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.

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.

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.

In a subtly detailed journey, Nate Wooley layers field recordings, trumpet, piano, sine tones, whistling, and bodily sound into a stark, reflective work that probes the uneasy coexistence of nature, machinery, and human presence, shaping a quietly political soundscape in which environmental detail, isolation, and mechanical intrusion collide in fragile, contrapuntal tension.

Two fiercely intuitive trio sessions drawn from concerts in Chicago and Milwaukee by Dave Rempis, Jason Adasiewicz, and Chris Corsano, capturing the group's Chicago-forged, ego-free interplay as they shift effortlessly between surging, full-throttle improvisation and finely detailed, pointillistic exploration, always prioritizing collective motion over individual display.

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.

Anthony Braxton's 1989 recording of seven compositions (glued together into three performances) in a trio with bassist Adelhard Roidinger and drummer Tony Oxley.

In 1988, on the spur of the moment, Blake and Braxton met to record this set of 8 standards, including pieces by Monk, Parker, Gillespie, Miles Davis, Mal Waldron, &c.

Remaster of the exhilarating second set from saxophonist and composer Anthony Braxton's concert at the Kuumbwa Jazz Center in Santa Cruz, CA, 1993, one of 7 nights performing with the quartet of Marilyn Crispell on piano, Mark Dresser on bass, and Gerry Hemingway on percussion.

Anthony Braxton's and Ray Anderson's short-lived 1979 quartet interpreting seven of Braxton's compositions with amazing results.

Double CD remaster of Braxton's incredible 1978 concert in Koln with a massive orchestra including Ned Rothenberg, Leo Smith, Marilyn Crispell, Bob Ostertag, Marty Ehrlich, JD Parran, &c. &c. &c.!

Concentrating their work from the Pulverize the Sound trio, trumpeter Peter Evans and drummer Mike Pride reveal a ferocity that pushes free improvisation to its extremes, balancing explosive virtuosity with kaleidoscopic percussive interaction through dense sound clusters, fractured grooves, unexpected silences, and wild exploration, in seven high-risk dialogs tempered by moments of striking clarity.

Marking the closing of Mills College and the end of Zeena Parkins' long association with its experimental community, this solo release presents three commissioned works alongside the ongoing acoustic piece berlin bedroom, unfolding a deeply reflective exploration of harp and electronics that honors artistic lineage, collective devotion, and the Bay Area's enduring spirit of experimental music-making.

Distilling their work from the Chamber Quintet, this intimate duo recording pairs Vinny Golia's varied woodwinds with Kelsey Mines' resonant bass and subtle vocalizations, unfolding a carefully balanced exchange of gentle and sharp gestures shaped by classical-leaning abstractions, where attentive interplay allows fluid musical forms to emerge with clarity inside open improvisational space.

Asked to rethink the solo sax format, Adia Vanheerentals transforms this release into a series of site-responsive improvisations, engaging the soprano sax in active dialogue with surrounding environments — echoing spaces, incidental sounds, and ambient noise — using extended techniques, breath & texture to shape concise statements where location is a partner in an open improvisational framework.

Recorded at Nevessa Studio in New York, Camila Nebbia joins Marilyn Crispell and Lesley Mok in a fiercely intuitive trio session blending open scores and full improvisation, where elastic group interplay, textural sensitivity, and eruptive momentum allow the music to breathe as a single organism while leaving space for sharply defined individual voices to emerge.

This duo release pairs bassist Kelsey Mines and saxophonist Erin Rogers in a deeply interactive exploration of free improvisation, where resonant low-end textures and expressive reeds weave concise, atmospheric vignettes shaped by bold contrasts, emotional clarity, and an immersive sense of motion that balances raw energy with carefully sculpted space.

This self-titled debut from the Berlin-based duo of Danish alto saxophonist Mia Dyberg and Argentine drummer Axel Filip explores freely improvised jazz through spontaneous structures and shifting sonic playgrounds, with a sharp focus on timbral nuance, textural interplay, and an upbeat creative immediacy that unfolds into vivid, evolving sound narratives rooted in exploratory expression.

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.

Guitarist John Welsh presents a deeply personal solo performance captured live at Solar Myth in Philadelphia in October 2024, bridging free improvisation with the creative tradition of Great Black Music, including an interpretation of the standard "Just Friends" alongside spontaneous explorations shaped by his ties to the NYC improv scene.

Celebrating guitarist Joe Morris's 70th, this trio with Brad Barrett on cello and Beth Ann Jones on bass unfolds with deliberate restraint and deep listening, Morris layering textures around Barrett's lyrical and percussive bowing while Jones anchors with sculptural, propulsive bass, the group seamlessly shifting between spacious intimacy and taut collective momentum in an immersive improv dialogue.

Energetic trio interplay from saxophonist James McKain with Damon Smith and Weasel Walter, recorded in Collinsville, Illinois, where taut lines, volatile textures, and razor-cut dynamics sketch "free jazz by way of the European tradition," six concise pieces whose titles nod to Thomas Bernhard and whose restless momentum — anchored by springy bass and splintered drums — turns spontaneity into vividly shaped form.

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.

Exploring the resonant depths of the serpent, a low-pitched lip-reed aerophone, and her own voice through effects and extended techniques, Belgian musician Berlinde Deman crafts an intimate and deeply personal sound world where breath, tone, and distortion intertwine, her slow and deliberate process unfolding like a meditative journey toward balance, discovery, and quiet transformation.

Harnessing Zeena Parkins's electric and acoustic harps and ebow-piano alongside Cecilia Lopez's custom-built RED speaker-wire instrument and electronics, this live Brooklyn set fashions a singular sonic architecture where plucked strings, feedback networks and sustained fields fold into one expansive, sculptural conversation of improvisation and invention.

Recorded in their first meeting, percussionist Sofia Borges and saxophonist Ada Rave forge a vivid, intuitive dialogue of fire and reflection, blending spontaneous storytelling with fierce lyricism and dynamic restraint; their improvisations unfold like ritual acts of empathy and resistance, where every strike, breath, and silence reveals an unspoken pact between sound and spirit.

Recorded live at IBeam in Brooklyn, the trio of María Valencia (alto saxophone, Bb clarinet), Matt Moran (vibraphone), and Brandon Lopez (bass, percussion) weave a richly textured improvisation of lyric tension and resonant space, where breath, metal, and wood converge in shifting layers of sound, balancing volatility with quiet reflection in an atmosphere of deep, intuitive dialogue.

A deeply personal collaboration between pianists Eri Yamamoto and Matthew Shipp, recorded live in the studio with Yamamoto in the left channel and Shipp in the right, as Yamamoto marks thirty years in New York with a set of original compositions for this occasion, their distinctive voices intertwining in an elegant, searching, and harmonically rich conversation of friendship, individuality, and creative life.

Composed from four pools of material inspired by Johnny Mandel's A Time for Love, Magnus Granberg's 2024 work for his Swedish ensemble Skogen unfolds in ten slow cycles where delicate fragments, melodic shadings, and restrained improvisation interlace across strings, harp, guitar, percussion, and prepared piano, creating a quietly luminous meditation on fragility and motion.

Developed during a residency in the Spanish town of Blanca, violist Julia Eckhardt's eight compositions trace daily walks through the arid hills as sound, image, and memory, each piece born from field recordings, photographs, and improvisations that echo the wind-swept landscape, transforming the act of walking and listening into meditative musical reflection.

Reimagining Bach's Three Sonatas for Solo Violin through the lens of Just Intonation, composer Marc Sabat adds a second violin to create intricate harmonic dialogues performed with Sara Cubarsi and Xenia Gogu, where precise microtonal tuning and subtle psychoacoustic resonance reveal new shades of Bach's counterpoint, bridging baroque invention with contemporary exploration.

The debut composer album from Apartment House bassist James Opstad presents five chamber works performed by Apartment House, the GBSR Duo, and clarinettist Heather Roche, tracing his evolution from electroacoustic exploration to intricately layered instrumental writing, where overlapping tempi, gradual transformations, and subtle harmonic shifts create a sense of suspended motion and quiet intensity.

Finnish composer Antti Tolvi's 72-minute realization of Morton Feldman's Intermission 6 transforms the brief 1953 piano score into an extended meditation on sound and silence, his patient, quietly unpredictable interpretation revealing the work's subtle randomness and serene depth, evoking Feldman's later explorations of duration and near-stillness.

Tenor saxophonist Ivo Perelman and trombonist Ray Anderson distill their proven chemistry heard in the quartet album Molten Gold (FSR 03|2023), here in twelve concise, alchemy-titled improvisations, Perelman's elastic lines and altissimo edge intertwining with Anderson's plunger color, slide glissandi, and buoyant phrasing to forge vividly conversational miniatures of texture, tension, and release.

Drawn from three 2024 concerts in Berlin, St. Johann, and Cormons, drummer Joe Hertenstein's touring trio with Michael Moore (reeds) and Michael Formanek (bass) welcomes trombonist Ray Anderson, the quartet forging strong themes and free-form interplay where Anderson's ebullience, Moore's lyricism, Formanek's foundational lines, and Hertenstein's flexible drive spark constantly evolving momentum.

Recorded at The Bunker Studio in Brooklyn in 2025, this first document of Peter Evans (trumpet), Joe Morris (bass), and Tyshawn Sorey (drums) captures four expansive improvisations where Evans's quicksilver trumpet, Sorey's architecturally detailed drumming, and Morris's tensile bass cohere into a lucid, high-energy trio language that balances raw edge with striking clarity.

The first documented meeting of bassist John Edwards, trumpeter Luís Vicente, and percussionist Vasco Trilla channels the duo rapport of Vicente/Trilla into a volatile trio language, where tensile bass arcs, quicksilver trumpet figures, and textured percussion intertwine from hush to rupture across four expansive studio improvisations captured in Portugal — forcefully fractured.

Recorded live at Les Instants Chavirés in Montreuil, France, across two sessions in 2023 and 2024, alto saxophonist Jean-Luc Guionnet's second solo release on Potlatch captures his intensely physical exploration of breath, resonance, and spatial acoustics, rendering sound as an emotional and architectural phenomenon where perception, geometry, and air intertwine in a vivid study of "the thickness of the air."

A seasoned quartet of trombonist Robert Morgenthaler, vibraphonist Christopher Dell, bassist Fridolin Blumer, and percussionist Heinz Geisser recorded in Zurich, exploring the essence of free improvisation through deep listening and spontaneous structure, where interplay and attentiveness replace convention, revealing the magic that happens in the space between the rules.

Inspired by Gertrude Stein's experimental poem Yet Dish, Swiss saxophonist Christoph Gallio leads an ensemble with vocalist Sonia Loenne, bassist Vito Cadonau, and percussionist Flo Hufschmid in a nuanced exploration of language and sound, transforming Stein's rhythmic abstractions into vivid musical dialogues where wit, structure, and spontaneity intertwine with poetic precision.