Eight free improvisations from the German duo of Markus Reineke on contrabass, bass recorder, objects & electronics, and Jukka-Pekka Kervinen on electric guitar, violin, virtual bass clarinet & electronics, creating an unusual language that merges electronics with acoustic instrumentation in quirky yet natural ways, each track named impressionistically.

Portuguese guitarist Manolo Rodriguez chose these 9 pieces from about 8 hours of improvised music, recorded on a Gibson acoustic guitar with piezo microphones on various parts of the guitar, passed through effects and finally controlled by a mixer, intended as a tribute to "the sense of sight as an intermediary of thought, and to artists who, with their eyes, have changed the world."

Three strings--cello from Guilherme Rodrigues, double bass from Adam Pultz Melbye, and viola from Ernesto Rodrigues--plus harmonium and objects from Kriton Beyer, in a live performance at Kuhlspot Social Club in Berlin, each of the 9 movements a concentrative work named with a three-letter onomatopoeia, as the players draw sound from a mysterious dark distance.

A lowercase meeting of strings, objects, microphones and computer between core Creative Sources members Ernesto Rodrigues on viola and Guilherme Rodrigues on cello, and Karne Decorne (objects) and Simon Proffitt (microphones & computer), investigating microsound in four unhurried conversations that include moments of odd interjections, tones, and timbre.

"Like what happened in Rios Encausurados (Seminal Records, 2015), in the compositions / improvisations of Marco Scarassatti, the recorded sounds of the sound landscape are again of special relevance. In this case, are the own recordings...

Tense textures and shadowy interplay brought to 'light' from the quartet of father/son Rodrigues, guitarist David Stackenas, and saxophonist Nuno Torres; remarkably subtle sonic improvisation.

A dynamic and exciting concert captured during the 2018 CreativeFest XII of a conduction by Ernesto Rodrigues leading an ensemble of 28 free improvisors performing on a mix of traditional acoustic & modern electronic instruments, plus a toy piano, with powerful wind & string sections, as Rodrigues directs the musicians into both passionate and peaceful sections.

Croatian guitarist and electroacoustic musician Ame Zek in an album of electroacoustic improvisation using prepared guitars, acoustic percussions, self made objects, contact microphones, analog modular synthesizer, amplified feedback speakers, magnetic field microphones and digital midi machines; an album of raw, raspy, dark and dissonant sound.

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.

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.

The duo of improvisers Stuart Wilding and Mike Adcock transform an array of percussion, prepared objects, piano and unconventional instruments into a playful yet deeply attentive dialogue of texture, shaped by the natural resonance of Whiteshill Village Hall, balancing spontaneity, humor and focused listening in an intimate exploration of improvised sound.

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.

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.

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.

Blending classical cello lineage with fearless experimentalism, Daniel Levin presents a solo performance recorded at Dropa House in Antwerp, exploring the instrument's full expressive range through extended techniques, resonant bow work, and theatrical gestures using paper, chair, and stage, creating a fluid dialogue between structured tone, abstract texture, and the physical presence of sound.

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.

Recorded at the Holy Trinity Anglican church in York, Western Australia, this solo work from Laura Altman explores the interplay of instrument, environment, and intervention, as clarinet, voice, tapes, and small objects interact with feedback and resonant space to create a delicate yet expressive sound world where shifting timbres, silence, and acoustic response blur the boundaries between source and surroundings.

Recorded in Copenhagen studio and live settings, the trio of Anne Efternøler, Maria Laurette Friis, and Johanna Borchert craft an intimate free improv dialogue where voice, trumpet, flute, and prepared piano transform personal reflections on relationships and daily life into fluid, emotionally resonant textures, balancing vulnerability, abstraction, and a quietly life-affirming poetic interplay.

A duo of breath and air, recorded in Bogotá in 2025, Colombian sound artist Ricardo Arias and vocalist Jaap Blonk explore microscopic improvisations using balloons, fragments, and extended voice, where fragile textures, elastic tones, and near-silence merge human and object into a tactile, minimal, subtly uncanny, and occasionally absurdist sonic dialogue.

Birgit Ulher and Jaap Blonk engage in an eccentric duo of trumpet, radio, electronics, and voice, where drifting textures, interference, and extended techniques shape a spacious, volatile improvisation balancing delicate detail with sudden, fractured gestures, recorded at the artist-run collective, gallery, and cultural venue Westwerk in Hamburg, Germany.

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.

The first volume in The Remote Viewers' Winter Library series, this live London quartet recording brings David Petts and Adrian Northover together with John Edwards and Steve Beresford, reworking material from The Remote Code into an acoustic chamber of tenor and soprano saxophones, resonant bass, objects and toys, balancing angular themes, brittle textures, oblique melody and free improvisational exchange.