Blending acoustic guitars, clarinets, accordion, voice and found objects, Barry Chabala and Clara Byom craft a deeply intuitive duo session that moves between unedited studio improvs and expanded "extractions," weaving folk-inflected fragments, graphic score realizations and haunting textures into a raw yet lyrical free improv language shaped by trust, contrast and evolving interplay.

Expanding from the long-running Leap of Faith core duet, bringing together a sextet of reeds, brass, cello, bass, percussion, and electronics in a fluid electroacoustic improvisation where shifting instrumental doublings, richly varied global percussion, and evolving textures drive a continuous transformation of sonority, creating a deeply immersive and dynamically unfolding exploration of collective free improv.

Expanding the Evil Clown universe with a humor-driven electroacoustic improvisation, the Neurodivergent Orchestra blends dense ensemble interplay, electronics, and an extraordinary array of instruments with fully improvised spoken-word banter, where playful, absurdist narrative threads intertwine with dynamic sonic exploration to create a richly textured, unpredictable, and engaging collective performance.

The Simulacrum ensemble expands its electroacoustic palette on Modeling Personas, bringing together a fluid septet of winds, strings, percussion, and extensive electronics in a dense and highly textural session where layered improvisations, shifting instrumental permutations, and rich sonic experimentation create a dynamic and immersive exploration of timbre, form, and collective interplay.

Recorded live at the Archipel Festival, this quintet of Nicolas Field, Thomas Florin, Jerome Noetinger, Fritz Welch, and Nate Wooley delivers an intense electroacoustic performance where composed frameworks erupt into explosive, immersive interactions, as voice, trumpet, piano, percussion, and electronics collide in dense, mutating textures that are disorienting, consuming, often volatile, yet consistently exhilarating.

"This recording documents a first encounter. For his 60th birthday, Stefan invited two musicians he had previously met only online. We stepped into the same room, the same air, the same sound. By the end of the night, the trio had alrea...

Framed as a shifting, dreamlike improvisation, this electroacoustic quartet led by violist Ernesto Rodrigues, with cellist Guilherme Rodrigues, Carlos Santos on electronics, and percussionist Monsieur Trinité, unfolds a fluid free improv session that dissolves into evolving textures, balancing tension, restraint, and collective interplay within an immersive sonic landscape.

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The Leap Of Faith Orchestra sextet — core duo David Peck and Glynis Lomon with brass regulars John Fugarino and Bob Moores, bassist Scott Samenfeld, drummer Jared Seabrook, and Joel Simches on real-time signal processing — navigates a sweeping long-form free improv marked by deep ensemble rapport, extensive instrumental doubling, and a vast array of acoustic and electronic timbres that continuously transform across a broad, vividly articulated sonic palette.

Turbulence — the horn-driven offshoot of the Leap Of Faith Orchestra led by PEK — convenes a trio of brass and reeds with John Fugarino and Bob Moores, powered by bassist Scott Samenfeld, drummer Jared Seabrook, for a dynamically shifting free improv that channels their Art Ensemble-inspired model into intricate counterpoint, dense textural layering, and expansive acoustic-electronic interplay.

Perturbations, pairing David Peck with engineer and electronic manipulator Joel Simches, presents its 10th set with a three-horn frontline of David Peck, Michael Caglianone, and John Fugarino, unfolding a spacious yet volatile free improv where frequent doubling across reeds, brass, percussion, and electronics meets Simches' real-time signal processing with textural disruption and transformation.

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.

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Documenting a ferocious live performance from the 2018 Victoriaville Festival with additional recordings from 2025, the trio of Merzbow (electronics), Mats Gustafsson (bass & baritone sax, electronics), and Balázs Pándi (drums) unleash a volatile collision of noise, free jazz intensity, and crushing rhythmic force of towering electronic textures, blistering sax blasts, and wildly inventive percussion.

Drawing musicians from across the Northeast, the 30-member Turbulence Orchestra and Sub-Units — directed by PEK — convenes for a sprawling 2-disc session of conducted large-ensemble free improv, first presenting six compact sub-unit improvisations before merging into a sweeping hour-long orchestral performance of shifting instrumentations, graphic cues, and evolving textures.

The Expanse Percussion Edition assembles a large electro-acoustic improvising ensemble led by David Peck and Michael Knoblach, blending horns, electronics, bass, and an enormous array of percussion into a long-form free improv performance where shifting textures, metallic resonances, and rhythmic explorations unfold through the Evil Clown aesthetic of constantly transforming sonorities.

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.

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.

Recorded live at Kaleidophon Festival in Ulrichsberg, Austria, the trio of Urs Leimgruber on soprano saxophone, Jacques Demierre on amplified spinet, and Thomas Lehn on analogue synthesizer engages in a tense, hyper-attentive electroacoustic exchange, where dense textures, volatile interactions, and precise collective listening shape an ever-shifting dialog rooted in European free improv.

Originally released in 1991, this remastered edition of Mehead's sole album presents the South London quartet's inventive blend of experimental rock, tape collage, and off-kilter rhythms, with trumpet, guitar, bass, drums, and vocals shaping spacious, intuitively composed pieces that balance live studio spontaneity with layered textures and quietly subversive sonic exploration.

The duo Nabelose — Elena Kakaliagou (horn, voice) and Ingrid Schmoliner (piano, voice) — present five song-oriented pieces balancing hypnotic rhythms and airy textures, blending poetic recitation, breathy horn timbres, prepared piano, and striking vocal explorations, joined by percussionist Els Vandeweyer and subtle electronics from Bilgehan Ozis to create an atmospheric sonic landscape.

Recorded across three continents and completed in New York, this double-disc work led by Bill Laswell and conceptualist P.ST draws on René Daumal's unfinished allegorical novel to shape a richly textured electroacoustic narrative, where voice and instrumentation unfold alongside layered improvisation and cinematic abstraction, as Henry Kaiser contributes extended solo guitar meditations.

Recorded across three continents and completed in New York, this double-disc work led by Bill Laswell and conceptualist P.ST draws on René Daumal's unfinished allegorical novel to shape a richly textured electroacoustic narrative, where voice and instrumentation unfold alongside layered improvisation and cinematic abstraction, as Henry Kaiser contributes extended solo guitar meditations.

Perturbations, pairing David Peck with engineer and electronic manipulator Joel Simches, presents its 10th set with a three-horn frontline of David Peck, Michael Caglianone, and John Fugarino, unfolding a spacious yet volatile free improv where frequent doubling across reeds, brass, percussion, and electronics meets Simches' real-time signal processing with textural disruption and transformation.

Turbulence — the horn-driven offshoot of the Leap Of Faith Orchestra led by PEK — convenes a trio of brass and reeds with John Fugarino and Bob Moores, powered by bassist Scott Samenfeld, drummer Jared Seabrook, for a dynamically shifting free improv that channels their Art Ensemble-inspired model into intricate counterpoint, dense textural layering, and expansive acoustic-electronic interplay.

The Leap Of Faith Orchestra sextet — core duo David Peck and Glynis Lomon with brass regulars John Fugarino and Bob Moores, bassist Scott Samenfeld, drummer Jared Seabrook, and Joel Simches on real-time signal processing — navigates a sweeping long-form free improv marked by deep ensemble rapport, extensive instrumental doubling, and a vast array of acoustic and electronic timbres that continuously transform across a broad, vividly articulated sonic palette.

A multidisciplinary project from trombonist and poet Steve Swell and vocalist/sound designer Ellen Christi, pairing a book of Swell's poems with a CD of performances by a stellar ensemble including Roy Campbell, Sam Newsome, William Parker, AJ Federico, and Tom Bruno, blending spoken word, improvisation, and textural sound design into a meditation on experience, spirituality, and creative expression.

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.

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.

Seeded Plain is the duo of Bryan Day and Jay Kreimer, who create homemade instruments and use them to create far-ranging improvisations with a unique set of timbres and percussive elements.

Saxophonist Marc Baron & bassist Loic Blairon recorded 6 improvisations and then recomposed and organized them into these two 30 minute works, one acoustic and one digital.

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.

Organized sound compositions using recordings from Monteiro's home environment, compositing acoustic sound without adding electronic effects processing.

Pianist and accordionist Joao Lucas' music for Andresa Soares' choreography "It was a very abstract thing", structured acoustic improvisation with a slight electronic edge.

A live and studio rendition of Gifonni's solo composition for portable synth and analog filter, themed on the South American large vulture of the name Zamuro.

Sporadic sonic exchanges exploring guidelines, graphic scores, or completely improvised, with an expansive instrumentorium from the sextet of Magali Babin, Andrea-Jane Cornell, Martine H Crispo, Anne-Francoise Jacques, Emilie Mouchous, and Erin Sexton.

A collection of guitar, electronic and voice pieces from Anne-James Chaton and Andy Moor, originally released as a series of four seven inch singles here combined into a single CD with 3 bonus tracks.

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

Recorded in Nanaimo, British Columbia in 2024, Swedish saxophonist Mats Gustafsson and Norwegian reedist Kjetil Moster unite for their first duo outing, navigating a dynamic spectrum from airy, conversational reed exchanges to ferocious bursts of fire music, their quicksilver interplay weaving humor, texture, and raw improvisational energy into a fiercely expressive and unpredictable sonic encounter.

Composed for the Seoul experimental space Dotolim and originally realized in 2009, Jason Kahn's graphic score is revisited here with a new generation of Seoul-based experimental musicians, combining voice, electronics, tape devices, film projectors, and resonant objects in a subtle electroacoustic performance shaped by texture, space, and collective interpretation.

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.

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.

+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.

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 fierce live collision of Jaap Blonk's phonetic vocal and electronic inventions and Jasper Stadhouders' raw guitar improvisation, forging a surreal language of sputtered syllables, scraped strings, and disruptive humor, where meaning dissolves into texture and every gesture feels simultaneously unhinged and meticulously alive.

PROMO COPY W/ CUT SLEEVE CORNER

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.

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.

The debut from the duo Flöjter brings together Mats Gustafsson and Delphine Joussein, both collaborators in Fire! Orchestra and Nout, in a wild live encounter expanding the sonic possibilities of the flute, weaving extended techniques, electronics, organ, harmonica and voice into a volatile, exploratory dialogue that moves between raw texture, rhythmic drive and spacious abstraction.

Whisker — the Chicago duo of modular synthesist Ben Baker Billington and bassist Andrew Scott Young — expand their psychedelic, noise-forged language through collaborations with Chris Corsano, Lia Kohl and Norman W. Long, blending polyrhythmic free jazz propulsion, ambient cello-inflected drift and drum-machine-driven electronic abstraction into three high-voltage sessions.

Blurring genre boundaries with stream-of-consciousness spontaneity, vocalist Carol Genetti and string player Peter Maunu shape a richly textured, improvised duo of deconstructed voice, electronics and processed strings, as violin, guitar and mandolin intertwine with haunting vocal abstractions in cinematic, quick-shifting explorations that move from delicate sound studies to deranged noise gestures.

Composed and led by cellist Ishmael Ali, this wide-ranging studio set moves between raw solo explorations, collaborative improvisations and groove-driven ensemble pieces, blending cello, voice and electronics with a multi-generational Chicago lineup to create an eclectic yet cohesive sound world that balances experimental risk, melodic intimacy and playful collective interaction.

Composed and led by cellist Ishmael Ali, this wide-ranging studio set moves between raw solo explorations, collaborative improvisations and groove-driven ensemble pieces, blending cello, voice and electronics with a multi-generational Chicago lineup to create an eclectic yet cohesive sound world that balances experimental risk, melodic intimacy and playful collective interaction.

Bringing together Fred Frith's extended electric guitar vocabulary with Karen Stackpole's richly resonant world of gongs and metals, this intimate duo session unfolds as a deeply textural dialogue where harmonic overtones, shimmering percussion, and transformed string sonorities intertwine, blurring the boundaries between instrument and resonance in a fluid, exploratory program of free improv.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Steve Beresford on prepared piano, electronics, & objects joins Pierpaolo Martino on double bass & electronics and Mark Sanders on drums for a fiercely interactive trio set of elastic rhythms and textured harmony, balancing grounded resonance with agile percussion and playful disruption, recorded at the 2024 Bari in Jazz Festival in sharply conversational, risk-embracing improvisation.

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 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.

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 live at BOTA in Lisbon, José Lencastre (alto and tenor saxophones), João Hasselberg (double bass, electronics), and Kresten Osgood (drums, voice) deliver an intensely interactive trio performance where volatile free-jazz momentum, sudden textural shifts, and Osgood's striking vocal presence fuel a restless, sharply focused improvisation built on risk and collective responsiveness.

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 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.

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.

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.

Recorded in Easton, Bristol in 2024, the debut release from British duo David / David pairs David Croshaw's dynamic drumming with David Cooper's improvised electronics, capturing a series of volatile live encounters that blur structure and spontaneity through dense rhythmic interplay, fractured samples, and a kinetic balance between danceable momentum and chaotic sonic experimentation.

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.

A collage of styles and experimentation developed over several years by bassist and multi-instrumentalist Evan Strauss, using long-form graphically notated conceptual compositions based on bird calls along with thematic material from Ursula K. Le Guin, expanded with narration and poetry from Daniel Carter and titled from an excerpt by Virginia Woolf.

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.

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.

The Expanse ensemble navigates an electronics-leaning improvisation as horns, bass, percussion, and a wide array of auxiliary acoustic and electronic instruments merge into a continuously shifting sonic palette, with long-time Evil Clown collaborators shaping vivid transformations through deft doubling, real-time processing, and deeply seasoned interplay.

A richly textural electro-acoustic improvisation from a seven-member Expanse lineup, unfolding through shifting combinations of horns, synthesizers, fretless bass, and a wide array of percussion and auxiliary instruments, all shaped by real-time processing into a vivid and dramatically evolving sonic landscape.

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.