"A follow up to 'A Year In Any Other Place' (Falt) from 2022, 'The Root, The Interim' is a tape composition in four parts, drawing on the influences of musique concrete, cinema and dub. Constructed over 14 months in 2022-3, it is a tour...

"Two longer live works of the now-patented blend of sound collage, crude tape mangling and music concrete sound events executed in a somewhat slapstick manner, where everything is balanced so thin that it can fall apart at any point. Fi...

Restoring Rick Potts and Joseph Hammer's 1983 Dinosaurs With Horns cassette for its first CD release, Krim Kram presents fourteen wonderfully dislocated home recordings where Optigan loops, reel-to-reel manipulation, Casios, toy electronics, musical saw and thrift-store sound fragments collide in a woozy LAFMS-bred mixture of musique concr�te, primitive sampling, mutant exotica and spontaneous lo-fi invention.

Composer Amanda Feery, with guitarist/electronic musician Declan Synnott, builds a 43-minute electroacoustic "Mass for the Tenant" from organ recordings made at St. Fin Barre's Cathedral in Cork, choral recordings by 4 in a Bar, electronics, tin whistle and guitar, examining home as sanctuary and contested space through themes of displacement, occupation and belonging.

Drawing on live and studio recordings made in Switzerland in 2005 and 2006 and rediscovered nearly two decades later, Antoine Chessex and Dave Phillips reshape archival material into two extended works of musique concrete, noise and dense electronics, threaded with spectral voices from the Swiss Silvesterchlausen tradition and transformed through layering, decomposition and temporal dislocation.

A five-CD survey of Jon Rose's Rosenberg Museum, the violinist's decades-long Gesamtkunstwerk of invented, altered and repurposed string instruments, documenting a practice that treats the violin as a limitless field for acoustic experiment, cultural critique and sonic invention, with John Oswald contributing to this expansive archive of new instruments, new sounds and unstable musical histories.

"Philadelphia-based artist Morgan Evans-Weiler performs on violin and is known as a member of the contemporary classical music ensemble Ordinary Affects. Percussionist Carlo Costa, who was born in Rome, has lived in New York since 2005....

Closing Christian Wolfarth's three-part 39 cycle, this solo work for percussion and field recordings transforms numerical constraints, repetition and chance into a spare study of resonance, texture and silence, where skin, metal and environmental sound gradually blur the line between composed structure and pure sonic perception.

Summer 2026 issue of Musicworks, featuring Anju Singh on sound art and bodily listening, [MONRHEA] on technology and ancestral knowledge, guitarist Arthur Bull's six decades of improvisation, drummer-composer John Hollenbeck and Mili Hong, plus Panayiotis Kokoras on his prize-winning Viper Snake, Toronto's Ministry of Phonic Services, reviews, and an accompanying compilation of works by featured artists.

French electronic music pioneer Eliane Radigue performs her three-part composition Triptych, recorded in her Paris studio and inspired by Tibetan Buddhism and the elemental forces of water, air, fire, and earth, presenting a patient, immersive work of sustained electronic tones and subtle transformation, here issued as a double LP with the complete pieces preserved without editing or cuts.

An extraordinary compilation with an extensive booklet documenting the early pioneers of electronic sound including Schaeffer, Hermann, Posseru, Xenakis, Heiss, Cage, Varese, Ligeti, &c.

Spanning home recordings from 2018 to 2026 with selected archival material, this four-CD set closes John Tilbury's recording career through piano, clavichord, organ and voice, joined by Keith Rowe, Klaus Filip and six pianists in music ranging from Elizabethan songbooks and contemporary compositions to quiet improvisation and reflection.

Composer Francisco del Pino and vocalist Charlotte Mundy create a deeply nuanced and emotionally rich exchange, as Mundy's radiant voice navigates del Pino's intricate, polyphony-tinged compositions, layering syllabic repetition, resonant phrasing, and textural detail into a multitrack performance that evokes mantra, lament, and ecstatic meditation in equal measure.

William Parker's first spoken word album, and the continuing collaboration between Parker and composer, vocalist and sound designer Ellen Christi, who developed the underlying tracks, sung vocals and overall sound architecture for Parker's insightful, observational and revealing words and recitation, Parker also providing bass and flute that complement his life-affirming texts.

Expanding the voice into a mutable electroacoustic ecosystem, Ute Wassermann combines breath, multiphonics, growls, whispers and animal-like calls with bird whistles, jaw harps, hydrophones, drums and brass megaphones, creating six vividly spatial pieces where body, object and environment continually merge, fracture and reform.

Extending their TRAC debut Cylinder Plus, Teddy Ryles and Alexander Cooper shape a 90-minute two-CD computer-music composition developed with custom source-filter modeling and cepstral-based transfer methods, transforming digital artifacts, modeled resonance, spectral detail, and unstable electronic textures into a long-form electro-acoustic study of timbre, residue, structure, and abstraction.

Composer Finola Merivale surrounds Catherine Sikora's layered tenor saxophone, breath tones and multiphonics with electronics and field recordings gathered in County Cork, New York and other changing environments, creating three immersive electroacoustic works that move from stark detail to surging masses of sound while exploring landscape, displacement, memory and the unsettled meaning of home.

A heavy and wild ride in the 9th album from New York's The Gate of composer and tuba player Dan Peck, bass player Tom Blancarte and percussionist Brian Osborne, concise pieces of heavy melodic elements, dark riffs and an ominous attitude, intersecting with plundered asides and anxious pauses, a strong addition to their discography and an engrossing collection of deep disturbance.

Approaching the concept of endless repetition, New York composer and pianist Phillip Golub (Tropos, Sarafand Ensemble, Cecil McBee) presents his debut solo piano album, a contemplative set of system-based looping phrases that open up to improvisational variety in live performance, here in four renderings that defy the categorization of a "loop".

The first volume in an ongoing collaboration between composers Kenneth Kirschner and Joseph Branciforte, this work explores the application of software-based compositional techniques — including algorithmic processes, generative systems, and indeterminacy — performed in a superb ensemble including members of Flux Quartet and International Contemporary Ensemble.

New Pricing April 2019: Recordings from the Berlin Inventionen Festivals for New Music 2005 and 2006 featuring compositions by Edgar Barroso ("ODD"); Mario Verandi ("Comme un jeu des images"); Paul Wilson ("Trhough the Rain"); Ricardo Climent ("Wallwoodpeckers"); Vladimir Djambazov ("The Secret Life of a Snare Drum"); and Ludger Brummer ("Glasharle").

Marking 40 years since its 1985 ZTT release, Andrew Poppy's landmark The Beating of Wings returns newly remastered by Stephan Mathieu, presenting four prescient post-minimal works where Poppy's piano, keyboards, voice and sampler, Glyn Perrin's electric piano, orchestral winds, brass and strings, guitar, bass, Fairlight and drum machine merge acoustic composition with the studio as a compositional instrument.

Composer Alexandre David brings together Quatuor Bozzini, Plaisirs du clavecin, Orchestre de l'Agora, conductor Nicolas Ellis, and Innu poet and vocalist Natasha Kanape Fontaine in 3 works that balance concentrated string writing, voice & text, and vivid orchestral color, reflecting David's fascination with sonority, collaborative creation, and the transformation of personal musical memories.

Toronto percussionist Ryan Scott premieres fourteen commissioned works by Canadian composers, revealing the snare drum's remarkable range through traditional and extended techniques, electronics, objects, cymbal, bass drum, metal plates, and voice, while presenting a vivid survey of contemporary Canadian percussion writing and expanding the instrument's solo repertoire.

Quatuor Bozzini performs works by Canadian composer Owen Underhill, joined by countertenor Daniel Cabena and sackbut player Jeremy Berkman in settings of 17th-century poetry, alongside two string quartets shaped by encounters with John Cage, quoted musical fragments, natural landscapes, specific places, and personal memory, balancing lucid formal design with vocal expression and finely detailed instrumental color.

Montreal-based Quatuor Bozzini records Jurg Frey's Streichquartett (1988) at Radiostudio Zurich, shaping spare scales, measured intervals, and quietly sustained tones into music of unusual clarity and concentration, where seemingly anonymous material reveals its own distinct character through space, duration, resonance, and the tactile presence of sound.

Rooted in Keith Tippett's late brass suite Winter's Welcome, Hilary Jeffery reimagines the material through multi-tracked brass, computer and improvisational expansions with Julie Tippetts' voice, Tobias Delius' tenor saxophone and clarinet, Paul Dunmall's saxophones and Eleni Poulou's synthesizer and music box, creating a prism-like tribute of resonant harmony, memory, song and exploratory transformation.

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.

Elliott Sharp returns to solo piano with a set of compositions rooted in the instrument's physical properties, drawing on his complex history with the piano — from childhood performance to later works such as K!L!A!V!, Mapping, and Oligosono — to explore the poetics of resonance, high-tension strings, attack, volume, and the tactile force of sound through a Steinway B.

Composed between 2023 and 2025 after Jurg Frey withdrew from clarinet performance, this 54-minute chamber work places Heather Roche's clarinet within the string quartet of Mira Benjamin, Chihiro Ono, Bridget Carey and Anton Lukoszevieze, as Apartment House reveal a quietly extraordinary balance of stillness and motion, warm tonal color, intimate dialogue and a slow, organic passage toward unexpected transformation.

Composer Sylvia Lim's quietly individualistic chamber works explore fragility, decay and timbral richness across solo, duo, trio and small ensemble settings, using prepared cello, resonant piano, clarinets, percussion and guitars to let intimate gestures, unstable sounds and microscopic details slowly unfold into hushed, tactile sound worlds.

Presenting four recent works by James M. Creed performed by Standard Issue, To Your Ear Collective and Outline Ensemble, this debut on Another Timbre explores sparse notation, instrumental doubling, fragile homophony and gently shimmering ensemble textures, as overlapping groups of young UK experimental musicians sustain music of quiet uncertainty, collective attention and delicate, slowly forming resonance.

Exploring Kristofer Svensson's 11-limit Just Intonation tuning for Prakāśa, violinist Maya Bennardo, bass clarinetist Erik Blennow Calälv and Svensson on Indonesian kacapi shape a fragile, resonant chamber music of fully notated form and modal improvisation, where breath, string resonance, silence and unequal intervals create a quietly radiant field of melancholy and meditative depth.

Klaus Lang's chamber works for Apartment House trace a patient, inwardly focused music of sustained tones, structural clarity and lyrical restraint, drawing from Pre-Raphaelite poetry, Basho's autumnal imagery and Keats' epitaph as clarinets, strings, piano and electric organ reveal slowly shifting architectures where beauty, stillness and sound become forms of quiet protest.

Commissioned for the for/with series, Eva-Maria Houben presents a long-form work for Nate Wooley's trumpet, voice, and whistling, where sparse, precisely placed tones unfold in a meditative arc, expanding from an early performance into a deeply considered exploration of pure timbre, attentive listening, and the subtle interplay between composition and free improv.

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.

Reissuing the 1979 debut from the Colorado collective that evolved through Mnemonists into Biota, four extended improvisations place Hugh Ragin, William Sharp, John Herdt and a large ensemble amid brass, reeds, prepared piano, electric instruments, voices, found percussion and tapes mixed live into volatile intersections of free jazz, musique concrète, sound poetry and industrial texture.

John Zorn continues his lyrical acoustic guitar writing with a Shakespeare-inspired book of seven intimate compositions for Julian Lage and Gyan Riley, whose long collaboration as interpreters of Zorn's music brings warmth, precision and conversational clarity to pieces that draw on early music, minimalism, contemporary classical forms, folk, jazz and soundtrack-like atmosphere.

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.

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.

Expanding Matthias Muche's BONECRUSHER into a 12-trombone ensemble with Etienne Nillesen on extended snare drum, this powerful ezz-thetics release explores the trombone as a massive yet highly detailed acoustic organism, moving between composition and improvisation through crackling chords, microtonal pressure, resonant overtones, dense brass clouds and fiercely sculpted collective sound.

Swiss composer Edu Haubensak's 2019-2024 cycle for six scordatura pianos, performed by Simone Keller, Rafael Rütti, Asia Ahmetjanova, Stefan Kägi, Yoko Sawa and Stefan Wirth, builds a monumental field of microtonal resonance and harmonic colour, paying homage to Ivan Wyschnegradsky's Arc-en-ciel while linking Haubensak's mature tuning work to his 1979 Schwarz Weiss.

Judith Wegmann and Marlies Debacker perform John Cage's 1989 Two2, a late work for two pianos whose thirty-six short lines unfold through independent tempi, shared pauses and resonant decay, allowing the duo's deep experience in composed and improvised music to shape a live performance of patient asymmetry, concentrated listening and quietly radical spaciousness.

Featuring Mexican flutist Wilfrido Terrazas performing works by Greek composer Thanos Chrysakis, this solo recital explores the expressive breadth of standard, alto and bass flutes through extended techniques, circular breathing, and richly layered timbres, as Chrysakis' compositions unfold as immersive sonic environments where breath, resonance, and subtle transformations.

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.

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.

The 1st release on the Ars Nova Classics label presents 'Eclecticism' composer Nick Vasallo in genre�blurring avant and electro-acoustic works performed by several ensembles.

Percussionist Danielle Palardy Roger's first major solo composition in 13 pieces which is performed by Claude Beaugrand, Jean Derome, André Duchesne, Joane Hétu, Diane Labrosse, and Martin Ouellet.

Summer 2011 issue of Canada's premiere music magazine and CD, with articles and tracks from Gregory Oh, Grimes, Doldrums, The Vegetable Orchestra, Terri Hron, Miguel Azguime, Rachel Wadham, &c.

Twelve pieces for guitar performed by Tim Brady, including three updated versions of previous pieces, new compositions by Brady, and four pieces composed by other artists.

Composed and conducted by Tyshawn Sorey, this expansive work presents a luminous, long-form meditation inspired by Morton Feldman's Rothko Chapel, blending voice, strings, keyboards and percussion into a deeply contemplative soundscape of spiritual fragments, sustained tonal color and quiet emotional intensity, realized by soloists Davóne Tines, Kim Kashkashian, Sarah Rothenberg, Steven Schick and the Houston Chamber Choir.

The duo Senso di Voce, with Esin Gunduz on voice and Paul J. Ferington on oboe, create an immersive chamber work of voice, oboe, and electronics whose movements balance the ancient and the contemporary, weaving resonances, silence, and philosophical imagery into a meditative and exploratory sound world that rewards repeated listening with new layers of detail and emotional depth.

A powerful chamber work from Ukrainian pianist and composer Vadim Neselovskyi, this release blends classical composition and improvisation, as piano and string trio merge structured writing with spontaneous expression, aligning his lyrical, introspective voice with modular, improvisation-driven aesthetics shaped by the tensions and resilience of his homeland.

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

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.

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.

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.

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.

Using self-built breath vessels alongside tuning forks, sine waves, and voice, Liz Allbee creates a form of speculative folk music shaped by respiratory rhythms, resonant drones, and tactile gestures, unfolding a quietly epic, intimate, and immersive soundworld that imagines future collectivity through shared breath, material resonance, and electro-acoustic communion.

Recorded 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.

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.

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.

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.

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.

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.

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.

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.

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.

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 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 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.

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 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.

PROMO COPY

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.

An extended work for piano by Sarah Hennies, SOVT (Semi-Occluded Vocal Tract) transforms the instrument through putty-muted strings and resonant sympathetic vibrations, performed with rhythmic precision by Richard Valitutto in a hybrid piano-percussion sound world inspired by vocal-tract exercises and Hennies' exploration of voice, identity, and embodied resonance.

Composed by Cat Hope and recorded live at the Tura and Perth Festival, this striking opera for four vocal soloists, bass orchestra, and community choir unites the visceral voices of Caitlin Cassidy, Judith Dodsworth, Sage Pbbbt, and Karina Utomo under conductor Aaron Wyatt in a profound, wordless protest against the inhumanity of refugee detention and a moving appeal to shared compassion.

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.

Drawing from recordings made between 2000 and 2025 across Lithuania and Latvia, percussionist Arkady Gotesman assembles collaborators including Nate Wooley, Charles Gayle, Mark Sanders, Liudas Mockūnas, Martin Küchen and Ned Rothenberg for a focused set of duos, trios and solo works that trace three decades of chamber-improvised music shaped by fascinating structurs and a deep connection to Vilnius.

This double-CD set finds Michael Pisaro and Michael Francis Duch probing the attentive meeting of electric guitar and double bass in extended, quietly rigorous works that privilege the fine gradations of sound, duration and silence, offering a minimal but richly textured listening experience rooted in subtle transformation rather than overt spectacle.

Blurring the line between sound and action, English composer James Saunders' composition transforms 100 pages of performance instructions to tear, score, press, and write on paper, creating a tactile soundscape where performers Conor Bourgal, Lindsay Goss, Ryan Seward, and Andrew Weathers weave rustle, rhythm, and resonance into a fragile equilibrium between the mundane and collective sound art.

Reuniting pianist Pandelis Karayorgis with bassist Nate McBride and drummer Randy Peterson, and featuring composer-pianist Eric Moe, this microtonal project bridges jazz and contemporary composition through Werntz's Capricious Nocturnal Variations, as Karayorgis' trio expands its themes with richly textured interplay and fluid explorations of the uniquely tuned Werntz Nocturne Scale.

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.

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.