowne, Wendy Eisenberg, Charles K. Noyes, Andr� Cholmondele, Toto Alvarez, Zona Zanjeros, David Torn, &c. &c.

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.

Exploring the fusion of acoustic presence and electronic projection, violinist Anouck Genthon and electronic musician Lionel Marchetti shape a two-disc journey where the violin's resonance folds into shifting synthetic textures, spatial loudspeaker design guiding evolving sound-forms that radiate like a focused beacon through immersive, exploratory improvisation.

An epic collaboration between saxophone and real-time electronics recorded at La Muse en Circuit in France, where Bertrand Gauguet's breath, multiphonics, and shifting overtones are continuously transformed by Kasper T. Toeplitz into evolving timbral landscapes that erode instrumental identity and build an expansive, immersive sound-mass through slow, majestic transformation.

Exploring the resonant depths of the serpent, a low-pitched lip-reed aerophone, and her own voice through effects and extended techniques, Belgian musician Berlinde Deman crafts an intimate and deeply personal sound world where breath, tone, and distortion intertwine, her slow and deliberate process unfolding like a meditative journey toward balance, discovery, and quiet transformation.

Drawn from field recordings made in Tainan, Taiwan and recomposed in Zurich, this album by Jason Kahn transforms ambient hums, distant voices and architectural resonances into a contemplative sonic map where place becomes material, silence pulses with hidden motion and listening itself is foregrounded as gesture, inviting deep immersion rather than narrative resolution.

A cryptic live document from The Gate's expanded lineup — Dan Peck, Tom Blancarte, Brian Osborne and guests — casting subharmonic dread, electroacoustic rupture, and dirge-like trance into two versions of the same ritual, where Almost Live blurs performance and fabrication and the Marston Mix sinks the remains into deeper, uncharted gloom, accompanied by a fractured visual zine of equal disquiet.

Developed during a residency in the Spanish town of Blanca, violist Julia Eckhardt's eight compositions trace daily walks through the arid hills as sound, image, and memory, each piece born from field recordings, photographs, and improvisations that echo the wind-swept landscape, transforming the act of walking and listening into meditative musical reflection.

A transpacific collaboration merging long-distant sonic composition and improvisation between Taipei-based Ryan J Raffa and Texas composer Andrew Weathers, capturing the evolving project Reign of Ferns in an intimate, improvisational exchange of texture and tone, their music shaped by distance, friendship, and the quiet resonance of shared creative presence.

A purely electric album by Yoshio Machida recorded in 2023, made entirely with the EMS Synthi AKS; with its patch-matrix routing, built-in 256-step sequencer, spring reverb, three oscillators and analog coloration, Machida improvises tempo and phrasing as if in conversation with a string quartet, layering organic, nostalgic, chamber-like textures entirely without outboard gear.

A collection of Yoshio Machida's soundtracks for NHK documentaries on artists Shinro Ohtake, Junichiro Tanizaki, and Maruyama Okyo recorded between 2020 and 2023, presenting a wide stylistic range from acoustic chamber works and dreamy piano reverberations to glitch electronics, steel pan melodies, funk beats, and jazz, highlighting Machida's versatility as composer and performer.

An evocative solo album from Yoshio Machida, who performs and overdubs steelpan, piano, bass, drums, and electronics in serene, poetic soundscapes where the transparent timbre of steelpan and keys weave ambient textures of nostalgic beauty, influenced by Buddhist notions of emptiness and form, recalling the refined aesthetics of ECM while creating a deeply personal aural refuge.

The improvising steelpan ensemble of Yoshio Machida (steel drums, percussion, electronics, PanKAT), Tatsu (bass, electronics) and Norihide Saji (drums, laptop, electronics) in their 3rd release, an alternative dub album, or music created by poly-rhythm and sound effects.

A rare meeting across four decades as guitarist Marc Dufourd and synthesist Jean-Marc Foussat revisit their Axolotl roots, juxtaposing the raw collage of their 1982 improvisations — feedback, fractured rhythms, and spectral melodies — with a 2023 counterpart of folk-tinged guitar, toys, and electronics, a reflective dialogue on time, memory, and sound�s restless possibilities.

Recorded while on tour in Arizona, Denmark, and Sweden, experimental composer Chester Hawkins transforms keyboards, live loops, field recordings, synths, lapsteel, and music box into immersive and hallucinatory soundscapes, weaving tense, meditative, and otherworldly excursions that trace the shifting orbits of inner and outer space in vivid, exploratory detail.

Recorded largely in an off-grid mountain hut, the fifth A Magic Whistle album finds Andy Puls uniting the chamber-folk intimacy and minimalist electronics of his earlier work into a vivid, wilderness-shaped soundscape where homemade sequencers, modular synths, guitars, whistles, and his resonant "Cascadian Sympathetic Steel" flow with field recordings and wordless voice.

Founding member of Bren't Lewiis Ensemble and Glands of External Secretion, and longtime driver of Bananafish magazine, Seymour Glass (as S*Glass) presents three 20-minute works of surrealist musique concrète, layering loops, cassettes, objects, organ, voice, and field recordings into unsettling yet strangely meditative sound collages that conjure fever dreams and altered states.

A celebration of friendship, sound, and daily life, Hal McGee�s cassette + download release assembles dictaphone recordings from his June 2025 trip to Ohio, capturing conversations with Chris Phinney, Jeff Chenault, and Jerry Kranitz, the ambience of caf�s, shops, and the Arts Fair, collaborative studio and live performances, and voices from the city, composed into a strangely compelling audio diary.

A major work in Kassel Jaeger's catalog, blending musique concrète and electronic synthesis into a drifting, immersive soundscape across two LP sides, shifting through abstract environments rich with elusive textures and hidden detail, as subtle rhythms and concrete sounds evoke a sense of motion, memory, and a yearning that echoes the meaning behind the album's title: a deep longing to travel.

A one-track electroacoustic work composed and mixed by Lance Austin Olsen, combining amplified copper plate, shruti box, guitar, flute, found tapes, and processed objects with extended voice and sampler, forming a dynamic and unpredictable narrative that shifts between silence, tension, and resonance in a rich, scored soundscape of urban unease.

A 50-minute continuous electronic composition created for choreographer Daniel Linehan's dance work of the same name, blending radiant energy, nostalgic nods to '90s electronic music, and a flowing sense of wonder, as composer Rutger Zuydervelt crafts a joyful, immersive score that evokes transformation, unity, and the ecstatic potential of sound and movement.

The summer edition of Canada's premier music magazine, with cellist Rémy Bélanger de Beauport on the cover, plus articles on sound artist Lola de la Mata, global koto innovators, &c, with a diverse CD featuring new works by Edzi'u, Yoo Doo Right, Kathryn Patricia Cobbler, Rocío Cano Valiño, and others exploring electroacoustic, post-rock, improvisation, and contemporary composition.

An unusual and deeply personal work from trombonist Sam Kulik, blending field recordings, voice, and layered acoustic and pre-recorded elements in a quirky, eccentric, and heartfelt conversation across time, presenting an imaginative and intimate meditation on life, death, and transformation through a uniquely expressive trombone-centered soundscape.

Blending layered studio experimentation with raw live performance, the mysterious Thee Checkered Shoe Dude's album traverses glitchy textures, looped electronics, and spontaneous energy, recorded in Miami and on stage in Phoenix and Sacramento, for a vibrant and unpredictable electroacoustic journey that bridges structured sound design and chaotic improvisation.

A long-running experimental noise unit led by Steve Davis and featuring Lob Instagon, +DOG+ craft a subtle and textural set of eighteen lo-fi electroacoustic improvisations recorded in Massachusetts, California, and Rhode Island, blending electronics, field recordings, and minimalist structures with a calm, intimate, and exploratory aesthetic.

The debut from the Australian, Naarm-based electronic project Solar Cells presents a hypnotic exploration of modular synthesis and cyclic rhythm, drawing from kosmische traditions and minimalist structures through analog gear and tape effects to create immersive, slowly evolving soundscapes rich in texture, pulse, and experimental clarity.

Under the alias Dream Weapon, Australian visual artist Ben Björk crafts a lush and immersive sonic journey recorded over five years across five continents, blending ambient, new age, shoegaze, and field recordings into a tropical "AmbienGaze" soundscape that drifts from sunrise serenity to twilight unease in a single day's arc.

Recorded across two seasons in coastal Oregon, Yachats showcases the late Heather Chessman and Roger Smith as Juice Machine, sculpting fragile, tape-based electro-acoustic collages that blend field recordings, loops, and discreet electronics into seven immersive vignettes — each a poetic meditation on place, memory, and sonic texture.

A two-CD immersion in live experimental noise by +DOG+'s Steve Davis and core collaborators, documented across multiple U.S. cities in 2024-25, weaving together feral improvisation, layered electronics, ambient detours, and cathartic sonic eruptions into a raw and immersive journey through texture, intensity, and collective sound exploration.

A raw and punishing split release from UK noise artists Abrasion Addict (Joe Fowler) and Animal Machine (Bohr Ernst), presenting studio and live recordings — including a 2017 Brighton performance — of unrelenting sonic extremity, where dense textures, abrasive dynamics, and fractured structures embody the visceral force of the harsh noise underground.

Exploring the fragility of recorded memory and the processes of cinematic restoration, Marc Baron and Eric La Casa capture, manipulate, and recontextualize sounds from the Hiventy film laboratories, transforming them through analogue treatments and dynamic re-recording into a compelling meditation on representation, decay, and the shifting nature of perception.

A double CD of composed environmental sound works from Francisco López, assembling raw field recordings from locations including Tenerife, Eswatini, Israel, Georgia, Chile, and the southwestern USA, along with a film soundtrack and a collaboration with Felipe Otondo, creating immersive, abstract electroacoustic pieces with intentional silences and textural extremes.