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.

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.

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.

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.

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.

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.

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.

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.

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.

The 3rd of NI-VU-NI-CONNU's 5-LP John Butcher series and part of a 2 night residency at ausland in Berlin coinciding with his 65th birthday, the long-running trio of tenor & soprano saxophonist John Butcher with Thomas Lehn on synthesizer and Gino Robair on percussion, Blipoo Box & found objects perform four perfectly complementary and startling improvisations.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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 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.

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.

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.

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.

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.

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 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.

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.

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.

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.

Expanding their language through dense composition and open improvisation, this iteration of Peter Evans's ensemble moves fluidly between explosive dynamics, electronic textures, orchestral color, and rhythmic propulsion, as brass, vibes, synths, and percussion interlock in a restless, polyphonic music driven by play, risk, and a continually evolving collective imagination.

Drawing from deeply personal listening histories, this richly illustrated volume assembles 100 essential free jazz and improvisation recordings from 1960-80, presenting album art, notes, and reflections that frame the music as non-hierarchical and interlinked, offering an immersive guide for adventurous listeners interested in the lineage, spirit, and lived culture of creative freedom.

Uniting bassist Stephan Crump, drummer Eric McPherson with alto saxophonist Darius Jones, this trio channels a deeply connected improvisational language built on evolving vamps, elastic grooves, and shared momentum, as Jones's emotionally direct alto moves freely through shifting forms shaped by trust, vulnerability, and a collective pursuit of intensity without hierarchy or hesitation.

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.

In a subtly detailed journey, Nate Wooley layers field recordings, trumpet, piano, sine tones, whistling, and bodily sound into a stark, reflective work that probes the uneasy coexistence of nature, machinery, and human presence, shaping a quietly political soundscape in which environmental detail, isolation, and mechanical intrusion collide in fragile, contrapuntal tension.

Blending field recordings, percussion, tapes, and modular synthesis with Marina Katsarou's voice and text and Eva Matsigou's flute, Eventless Plot reshape urban sound into a finely detailed electroacoustic work that invites listeners to reconsider noise as a living, expressive presence, revealing the shifting textures, hidden meanings, and poetic potential embedded within the everyday sonic fabric of the city.

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.

Bringing together clarinets, sopranino, baritone, and soprano saxophones with kyotaku (a Japanese bamboo flute) and resonant percussion, this trio shapes a highly attentive improvisation where breath, extended techniques, and shifting timbres unfold through close listening, moving fluidly between fragile textures, explosive gestures, and an organic, imaginary folklore that emerges from collective intuition.

Concentrating their work from the Pulverize the Sound trio, trumpeter Peter Evans and drummer Mike Pride reveal a ferocity that pushes free improvisation to its extremes, balancing explosive virtuosity with kaleidoscopic percussive interaction through dense sound clusters, fractured grooves, unexpected silences, and wild exploration, in seven high-risk dialogs tempered by moments of striking clarity.

Recorded at Nevessa Studio in New York, Camila Nebbia joins Marilyn Crispell and Lesley Mok in a fiercely intuitive trio session blending open scores and full improvisation, where elastic group interplay, textural sensitivity, and eruptive momentum allow the music to breathe as a single organism while leaving space for sharply defined individual voices to emerge.

Marking the closing of Mills College and the end of Zeena Parkins' long association with its experimental community, this solo release presents three commissioned works alongside the ongoing acoustic piece berlin bedroom, unfolding a deeply reflective exploration of harp and electronics that honors artistic lineage, collective devotion, and the Bay Area's enduring spirit of experimental music-making.

This self-titled debut from the Berlin-based duo of Danish alto saxophonist Mia Dyberg and Argentine drummer Axel Filip explores freely improvised jazz through spontaneous structures and shifting sonic playgrounds, with a sharp focus on timbral nuance, textural interplay, and an upbeat creative immediacy that unfolds into vivid, evolving sound narratives rooted in exploratory expression.

This duo release pairs bassist Kelsey Mines and saxophonist Erin Rogers in a deeply interactive exploration of free improvisation, where resonant low-end textures and expressive reeds weave concise, atmospheric vignettes shaped by bold contrasts, emotional clarity, and an immersive sense of motion that balances raw energy with carefully sculpted space.

Distilling their work from the Chamber Quintet, this intimate duo recording pairs Vinny Golia's varied woodwinds with Kelsey Mines' resonant bass and subtle vocalizations, unfolding a carefully balanced exchange of gentle and sharp gestures shaped by classical-leaning abstractions, where attentive interplay allows fluid musical forms to emerge with clarity inside open improvisational space.

Asked to rethink the solo sax format, Adia Vanheerentals transforms this release into a series of site-responsive improvisations, engaging the soprano sax in active dialogue with surrounding environments — echoing spaces, incidental sounds, and ambient noise — using extended techniques, breath & texture to shape concise statements where location is a partner in an open improvisational framework.

A ferocious meeting of three seasoned innovators, this live set from Charles Hayward (drums, vocals), Guy Segers (bass), and Kawabata Makoto (guitar) channels decades of rock, punk, psychedelia, and free improvisation into an explosive power trio performance, where raw energy, shifting polyrhythms, and searing intensity collide in a fiercely immediate and unfiltered sonic assault captured on stage in Brighton in 2013.

An intimate, immersive duo recording in which Tom Jackson's finely articulated clarinet and Daniel Thompson's responsive, highly attuned guitar create a richly expressive terrain of spontaneous sound, channeling the spirit of free improvisation's pioneers in a deeply communicative exchange of timbre, space, and dynamic nuance.

A deeply immersive duo performance from saxophonist Don Malfon and percussionist Vasco Trilla, this exploratory session unfolds as a richly textured dialogue of breath, resonance, and rhythm, where haunting tones, shifting densities, and subtle dynamics blur the lines between experimental jazz, ambient improvisation, and abstract sound sculpture, revealing a finely balanced interplay of intensity and restraint.

Recording at the historic Muziekcentrum van de Omroep in Hilversum, Dutch pianist Reinier van Houdt performs twelve solo piano works spanning more than three decades of Swiss composer Jürg Frey's output, revealing an evolving yet remarkably consistent compositional voice through performances of great restraint, sensitivity, and quiet intensity, balancing fragility, warmth, and crystalline clarity.

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.

An historic world-premiere recording of Éliane Radigue's earliest surviving work, performed at Huddersfield Contemporary Music Festival, where a stellar ensemble realizes her flexible "sonic proposition" through evolving textures, mathematical spirals and dynamic transformations that foreshadow her later visionary soundworld.

A densely layered electro-acoustic ensemble improvisation in which expanded electronics, tightly integrated horns, and richly colored percussion generate a constantly evolving sonic field, balancing muscular collective energy with intricate textural detail as shifting instrumental roles and deep ensemble cohesion drive a forward-moving exploration of sound and form.

A lively sampler of Evil Clown's expansive improvisational universe, this collection assembles fourteen concise, high-energy performances drawn from livestream sessions across multiple ensembles, where shifting instrumental combinations, dense textures, and spontaneous interaction distil the label's long-form aesthetic into sharply focused bursts of collective invention.

A tightly focused and interactive trio session pairing spoken word with expansive instrumental color,bringing Jane's incisive poetry into close dialogue with Albey onBass's grounded sonorities and David Peck's wide-ranging reeds, electronics, and resonant objects, revealing an articulated improvisational language where text, texture, and collective intuition lock together.

Jakob Ullmann's Solo I and Solo IV are realised together as two ultra-quiet, long-form works in which graphic notation, fixed pitch sequences, and subtle performance choices guide quarter-tone flute and double bass through slowly shifting regions of colour and resonance, blending live sound with tailored playback to create a fragile, immersive acoustic environment.

Three chamber works from Canadian composer Eldritch Priest trace his distinctive blend of lyric drifting and restless detail, from a fragile, noise-tinged string quartet to a reflective solo piano piece and a shifting, daydream-like ensemble work, each drawing on his interest in improvisation, ambiguity, and melodies that wander with deliberate aimlessness.

Acoustic ensemble realizations of two electroacoustic works by Marja Ahti, in which members of the Italian ensemble Blutwurst translate her drifting textures, elemental timbres, and spatial sensibilities into slow, finely detailed instrumental environments, expanding the original works into patient, resonant soundworlds shaped by pitch nuance, breath, and sustained collective focus.

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.

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.

Guitarist-composer Fredrik Rasten joins the Berlin quartet Asterales to explore slowly shifting just-intonation harmonies in four movements where quarter-tone bass flute, synthesizer, double bass, and fretless electric guitar weave sustained microtonal textures into a resonant, deeply attentive study of modulation, timbre, and collective harmonic precision.

Three works from American composer Kory Reeder's Grid Series bring piano and two violas into sparse, quietly shifting environments where structured pitch fields, performer agency, and subtle repetition form reflective sound spaces that balance structure and spontaneity, inviting deep listening through poised restraint and the poetic tension between silence and tone.

Three intimate chamber works from composer-cellist Laura Cetilia unfold in finely sculpted layers of cello, voice, violin, and vibraphone, blending delicate harmonics, quiet resonance, and attentive presence into a spacious, quietly immersive soundworld that bridges classical lineage with exploratory clarity and luminous restraint.

A debut solo album of eight songs for voice and guitar from Japanese singer-songwriter Shoko Numao, blending poetic introspection, translucent vocal timbres, and quietly expressive melodies shaped through years of performance, as she crafts intimate, subtly shifting pieces that balance lyrical clarity with a gentle, atmospheric sense of stillness.

A rich all-vocal rendering of the Bible's sensual Song of Solomon, featuring five distinguished female voices with narration by Barbara Hannigan and Mathieu Amalric, and guided by Jeremy Fogel's new translation, this lush limited-edition CD book highlights one of Zorn's most evocative and beautifully realized creations in a single extended work.

Exploring the tradition of night music with subtle, dreamlike elegance, Zorn's latest piano-trio work — the fourth in his series with Brian Marsella, Jorge Roeder, and Ches Smith after Suite for Piano, Ballades, and Impromptus — unfolds as a lyrical and expressive creation performed with seemingly telepathic, virtuosic, and finely nuanced interplay.

Blending Arabic maqam with jazz-inflected improvisation, ElSaffar's new quartet — joined by Tania Giannouli, Ole Mathisen, and Tomas Fujiwara — delivers an intense and expressive live performance whose spontaneous, newly composed material unfolds with lyrical depth, microtonal color, and dynamic interplay, captured at Berlin's Pierre Boulez Saal with additional alternate takes.

Blending Arabic maqam with jazz-inflected improvisation, ElSaffar's new quartet — joined by Tania Giannouli, Ole Mathisen, and Tomas Fujiwara — delivers an intense and expressive live performance whose spontaneous, newly composed material unfolds with lyrical depth, microtonal color, and dynamic interplay, captured at Berlin's Pierre Boulez Saal with additional alternate takes.

Recorded live at the Bimhuis, Ziv Taubenfeld's Full Sun gathers Michael Moore, Joost Buis, Yung-Tuan Ku, Nico Chientaroli, Rozemarie Heggen, and Onno Govaert for a slow-unfolding suite steeped in polyphonic colors, lyrical interplay, and spirited homage to Jimmy Lyons, Duke Ellington, Sun Ra, and Misha Mengelberg, shaping a warm, exploratory, and deeply communal sonic journey.

Recorded in two powerful live sets at Café OTO, Sophie Agnel's first solo LP channels her post-recovery reinvention into a fiercely physical language for prepared piano, unleashing dense sound masses, interior textures, and sudden moments of clarity as she reshapes the instrument into a raw, personal terrain of gesture, resonance, and fearless exploration.

Long delayed but bursting with life, guitarist Amanda Monaco's freebopping quartet — Michael Attias, Sean Conly, and Satoshi Takeishi — delivers a sharp, melodic, and mischievously adventurous set, blending playful grooves, quick-turn interplay, and Monaco's distinctive compositional voice into a vibrant, high-spirited vinyl debut from her Deathblow project.

A brooding work for ten musicians, Jürg Frey's crepuscular score intertwines Japanese haiku and poems by Anne Perrier through hushed voices, fragile instrumental colors, and suspended textures, inviting ensemble]h[iatus, led by Le Quan Ninh and Martine Altenburger, into a slowly unfolding landscape where uncertainty, breath, and quiet tension shape a haunting world on the edge of darkness.

Blending acoustic trio writing, subtle electronics, and everyday vocal gestures, Argentine composer Santiago Diez Fischer's decade-spanning set of five works for Gyre Ensemble shapes a raw, sculptural, and "punk-poetic" sound world where baritone sax, accordion, and percussion merge with the composer's vocal and electronic interventions to reveal music poised deliberately between rough material and refined form.

Two fiercely intuitive trio sessions drawn from concerts in Chicago and Milwaukee by Dave Rempis, Jason Adasiewicz, and Chris Corsano, capturing the group's Chicago-forged, ego-free interplay as they shift effortlessly between surging, full-throttle improvisation and finely detailed, pointillistic exploration, always prioritizing collective motion over individual display.

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 MontrealÕs late-night listening scene and reviews spanning new music, improvisation, electronic sound, and interdisciplinary performance.

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.

Harnessing extreme tenor-sax techniques, Yong Yandsen - known for his collaborations with Christian Meaas Svendsen, Paal Nilssen-Love, Rick Countryman, Sabu Toyozumi, &c. - delivers a solo album that immerses listeners in wet, murky textures and grainy, pressure-driven timbres, shaping breath, multiphonics, and noise into an uncompromising sound world that deepens his distinctive improvisational voice.

Japanese alto-saxophonist Naoko Saito living in Tokyo presents a full solo effort, shaping airy subtones, soft breath, and tentative melodic fragments into a ghostly, introspective soundscape - a contemplative and quietly expressive improvisational voice that marks her emergence as a distinctive new presence on the Deathrash Armageddon roster.

A four-part work for two pianos, clarinets, bass clarinets, violas, cello, and double bass, unfolding through quietly repeated dyads, chance-shaped harmonies, and sparse, non-directional gestures, as Reinhard's ensemble traces near-silent textures that accumulate, recede, and hover in a state of delicate, slowly evolving stillness.

Blending freely improvised spoken-word banter from Evil Clown leader David Peck, with a wildly diverse mix of winds, strings, electronics, percussion, and humorous auxiliary instruments, as veteran Evil Clown players and newer voices shape an energetic, narrative-driven performance where playful text, shifting sonorities, and spontaneous interaction collide.

Boston's Leap of Faith Orchestra unleashes a sprawling large-ensemble improvisation as longtime Evil Clown collaborators sculpt shifting sonorities from an enormous array of winds, strings, percussion, electronics, and auxiliary instruments, creating dramatic transformations through deeply attuned, high-intensity collective interplay.