A quartet of four excellent young improvising musicians based in London and Oxford, none of whom have ever been to the outer London suburb of Barkingside.

The first in a series of live releases from DMG's "New Music Magic Mystery Festival" at The Stone in December 2006, a superb set with Joelle Leandre directing.

Superb 1st erstwhile 'pop' release as only an erstwhile artist could define the term: abstract lower case and perceptive songs with dual clarinets and guitar.

Ruins drummer Yoshida Tatsuya and Tipographica guitarist Imahori Tsuneo in fiery and dense improvised power rock taken at high speed, edited and overdubbed in the studio.

Original compositions drawing on free jazz forms from Canadian saxophonist Leaney with Bent Spoon trio drummer Chris Dadge and Thomas Golub on bass.

Wakool is an interrogation into an expanded range of techniques and gestures from David Brown playing banjo, electroacoustic guitar, bandura, and eukolin.

Roman philosopher Titus Lucretius Carus named "Clinamen" the unpredictable (in time and space) swerve of atoms falling in the void, which aptly describes the unexpected directions taken in subtle free improvisation from this French trio, led by bassist Louis-Michel Marion, with Jacques Di Donato on clarinet, and Philippe Berger on viola.

Live concert DVD from Bunda Love (id & Mike) with Jamie Saft, filmed at Strange Maine in Portland, Maine; sheer communications in wierdness of doom metal meeting schizoid noise.

Electronic improvisations from Formian reed & electronics artist Fega, a member of Taxonomy with Elio Martusciello, as well as IATO and IXEM, Pangolino Orchestra, &c.

Bridging contemporary and improvised music, Montreal double bassist Nicolas Caloia wrote these pieces for textured and impossible rhythms; blending pieces by Nancarrow and Grand Master Flash; and manipulating poems by Genevieve Letarte; with supporting improv from Jean Derome & Lori Freedman.

Electronic improvisations from Formian reed & electronics artist Fega, a member of Taxonomy with Elio Martusciello, as well as IATO and IXEM, Pangolino Orchestra, &c.

Two basses and a lower-end saxophone from the trio of Damon Smith on double bass, Andrew Durham on electric bass, and Danny Kamins on baritone sax, Durham also adding effects and "Radio Manipulation" to their deep sound, Durham & Kamins the core of CARL with Damon Smith adding extra underpinnings to their slowly developing, sometimes pensive, sometimes cantankerous, profound improvisation.

Recorded live at Silence Sounds in Guelph Canada, the duo of Xavier Charles on clarinet and Eric Normand on electric bass & objects eschew idiom in favor of their unique natural language on their instruments, applying patient development of truly idiosyncratic and fascinating command through a single extended work punctuated in seven diverse passages.

A beautiful solo set of 12 improvisations, Michael Attias performing on alto sax with his left hand and piano with his right, captured in the natural reverberation of La Maison en Bois in Abeville-La-Riviere, France; surprisingly his 1st solo album, developed over 12 years yet played in under an hour with no retakes, a wonderful nuanced reflection in tone, melody & color.

A beautifully hypnotic album of saxophone, accompanied by Pan-Ney, Shruti Box and Organ, recorded in overdubs by composer/wind player Werner Durand in this 2nd chapter of his trilogy focused on the Pan-Ney, a self-built instrument for repetitive foundations, as Durand draws on elements of nature, mythology, dance, religion, literature and folklore.

Recording in Toronto, the core trio of drummer Nick Fraser, saxophonist Tony Malaby and pianist Kris Davis are joined on four tracks by tenor saxophonist Ingrid Laubrock and trumpeter Lina Allemano, in an album of composed and collective improvisation, merging Toronto, NY and European influences in an accomplished album of diverse approaches and orchestrations.

An extended and rich confluence of strings from R Keenan Lawler and John Krausbauer, using resonator guitar and banjo, sustained tones that intertwine in a beautiful and optimistic drone, minimalistic yet drenched in a profusion of harmonic detail; a beautiful and elusive dream mixing between an Indian raga and an alien electronic environment.

Recorded in the mid-90s, Livebatts! was a project of John White (Cornelius Cardew, Scratch Orchestra) developed to exploit "toy" keyboards of the 80s--cheap battery-driven instruments that hold tremendous potential for "serious" music-making--used here in a playful quartet with vocalist MJ Coldiron, Andrea Rocca (guitar & samples) and Nancy Ruffer (electrified flute).

An excellent first meeting of two guitarists recording on a February afternoon and released in the sequence recorded with no edits or changes, from Jim McAuley on guitar and Scot Ray on lap steel slide guitar with effects, an innately lyrical blending of styles masking the strong technical skills and long histories of these two superlative players.

Quietly lurking as it prepares to attack, this Kobra is the free improvising quaret of Aurora Nealand on accordion, alto saxophone, voice & objects, Steve Marquette on acoustic & electric guitars, Anton Hatwich on bass, and Paul Thibodeaux on drums, captured live at Chicago's Hungry Brain during the Instigation Festival for a mysterious 2-part "New Omens" and some "Telly Attire".

'Spilla' means 'to play' in the language of Neapolitan musicians, and playing here are NY guitarist and composer Elliott Sharp and Italian guitarist Sergio Sorrentino, presenting world premier recordings of 4 works recorded live in Vercelli, Italy: two improvisations and two graphic scores performed on electric guitar with incredible technique and passion.

Stochastic music for percussion and synthesizers from New York avant conceptualist and keyboardist Charlemagne Palestine, here on piano & electronics, with the Italian duo Trrma' of Giovanni Todisco on percussion and Guiseppe Candiano on synth, in two side-long works of irregular rhythm, complexity and dissonance that build and recede in a suspenseful journey.

First in a series of themed LP dedicated to improv / experimental / & noise music, this LP including Talibam!, Fessenden, Mialessot w/ Daniel Carter, &c.

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).

While both improvisers were in New York City for the 2019 Vision Festival, multi-reedist and European Free Improv legend Peter Brötzmann met Chicago cellist and electronics artist Fred Lonberg-Holm to record their 3rd album together, their 1st album in the studio a diverse set of incredible concentration, with Brötzmann performing on tenor saxophone, woodwind, and clarinet.

A momentous 2020 concert at London's Cafe OTO, presented in two discs, the 1st with label leader Jean-Marc Foussat in a solo improvisation on synth and voice, the 2nd in a trio with Daunik Lazro on tenor & baritone sax, and Evan Parker on soprano sax, the 2 saxophones weaving and responding to Foussat's remarkable alien soundscapes and vocalization in an immersive extended improvisation.

Having played together in a variety of settings, but never as a trio, saxophonist Sabir Mateen, clarinetist Patrick Holmes and drummer Federico Ughi met in a recording studio in Tuscany, Italy to record this album of wide-ranging free improvisation, Mateen's Farfisa playing and vocal declamations bringing a Sun Ra element to the vehement and profound dialog.

Trumpeter Dennis Gonzalez merges his Yells at Eel project with bassist Aaron Gonzalez and drummer/percussionist Stefan Gonzalez, with Texas-based experimental rock band Pinkish Black--Daron Beck on keyboards and Jon Teague on drums & synthesizers--for a gripping and masterful hybrid of improvisation, dark synthetic rock and heavy moods; a riveting journey.

Taking his title from a poem by Octavio Paz with titles from translations by Lysander Kemp of other Octavio Paz poems, this solo album from double bassist Damon Smith is his definitive statement on the instrument: 23 tracks from 46 seconds to 5 minutes 50, developed over 15 years and displaying Smith's incredible technique and creative intent; incomparable.