Berlin improvisational trio Primitive Structures - David Roeder, Kashual Plastik founder Frans Aembient and Timu - shape nine spontaneous pieces from degraded electronics, improvisatory guitar, fractured rhythms and blurred melodic fragments, moving through post-industrial ambience, deconstructed jazz, psychedelia and oblique soundtrack-like spaces with a distinctly woozy, half-dreaming logic.

Satoko Fujii's Orchestra Berlin with saxophones, trumpets, trombone, synthesizer, bass and dual drums builds a five-part suite from cued fragments, collective improvisation and open-form structures, balancing composed materials with spontaneous ensemble invention, including a striking section performed with newspapers that extends Fujii's ongoing exploration of freedom within large-ensemble composition.

French double bassist Bruno Chevillon presents only his second solo album in four decades, using bowed resonance, grainy harmonics, percussive attacks, low pizzicato and carefully measured silence to engage the long natural reverberation of a Paris church, treating its stone surfaces, ambient sounds and returning echoes as active partners in a rigorous and deeply expressive acoustic improvisation.

Reuniting after a nine-year hiatus, Marteau Rouge — Jean-Francois Pauvros, Jean-Marc Foussat and Makoto Sato — joins longtime associate Daunik Lazro on tenor saxophone for a live Montreuil performance of seven compact improvisations, merging distorted guitar, Synthi AKS electronics, percussion, voices and toys with Lazro's incisive tenor in a volatile mix of free jazz, noise and free rock.

Argentine tenor saxophonist Camila Nebbia leads The Hanged One with Julia Bi at on cello, Arne Braun on guitar, Andres Marino on electronics, Vinicius Cajado on double bass and Lukas Akintaya on drums, navigating nine tightly composed yet volatile works where angular ensemble writing, free improvisation, electronics and rock-weighted rhythms continually fracture, regroup and transform.

Polish cellist Julia Biłat presents ten live solo improvisations for acoustic cello, with voice on one track, using harmonics, rough bow textures, drones, percussion and silence in an intensely physical language shaped by years of intuitive exploration and Butoh practice, each piece named for a beetle species and tracing ideas of hidden space, transformation and metamorphosis.

Colombian reedist María Valencia on alto saxophone and clarinet joins Argentine cornetist Leonel Kaplan for eight finely detailed improvisations recorded in Belgrade, developing patient dialogues of breath, resonance, extended technique and fragile lyricism that shift between sparse isolated gestures, intertwined textures and unexpectedly animated exchanges.

"French musician Bruno Duplant, who uses both analog and digital instruments in his performances, has produced a succession of excellent solo and collaborative works and released many recordings on numerous labels including Ftarri. Pier...

Clarinetist Michael Thieke and guitarist Beat Keller explore microtonality, resonance and controlled feedback across six restrained improvisations, Thieke's breath-driven clarinet tones intertwining with Keller's feedbacker electric guitar in slowly shifting sustained textures where acoustic and electronic sounds blur, separate and recombine through minute changes in timbre, pitch and intensity.

Italian sound artist Marie Rose Sarri and French composer Bruno Duplant shape two extended electroacoustic studies from analog and digital sources, field recordings and acoustic/electronic devices, building dense but fluid environments where layered textures, shifting resonances and circulating sound events create a lively, continuously transforming sense of space.

Berlin-based singer, guitarist and composer Margareth Kammerer gathers nine songs recorded between 2007 and 2019 with Chris Abrahams, Werner Dafeldecker, Axel Dörner, Steve Heather, Bernd Jestram, Big Daddy Mugglestone, Valerio Tricoli and Bo Wiget, blending intimate song form, restrained improvisation and electroacoustic detail across music originally developed in part for film.

Lance Austin Olsen and Pierre Gerard construct three extended variations from guitars, voices, MIDI organ, shruti box, field recordings, sho and amplified objects, shaping sparse electroacoustic environments where speech, sustained tones and tactile sounds drift through layered edits, including material from Olsen's *Shadow Worlds*, in a study of texture, memory and transformation.

Recorded live at Cafe OTO in London, the first trio meeting of David Toop on flutes, objects, electronics, African fiddle and assorted sound sources, Ecka Mordecai on cello, and Christian Kobi on saxophones unfolds as a finely detailed improvisation of breath, friction, fragile resonance and charged silence, their distinct timbres continually merging into an elusive and organic sonic environment.

Four major electroacoustic improvisers — Bryan Eubanks on soprano saxophone, electronics and modular synthesizer, Gert-Jan Prins on electronics and percussion, Tetuzi Akiyama on guitar, and Toshimaru Nakamura on no-input mixing board — each recorded separate solo performances, assembled by Prins, Eubanks and Nakamura into four distinct collective works of shifting textures and sonic interplay.

Three cross-cultural improvised dialogues pair voice with instrument: Jean-Michel Van Schouwburg with Pascal Marzan's 10-string microtonal guitar, Bill Young with Noel Taylor's clarinet, and Rodrigo Brandão with João Madeira's double bass, preserving speech and environmental sounds to expose the intimate, spontaneous exchanges behind each performance.

Portuguese duo Ricardo Guerra Pires (electric guitar) and Bruno Parrinha (alto saxophone) follow their debut vas-y with thirteen intense free improvisations using live electronic processing and loops to transform their instruments into dense layers of industrial noise, fractured free jazz, glissandi, distortion and resonant detail, balancing abrasive sonic force with remarkably controlled interaction.

A constantly shifting electroacoustic balance of percussion, piano, saxophones and electronics, as Sofia Borges (drums & percussion), Rieko Okuda (piano & keys) and Peter Van Huffel (saxophones) shape three extended live improvisations through changes in density, resonance and momentum, moving between sparse acoustic detail and richly layered electronic texture.

Expanding the Fire Walk With Us project from duo to trio, guitarists Christian Vasseur, Steve Gibbs and Nicolo Vivi explore extended-range classical guitars, quarter-tone tuning and a custom four-way piezo system that brings otherwise inaudible fretboard, contact and string-fragment sounds into the acoustic field, creating finely detailed duos and spatialized trio improvisations across two discs.

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.

The second duo album from French harpist Helene Breschand and New York guitarist Elliott Sharp, pairing harp and guitar in an angular, hard-edged exchange that moves freely between composed and improvised forms, with Sharp's extended sonic language and Breschand's theatrical, Dada-tinged vocal presence giving the music a restless, expressionistic character.

A remarkable 1967 Radio Bremen session uniting leading figures of emerging European free improvisation, with Alexander von Schlippenbach, Irène Schweizer and Fred van Hove on piano; Peter Brötzmann and Gerd Dudek on saxophones; Manfred Schoof and Manfred Miller on brass; three bassists; and Sven-Åke Johansson, Jaki Liebezeit and Mani Neumeier on drums and percussion.

Martin Küchen reunites the Håker Flaten/Nordeson core of Angles 3 with longtime Angles 6/8/9 vibraphonist Mattias Ståhl, revisiting older compositions in a lean quartet setting where volatile bass-and-drum momentum meets metallic resonance around Küchen's stark saxophone themes, distilling the larger ensemble's power into a clearer, more spacious and sharply focused form.

Pianist Irene Aranda brings together saxophonist Don Malfon and vocal artist Ami Yamasaki for a first trio recording built from three radically individual approaches to sound, merging prepared and extended piano techniques, Malfon's highly developed acoustic saxophone vocabulary and Yamasaki's echolocation-inspired voice into an unpredictable improvisational exchange of breath, resonance, friction and silence.

French trombonist Christiane Bopp strips the instrument down to breath, metal, vibration, and raw physical gesture, using voice, mutes, and extended techniques to transform the trombone into an unpredictable field of whispers, drones, fractured melodies, and sudden eruptions, creating deeply intimate improvised music that moves between delicate precision and overwhelming force.

Recorded live in Lisbon, violist Ernesto Rodrigues joins vocalist Maria Radich and violinist Maria do Mar in a free improv trio where close-range string interplay and crackle box electronics create high-register tension, while voice moves within the texture through whispers and cries, shaping an intimate, spatially focused performance balancing density, restraint, and evolving interaction.

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.

Capturing the Schlippenbach Trio, one of European free jazz's foundational ensembles, in a more distilled and compositionally focused mode, this 1990 session with Evan Parker on soprano & tenor saxophones, von Schlippenbach on piano, and Paul Lovens on drums and cymbals unfolds through eleven concise improvisations of taut interplay, fractured lyricism, and chamber-like precision.

Featuring Sei Miguel on trumpet and direction with Fala Mariam, Nuno Torres, Pedro Lourenco, Bruno Silva, Andre Goncalves, Raphael Soares and Luis Desirat, documenting the final performances of O Carro de Fogo in two 2023 Portuguese concerts, where spacious ensemble architecture, microtonal phrasing and tightly controlled collective interplay affirm Miguel's singular late-period vision.

French double bassist Bruno Chevillon presents only his second solo album in four decades, using bowed resonance, grainy harmonics, percussive attacks, low pizzicato and carefully measured silence to engage the long natural reverberation of a Paris church, treating its stone surfaces, ambient sounds and returning echoes as active partners in a rigorous and deeply expressive acoustic improvisation.

Irish guitarist Benjamin Dwyer, Polish bass guitarist Rafal Mazur and Spanish percussionist Ramon Lopez form Enso, a trio devoted to spontaneous collective improvisation, drawing on the idea of the single unbroken gesture to create fluid, continuously transforming music in which guitar, bass, drums and tabla interweave through close listening, shifting relationships and a kinetic sense of motion.

A first recorded meeting between British bassist Barry Guy and Italian soprano saxophonist Roberto Ottaviano, bringing two master improvisers into a highly exposed duo setting where Guy's orchestral range of bowed, plucked and percussive bass techniques meets Ottaviano's agile soprano and voice in thirteen alert, rapidly evolving exchanges shaped by instantaneous response, restraint, lyricism and playful confrontation.

Frank Gratkowski's reeds, Sebi Tramontana's trombone and Steve Beresford's piano meet in freely improvised music built on decades of individual experience and mutual trust, moving between playful exchange, dissonance, lyricism and near-organization in a Köln studio session that reveals three instantly recognizable voices continually reshaping their collective language.

The debut recording from B:A:N:S Band brings Sophie Agnel's radically extended piano together with John Butcher's exploratory saxophones, Pascal Niggenkemper's highly physical double bass and Ståle Liavik Solberg's responsive percussion in two long-form collective improvisations of texture, resonance, density and silence, captured live at Austria's 2024 Artacts Festival.

The Verona Sextet develops fluid stream-of-consciousness improvised music of shifting textures, fractured rhythms, resonant percussion and electroacoustic detail, merging Sergio Armaroli's vibraphone, Tony Buck's drums, Francesca Gemmo and Magda Mayas on piano and prepared piano, Steve Piccolo's electronics and voice, and Elliott Sharp on guitar and soprano saxophone.

Reducing Georg Graewe's Sonic Fiction concept to an agile chamber group with Frank Gratkowski, Laura Strobl and Gerry Hemingway, joined by Earl Howard on electronics and alto saxophone, this 2025 Cologne session unfolds through nine intricate improvisations where acoustic counterpoint, extended timbres and electronic transformation continually reshape the ensemble's shifting sonic relationships.

Bringing violist Laura Strobl together with pianist Georg Graewe and drummer Mark Sanders, this 2025 Vienna session presents eleven freely improvised chamber pieces in which fleeting melodies, abstract gestures, and sharply contrasted textures coalesce into poised, intricate forms, highlighting the trio's acute responsiveness and the viola's distinctive role within the ensemble.

Launching Sylvaine Helary's tenure as artistic director of the Orchestre National de Jazz, this expansive 17-piece ensemble revisits twelve Carla Bley compositions through Remi Sciuto's inventive arrangements, blending brass, reeds, strings, rhythm section and improvising soloists in a vivid orchestral tribute that preserves Bley's wit, formal daring and stylistic breadth through new contemporary perspectives.

Meeting in the studio in Germany, Fred Frith's electric guitar & effects combine with Johannes Tonio Kreusch's classical & prepared guitars and brother Cornelius Claudio Kreusch's piano & keyboards in an expansive trio improvisation balancing drones, atmospheric textures and volatile interaction, moving fluidly between meditative restraint, abstract sound exploration and explosive free improv.

Meeting in the studio in Germany, Fred Frith's electric guitar & effects combine with Johannes Tonio Kreusch's classical & prepared guitars and brother Cornelius Claudio Kreusch's piano & keyboards in an expansive trio improvisation balancing drones, atmospheric textures and volatile interaction, moving fluidly between meditative restraint, abstract sound exploration and explosive free improv.

Inspired by John Cage and Kenneth Patchen's experimental radio play The City Wears a Slouch Hat, vibraphonist Sergio Armaroli joins Elliott Sharp on guitar and soprano saxophone, Steve Piccolo on speech and electronics, bassist John Edwards and drummer Mark Sanders in an episodic "audio graphic novel" of vivid verbal cues, shifting textures and freely improvised ensemble scenes.

Continuing OM's fusion of rock energy and free improvisation after the death of founding drummer Fredy Studer, soprano saxophonist Urs Leimgruber, guitarist Christy Doran and bassist Bobby Burri are joined by percussionists Gerry Hemingway and Tony Buck for a live set of dense electroacoustic interplay, surging rhythmic force and open-ended collective invention, carrying the group's "ElectroAcoustiCore" language into a new era.

Centering the lyrical interplay of piano and violin, Marc Copland and Mark Feldman lead two rhythm sections with Drew Gress (bass), the late Anthony Pinciotti (drums) or Felix Henkelhausen (bass), and Jonas Burgwinkel (drums), through intimate, textural performances balancing standards and originals with subtle, exploratory improvisation.

Drone-based electroacoustic improvisations led by Jonathan Segel on Halldorophone, guitar, and Buchla synth, joined by an expanded Chaos Butterfly ensemble in longform, time-dilating works where evolving feedback, percussion, winds, and electronics blur structure and narrative into immersive, densely active yet often beautifully delicate sonic landscapes.

Uniting Ukrainian artist Sergiy Senchuk (aka Tungu), Austrian violinist Mia Zabelka, and German musician Stefan Strasser, this debut project blends field recordings, improvisation, electronics, and live instrumentation, embodying defiance and resilience amidst adversity through bold, dynamic, and genre-defying soundscapes shaped by their collective strength.

Polish wind player Dominik Strycharski combines traditional blockflutes (recorders), saxophones spanning sopranino to tenor, and electronic synthesizers to create nine original compositions of distinctive improvisation and captivating soundscapes, recorded at ZPSM im. S. Moniuszki in Bielsko-Biała, a music school named after the celebrated Polish composer Stanisław Moniuszko.

Joining alto saxophonist Nick Mazzarella with bassist Silvia Bolognesi and drummer Cristiano Calcagnile, with trumpeter Emanuele Marsico added on two pieces, this 2025 Siena session moves through previously unrecorded originals, open improvisation, piquant balladry, and freebop heat with supple interaction, melodic clarity, and a finely balanced blend of precision and freedom.

Guitarist Hedvig Mollestad joins Stale Storlokken on organ and synth and Ole Mofjell on drums for six wide-ranging instrumental pieces balancing riff-driven rock weight, free improvisation, lyrical rubato passages and explosive ensemble interplay, extending Weejuns' chemistry through shifting dynamics, disciplined structures and moments of cathartic chaos.

Pairing Mats Gustafsson's saxophones, flutes, electronics and assorted winds with Kimmo Pohjonen's electro-acoustic accordion and voice, this debut duo album moves between composed and improvised terrain, fusing forceful rhythmic drive, extreme dynamics and electronic transformation with unexpected passages of folk-inflected lyricism and spacious, highly responsive interplay.

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.

Swiss guitarist Florian Stoffner presents six concentrated solo improvisations that extend the textural precision of his work with John Butcher and Chris Corsano, using clipped notes, metallic resonance, muted attacks, harmonics and carefully measured silence to transform the electric guitar into an intimate field of fractured melody, tactile detail and spontaneous formal invention.

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.

Drawing on Italian folk melodies, family memory, and the legacy of Blaser's maternal grandmother, Resistance fighter Rosina Pierina Scarpioni, trombonist Samuel Blaser joins Russ Lossing on piano, Masa Kamaguchi on bass, and Billy Mintz on drums in a deeply personal quartet session of open spaces, raucous interplay, lyrical intimacy, and contemporary improvisation shaped by heritage, song, and identity.

Drawing on Italian folk melodies, family memory, and the legacy of Blaser's maternal grandmother, Resistance fighter Rosina Pierina Scarpioni, trombonist Samuel Blaser joins Russ Lossing on piano, Masa Kamaguchi on bass, and Billy Mintz on drums in a deeply personal quartet session of open spaces, raucous interplay, lyrical intimacy, and contemporary improvisation shaped by heritage, song, and identity.

Published on the occasion of Birgit Ulher's exhibition Split Friction at Errant Sound in Berlin from November 24-26, 2023, an interdisciplinary project spanning the intersection between exhibition, video, performance, concert and sound installation, documented in this 96 page full-color book with images from the installation, graphic scores, and essays in English & German.

Wearing the cloak of 60's pyschedelic organ trios modernized in approach and maturity, this is the 8th album from the Swedish improvising, prog-oriented rock band Elephant9, presenting six new compositions from keyboardist Stale Storlokken (Supersilent, Hedvig Mollestad Weejuns) performed with Nikolai Haengsle on electric bass and Torstein Lofthus on drums.

Composed using an "exquisite corpse" method during the pandemic, where each player provided a partially complete track with instructions to expand their concept, enlisting an incredible set of musicians across the US & Europe, directed by Moe! Staiano, including Jesse Quattro, Fred Frith, Carla Kihlstedt, GW Sok, Amy X Neuburg, Darren Johnston, &c &c.

Reminiscent of the packaging of early releases from The Ex, the vocalist from that band--G.W. Sok--provides the words for the first tracks on this 7" from Sleepytime Gorilla Museum drummer/composer Moe! Staiano's long-running band, a brutal wordplay stab at Russian president Putin for his invasion of Ukraine; plus a dub remix of a song on the upcoming full-length Surplus 1980 album.

A first-meeting trio of Teresa Hackel on recorders and voice, Stefan Strasser on piano and synth, and Mia Zabelka on violin, voice and electronics, recorded live in Cologne for Strasser's 60th birthday, unfolding four extended improvisations where breath, strings, keys, electronics and vocal resonance merge into a patient, tactile field of discovery, response, and newly formed collective language.

Recorded live in Krailing near Munich in December 2024, German multi-reedist Udo Schindler and pianist Uwe Oberg engage in a dynamic duo of free improv, moving from hushed chamber-like exchanges to dense, animated dialogues as Schindler's clarinets and alto flute weave intricate lines through Oberg's resonant piano textures in a richly interactive exploration of timbre, space, and spontaneous form.

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.

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.

After riding through his city of Zurich to the Kunstraum Walcheturm studio in 2020, Jason Kahn was struck by the quiet aspects of the usually busy city, now quelled by pandemic; entering the studio feeling the desolation and strange sense of peacefulness in the midst of so much tragedy and suffering, he recorded these "songs" of passionate free vocal improvisations and acoustic guitar.

The Norwegian big band Trondheim Jazz Orchestra joins together with the Swedish-origin trio The MaXx (Oscar Gronberg-keyboards, Petter Kraft-guitar & saxophone, Tomas Jarmy-drums) to develop and perform this monumental work of modern electric jazz, an abstract rock opera written specifically to leverage the power of the Trondheim Jazz Orchestra.

Spanish sound artist and vocalist Mattin in his 6th "Songbook" album, performed with Farahnaz Hatam, Pan Daijing, Colin Hacklander, Werner Dafeldecker, and Dean Roberts, a vicious mix of essentially no-wave rock and experimental music, six songs at exactly six minutes each covering topics of the conflicts, confusion and frustrations of our modern age.

Joelle Leandre on double bass and Remy Belanger de Beauport on violoncello engage in eight finely attuned live improvisations, moving between visceral arco attacks, percussive pizzicato, string scrape, fragile micro-gestures, resonant drones, and sudden silences, dissolving conventional instrumental roles through an alert, risk-taking dialog that balances raw intensity with spaciousness, textural detail, and quietly unfolding form.

Audrey Lauro's alto saxophone, Christian Pruvost's trumpet and Peter Orins' drums develop a finely balanced language of breath, resonance, friction and unstable pulse, transforming granular textures, acoustic accidents and fleeting gestures through attentive collective improvisation, where silences, tensions and shifting densities continually reshape the trio's shared sonic space.

Formed from the evolving duo of electric guitarist Pawel Doskocz and drummer Vasco Trilla and expanded in 2023 with flutist Zofia Ilnicka, Hajstra creates a responsive trio language of free improvisation, drones, ambient collage, extended instrumental technique, and richly shifting soundscapes, where each gesture is transformed into fluid, abstract narrative.

Bringing together Swiss-German trio DDK — Jacques Demierre on piano, Axel Dorner on trumpet, and Jonas Kocher on accordion — with Quebec's large improvising ensemble Le GGRIL, this expansive collaboration uses the ensemble as living material for a collective work of juxtaposition, superposition, sonic individuality, and shared compositional energy across a broad electroacoustic terrain.

Reuniting Polish reedist Mikolaj Trzaska on alto saxophone and bass clarinet with the long-integrated British rhythm team of bassist John Edwards and drummer Mark Sanders, this live Cafe OTO performance unfolds as spontaneous collective composition, shifting fluidly between eruptive free-jazz intensity, textured restraint, lyrical exchanges and rapidly redirected momentum.

Drawing on drone, ambient sound, and free improvisation, guitarist/electronics player Nils Wohlrabe joins Karin Johansson on piano, prepared piano, and toy piano, with Hasse Westling on double bass, shaping electronically processed ocean waves, resonant strings, and acoustic depth into an unpredictable, atmospheric soundscape of pulsing motion, shifting timbre, and expansive, wave-like momentum.

A fierce, spontaneous duo of Camila Nebbia on tenor saxophone and Chris Corsano on drums, recorded in Berlin in 2025, merging Nebbia's searching lines, breath-driven textures and unstable lyricism with Corsano's explosive, highly detailed percussion language, moving between delicate abrasion, surging intensity, fragmented melody and raw improvised exchange.

Uniting the intersecting musical worlds of Satoko Fujii on piano, Taiko Saito on vibraphone and marimba, and Yuko Oshima on drums, this live debut from Trio SAN draws on their histories in duos and first European tour to shape a delicate yet resonant collective language of shifting timbres, prepared piano colors, ringing percussion, and freely developing melodic forms.

Led by Franz Koglmann's cool-toned trumpet and flugelhorn with Michael Mautner's motifs and electronics, Vienna FLAMMeS joins Lukas Schiske, Andreas Donhauser, Silvia Deixler, Max Buhlmann, and Josef Ka in a post-jazz sound world of fractured grooves, Canterbury echoes, reed color, guitar abrasion, spoken elements, and egalitarian improvisation shaped by Viennese modernism and collective risk.

An electroacoustic quartet of Phil Durrant on amplified objects and electronics, Jason Kahn on voice, Mark Wastell on percussion, and Caius Williams on double bass, recorded in London in 2025, unfolding four extended improvisations where breath, resonance, friction, signal, and acoustic weight interact through restrained intensity, microscopic detail, and unstable collective form.

Austere and intensely focused, this Chilean duo of Benjamin Vergara on trumpet and Eden Carrasco on alto saxophone draws on more than 20 years of collaboration in experimental music, noise, minimalism, free jazz and site-specific performance, shaping four improvisations where breath, timbre, camouflaged melody, droning blues and submerged cool-jazz gestures blur into textured acoustic abstraction

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.

Collecting Machinefabriek works from singles, EPs and compilations released between 2015 and 2025, Rutger Zuydervelt presents a 17-track, 76-minute continuous mix that serves as both a personal selection of favourites and an inviting entry point into his immersive world of ambient detail, drone, field recordings and electro-acoustic texture.

Vocalist and composer Anna Gadt joins the Warsaw Cello Quartet in a carefully balanced encounter between composed structure and improvisational expression, where layered cellos and an extended vocal presence explore contrast and convergence through restraint, silence, and a continuously shifting dialogue between sound and abstraction, captured live at Hashtag Lab, in Warszawa.

Cellist Khabat Abas and violist Ivor Kallin engage in a taut, exploratory duo dialogue built from extended techniques, fractured vocalizations, and deliberate use of space, where cantankerous textures, unconventional pacing, and carefully placed silences shape a curiously absorbing improvisation that balances raw intensity with focused restraint.

Alto saxophonist Marion Brown leads a remarkable quartet with Gunter Hampel on vibraphone, Barre Phillips on bass and Steve McCall on drums, revealing two rare European performances from 1968 and 1972 in which lyrical free jazz, chamber-like openness, shimmering percussion, bass mobility and Brown's searching melodic voice converge with quiet intensity.

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.

Blending the raw energy of New York's loft jazz lineage with a transatlantic avant-garde sensibility, drummer Sam Ospovat leads a fiery ensemble through polyrhythmic intensity and expansive improvisation, where searing guitars, layered horns, and driving rhythms converge in a volatile and immersive session that channels historical influence into a bold, unfiltered contemporary expression.

After six albums reimagining Ahmed Abdul-Malik, Pat Thomas, Joel Grip, Antonin Gerbal and Seymour Wright turn their transformative [Ahmed] project toward Thelonious Monk, atomising his compositions across two CDs into volatile, time-bending forms where piano, bass, drums and alto saxophone fracture and reassemble melody, rhythm and space through free jazz intensity, pulse and radical collective invention.