An incredibly well-rounded musician on sax and flute, performing in both improvised and contemporary settings including Dedalus Ensemble and work with Etron Foun drummer Guigou Chenevier, here Sakina Abdou presents a series of solo saxophone improvisations recorded at her home in Lille, France, drawing on all of her influences in eight informed performances.

Distilling his work with the trio The Necks, Australian pianist Chris Abrahams extends his solo discography with this gorgeous album of two extended improvisations recorded in the studio in Sydney, performing on a beautifully resonant acoustic piano as he unfolds each work, intensely personal and rich in Abrahams' unique way of evolving melody and form.

Originally commissioned to transcribe a few works as a surprise for Roscoe Mitchell's 2023 art exhibition at Corbett vs. Dempsey, vibraphonist Jason Adasiewicz expanded the project, recorded in his new home studio (dubbed "Hot Juice") to include 10 Mitchell compositions & favorite works, Adasiewicz performing solo as he brings new approaches to the important Mitchell song-book.

Referencing Maxim Gorky's plays Children of the Sun, Alva Noto, aka Carsten Nicola, developed this music for a theater piece titled Komplitzen (Accomplices) by Simon Stone, presented in fourteen compositions of lush electronics, rich atmospheres of tones & timbre, detailed glitch and glacial rhythms that create a wonderful sense of tension and release.

An intimate encounter with Portuguese tenor saxophone player Rodrigo Amado, performing three original compositions -- the extended "Sweet Freedom", "Singular Blow" and "Shadow Waltz" -- performed at the Church of The Holy Ghost (Igreja do Espirito Santo) in Caldas da Rainha, an often introspective and innately lyrical set that reaches emphatic moments while always speaking directly.

Recorded live using the natural resonance of an apse in Giudecca, Venice, Sicilian-Norwegian contemporary & improvising violinist Agnese Amico performs on the Hardanger Fiddle, the traditional instrument of Norway that provides resonating strings under four violin strings, for 10 works inspired by historic popular songs while expressing a sensation of alalie.

Using a combination of controlled feedback, samples, computer processing and Eurorack electronics, Arcane Device aka David Lee Myers continues his long exploration of electronic music, focusing here on evolving and complex patterns complemented by beautiful tones and occasional rhythmic foundations, a great collection of elegant electronics.

An apt title for the creatively mechanistic rhythms and electronic machinations of David Lee Myers' long-running project Arcane Device, in an album of ten succinct tracks of distinct cadence, pulse and encompassing electronics, described by Myers as "Analog rhythms, microtonal swarms, and feedback tonalities for pagan rituals on Monster Island."

The second of NY electronic explorer David Lee Myers', aka Arcane Device, N28 series, an album of excited electronics, field recordings, inexplicable sound and rotating, splintering and otherwise lovingly mangled sound, not so much a noise collection as instead a controlled chaos with moments of cavernous beauty in a journey of mercurial rummaging.

Three minimal works for small ensemble incorporating electronics by Australian-born, UK-resident composer Newton Armstrong: 2 performed by the London-based Plus-Minus Ensemble directed by Mark Knoop as an acoustic quartet configuration and one as an electroacoustic quartet; and a solo work for multiple cello layers and resonance performed by Séverine Ballon.

An outrageously powerful improvised exposition of nine rivers from New York pianist John Blum, performing live in a solo concert as part of the 2013 Crosscurrent Festival in Pecara, Italy, Blum's commanding technique and density making clear his influence by former mentors Cecil Taylor and Borah Bergman, as he rolls and roars rapidly through each torrent.

Stepping away from his quartet, New York alto saxophonist performs solo in the studio for eight recordings using his unique language and creative voice to meditate on the ocean-- the source of our origin and life--through a four-part "Oversea Undersea" suite, and four works with titles referencing marine life and sea faring through engaging waves of innovative reed work.

Contemporary composer, improviser and pianist Chris Burn in 4 lively, playful and fasciatingly structured works, as heard in Philip Thomas's renderings: "as if as"; "only the snow"; a transcription of Derek Bailey's "from ten, two, and three" in 6 parts; "pressings and screening" in 4 parts; and "the sky a silver dissonance" with Kate Ledger as a 2nd pianist.

Known for his ensemble The Big Machine with Peter Evans, Carlos Homs, &c., NYC saxophonist Aaron Burnett steps out for a solo album of intense improvisatory exploration, demonstrating his background in classical saxophone studies that fuels an ardent intensity in personal expression, a tremendous balance between technique and passion.

Impeccably recorded inside the Brønshøj Water Tower, in Copenhagen, Denmark, a highly resonant space built 100 years ago, where UK tenor and soprano saxophonist John Butcher continues his investigations into spaces with natural delay and decay, through 11 improvisations of discriminating pacing as he finds incredible beauty in floating and shifting tones and instrument errata; exquisite.

Pianist Pi-Hsien Chen performs both the playful and quirky sonatas of Domenico Scarlatti juxtaposed to John Cage's I Ching developed compositions, "Music of Changes", which complement each other in unexpected and sublime ways.

A diverse set of compositions from Canadian composer Allison Cameron showing the breadth of her interests across experimental and compositional forms, including a solo multiphonic work for bass clarinet; a guitar trio with the Allison Cameron band of Cameron, Eric Chenaux & Stephen Parkinson; and Apartment House performing quintet and sextet compositions.

Reissuing free improvising guitarist Eugene Chadbourne's 1977, San Francisco recording of compositions by the likes of Thelonious Monk, Charlie Parker, John Coltrane, and Ornette Coleman, plus a few standards and originals, captured on an ailing quarter-track tape deck, but saved for the force of his playing, here restored, corrected, and remastered.

Sorollets i catxarros—noises and rattles—from Barcelona electric guitarist and free improviser Amidea Clotet, who explores unusual possibilites from the instrument through textural approaches and amplification, evoking unusual soundscapes of inexplicable sound from the body, hardware and strings of the guitar, in seven unusual and fascinating expositions.

Pianist Laura Cole's first solo album presents 2 CDs; the first a collection of arrangements of pieces given to Cole for the album from friends and colleagues, including Robert Mitchell, Alex Wilson, Nikki Iles, Jason Yarde and Corey Mwamba; the 2nd disc, "As Warm As The Sun" is a collection of compositions and improvisations by Cole herself.

"Taken from a 1987 solo date at Quebec's venerable Festival Musique Actuelle, Labyrinths finds avant garde jazz pianist Marilyn Crispell balancing Cecil Taylor's cataclysmic and staunchly free piano style with her own melodic and spacio...

A diverse set of compositions from and performed by French composer Melaine Dalibert in his third solo piano album, presenting active rhythmic to introspective work, exploring harmonics and chord evolution; artwork by David Sylvian, and one piece composed for Sylvian, alongside pieces for elsewhere label leader Yuko Zama, Peter Garland and pianist Reinier van Houdt.

Wandelweiser member and composer Anastassis Philippakopoulos has twelve of her compositions for solo piano performed and realized by French composer/pianist ​Melaine Dalibert, each built around slow moving melodic progressions that resonate through patient performance, each fragment and note ringing beautifully, mysteriously, and dramatically.

First release on the Alt.Vinyl label in 2014, this album finds harpist Rhodri Davies performing on the same instrument as his prior album Wound Response, but here with no amplification, preparations or distortion, improvising through "tumbling phrases, arpeggios and articulate rhythms", in a compelling album of assertive and joyful playing.

Two recording sessions yielding 15 recordings of solo harp improvisations in Rhodri Davies' fifth release on his Amgen imprint, beautifully intricate works from exuberant to introspective, with titles borrowed from the works of Lisa Jarnot, Ed Luker, Nathaniel Mackey, Redell Olsen, Sun Ra, Nisha Ramayya, Sarah Riggs and Leslie Scalapino, and cover art by Jean-Luc Guionnet.

Influenced by bassist Simon H. Fell since first hearing him in 1994 in a quartet with Peter Brotzmann, harpist Rhodri Davies approached Fell to work together, enjoying 20 years of collaborations in many group settings; in 2020 Simon H. Fell became seriously ill and passed in June of that year, this extended improvisation being Rhodri Davies' heartfelt tribute to the great improviser.

An extended solo titled for author Redell Olsen's book secure portable space (Reality Street), performed on Lever harp and EBows by UK electroacoustic improviser Rhodri Davies, recorded at Old School, Bracon Ash, in Norfolk in 2004 by Graham Halliwell and edited by Benedict Drew and John Wall, creating a richly evolving work of haunting plateaus and valleys.

Reissuing his 2003 album on the Confront label, Rhodri Davies' first solo album is a captivating set of uniquely voiced free improvisation, using a pedal harp, radio and tape recorders and percussive devices, and recorded in the natural resonance of All Angels, St Michael and All Angels Church in London, creating narrative and drama through Davie's intuitive sense of timing.

First released in 2012 on the Alt.Vinyl label and now reissued on his own Amgen label, Rhodri Davies performs solo in Newcastle upon Tyne on lap harp and electronics, using two main techniques: over-articulation of the strings (what harpists are taught not to do) and attacking the strings with a plectrum, forcing the tuning into new relationships until the strings eventually break.

The remarkably creative flutist & saxophonist Jean Derome often incorporates unusual instruments into his improvisations and compositions, including bird calls, harps, kalimbas, sirens, flower plastic wrappings, bells, &c &c.... on this album Derome focuses on those unique instruments and noise makers through 23 surprising pieces illustrating his incredible collection.

15 wonderfully creative works from Boston-area saxophonist Jorrit Dijkstra, also on lyricon, analog synth and effects pedals, creating a one-man-band of unconventional sonic textures layered live, over which he improvises in fun and profound ways.

Vibraphonist Chris Dingman set up his vibraphones next to the bedroom where his father was under hospice care from a rare heart ailment, setting an atmosphere of calm and compassion to help soothe, heal, and carry him through his final challenges, released here as a 5-CD set of 5 hours of ethereal sounds through poignant melodies, swirling textures, and undulating pedal tones.

Marc Ducret's Tower series continues, skipping a beat as we jump from Vol 2. to Vol. 4, in this live solo acoustic guitar release from his 2012 Baltic tour, where he reassembles and builds bridges to offer a new vision of the Tower's cycle.

A single piece recorded live for Ingebrit Haker Flaten's 2020 Sonic Transmissions Festival finds the Danish saxophonist in an extended improvisation of varying moods, applying a diverse set of methods and technical approaches to the horn, from quiet meditate work to full-throated exuberance, in a remarkably personal journey of confident exposition.

Ellery Eskelin performing solo on tenor saxophone at 61 Local in Brooklyn, NY, four original compositions, personal and distinctive improvisation like listening to tales from a well seasoned and adept traveler.

Quebecois guitarist Bernard Falaise of Miriodor, Klaxon Gueule, Papa Boa and Les Projectionnistes fame, continues his solo series with the fifth note of the scale, "Sol (G)", reflected in a series of eight inventive guitar improvisations using timbral effects and looping structures to expand his virtual ensemble as does in his live performances.

An album of raw and emotional "love songs", 17 unique solo violin improvisations and vocal utterance as the New York improviser runs her bow with passionate openness and intimacy through raspy edges, ardent plucking, introspective aching, and moments of beauty, all displayed through immense technique and powerful control over her instrument.

Applying extended techniques from rubbing & scraping to sawing and striking, New York violinist Gabby Fluke-Mogul presents a bold solo violin album of 6 pieces with titles like "Bruise" or "Teeth", drawing an incredible gamut of unusual sounds from the violin and its body, occasionally adding vocal utterance, all laid out with a wonderfully quirky sense of timing.

Four large and distinctive works by composer Christopher Fox performed by pianist Philip Thomas, who also writes the liner notes about the works, revealing and explaining the compositional elements, piano preparations, and physical requirements placed on the performer.

Translating to League of Shadows, Swiss composer Jürg Frey's sublime twilight compositions for solo piano are performed by Dutch pianist Reinier van Houdt, presenting seven of Frey's works written from 1984-2018, including one previously unreleased composition, in all 20 movements spread over 3 CDs ranging in time from 1:47 to 40:34, a significant addition to both musician's oeuvres.

A double CD of Satoko Fujii compositions, 56 short compositions from a series she started around 2005 to expand her skills as a composer, many of which fueled her many band's repertoires; in 2018 she asked respected classical pianist and educator Yuko Yamaoka to record this set of compositions as part of her 60th birthday monthly album set.

A hauntingly beautiful set of solo piano works from Japanese pianist Satoko Fujii, subtle work that belies her incredible techincal skill through beautifully paced and meditative music.

The ninth solo album from pianist Satoko Fujii, the most recent in a "torrent" of solo releases over the last six years, this album a remarkable display of force and beauty in improvised playing on the keyboard and inside the piano, captured live at IYO Yume Mari Kan Bunka Hall in six improvisations of cascading notes and introspective passages; spectacular!

Five major works in a Creation Series concept from pianist Joel Futterman, each disc presenting from 2 to 4 parts in an ambitious and accomplished set of solo improvisations that start simply with monophonics and evolve into increasingly complex and inspired works of incredible creative control; a masterful release reflecting a lifetime of innovation and inventiveness.

Technically brilliant and creatively inventive, pianist Joel Futterman expands on his 2020 Listen! Foundation CD with a second three-part journey into his powerfully investigative approach to solo jazz improvisation, referencing a history of styles and techniques that display both a dynamo of intricate ability and a sensitivity to timing, space and melodic expression.

In the same character as a Wandelweiser/Jürg Frey work, guitarist Pierre Gérard offers up five minimalistic or reductionist improvisations, sparse works that follow the patterns of his mind and his improvisatory method, allowing his thoughts to linger and follow a music that is curiously compelling; an idiosyncratic companion to a quiet evening or afternoon.

Exploring the resonant properties inside a Bb clarinet caused by overtones, overblowing and other unusual reed techniques, Switch~ Ensemble clarinetist Madison Greenstone generates ten studies of extreme yet tremendously controlled anomalies on the single reed, each piece a masterwork of control in the extremities of unexpected sonic expression.

Recorded using the natural resonance from the base of a stone double spiral staircase in the Castle of Chambord, France, improvising soprano saxophonist Alexandra Grimal explores her own personal language and the affect the ambience brings to her adept playing, through beautifully melodic lines, long arpeggiations, or short bursts of penetrating utterance.

Recording in Brussels, Rhodri Davies performs a composition for pedal harp written for and dedicated to him by composer and saxophonist Jean-Luc Guionnet, using liberal periods of space that creates hanging anticipation amidst beautiful moments of fragmented string sequence and percussive response using the frame of the harp, leaving the listener in a state of fascinated expectancy.

For three days in his own Discaholic Studios in Nickelsdorf, saxophonist Mats Gustafsson recorded the playing-card pieces of Peter Brötzmann--compositional prompts intended for a large group or for solo playing--performing on a cross-section of the saxophone family from sopranino to bass, and also one piece for saxophone mouthpiece, creating a set of stunning improvisations.

An extension of his prior solo record, ONOMAT, Chicago drummer & percussionist Bill Harris also uses a prepared floor tom and feedback in this unedited 25 minute live performance at Music Garage in Illinois, notated for six track section as he explores unique rhythmic concepts augmented with encompassing environmental sonics and unusual disruptive elements.

A diverse and confident set of solo drums improvisations, acoustic or in tandem with metal and wooden objects, microphone amplification, drum feedback manipulation and close-microphone use on a detuned floor tom, in the first solo release from Chicago drummer and Amalgam label leader Bill Harris recording live at the Music Garage, in Chicago.

Chicago tenor saxophonist Gerrit Hatcher, known for his duos with Anton Hatwich and with Julian Kirshner, the improvising trio Devouring the Guilt with Eli Namay & Bill Harris and a trio with Mars Williams & Lia Kohl, is heard here in three extended solo improvisations, with strong tone riffing on grooves, exuding warm melodies, and running demanding technical passages on his horn.

Known mostly as a saxophonist on the Japanese improvised music scene, Junji Hirose has also released a series of albums using self-made analog noise instruments, here using a device where balls and small objects are placed on a large, shallow, round metal plate and moved by a compressor, here in four tracks with different objects and one with no objects at all.

For her second solo album, Charlotte Hug concentrates on solo viola without any electronics in a series of pieces inspired by a then-recent visit to London, showing her strong musical personality and original extended techniques in a solo recital unlike any other.

An album of cathartic release in five solo saxophone improvisations from Omaha, Nebraska reedist Kyle Jessen, aggressive and angst-filled expositions that reflect anger and isolation, but also powerful statements of technical skill and personal expression, from the brutal "Death Trap" to the more introspective explorations of "Poltergeist"; exactingly purgative.

Five works from US composer often based in Amsterdam, Evan Johnson, in solo, duo and trio settings including a triptych titled "L'art de toucher" in three configurations, demonstrating his unique approach to writing using disparate musical influences from modern to Baroque, mated to anarchic experimentalism and a Wandelweiser sensibility; fascinating!

An extraordinary set of solo double bass improvisations captured in the warm Booklyn Conveyor Recording Studio, Johnson showing his strength with his fingers on the large strings or a bow in his hand, in five turbulent and superb solos under reflection of personal struggles and the strain of pandemic, bringing a new sense of self and determination to his playing.

Active and informed improvisations on acoustic guitar from Jean Claude "JC" Jones, label leader of the Kadima Collective and also known as a double bassist, though his roots are in the guitar, which he has returned to with vigor since 2016, performing on lap-style prepared acoustic and prepared Spanish guitar, heard here in 13 concise pieces titled by single words.

The 2nd release from Jason Kahn, here on voice and resonator guitar, with Christian Wolfarth on Chinese Cymbal, an antique marching snare and objects, recorded after a series of concerts across Europe in the fall of 2019, Kahn applying a percussionist's perspective to his guitar by playing it as a lap slide, as the two invoke an unusual incantatory spirit from their improvisations.

Sound experimenter and electroacoustic organizer Jason Kahn revisits previous works and expands on them with the book and CD release, with an essay on his approach towards public space interventions and text / sound installations, a track listing, photographs from the locations of his field recordings, and texts and prose poems to accompany the listener.

Swiss sound artist Jason Kahn chronicles his 37-solo concert tour through North America from the US to Canada, exploring the state of DIY experimental music scenes post-pandemic, including a CD of concert recordings in Portland and Chicago in 2022 using local radio and field recordings from each city, along with mod synths, tube amp, electromagnetic transducers and contact mics.

A 60 page book and CD from sound artist Jason Kahn, the audio composition representing an interconnected set of sound impressions focused on the Indian city of Varanasi, using field recordings of life on the street, the people, animals & music heard there, into the holy sites of the city, the school rooms, ending with a cremation and inevitable quiet at end of day.

Collecting facets of London trumpeter Charlotte Keeffe's diverse settings and interests, including three live recordings with her own quartet, three recordings with London Improvisers Orchestra including a conduction for a piece dedicated to Steve Beresford, a duo with guitarist Diego Sampieri, and two solo recordings, one interacting with live electronics.

Eric La Casa documents his home environment in Paris through audio investigation and field recordings, creating 3 large works that reveal the properties, singularities, banalities and features of his audio environment in perspective to his status as a citizen of the city, presented in a gatefold CD package with a color 60-page booklet of photos and text.

A series of sound impressions and an audio documentary of metal barriers placed at entrances to public buildings after the coordinated 2015 Paris attacks by ISIS; 29 compositions recorded and mixed between 2018-2023 by Eric La Casa, wondering what the barriers protected Parisians from, and answering the question of what Paris sounds like to the barriers themselves.

Exploring the details of everyday life as he examines the relationship between his environment and himself, microscopic audio explorer Éric La Casa investigates sounds beyond the threshold of auditory hearing, capturing barely perceptible sonic manifestations with incredible clarity and detail, constructing engaging works from these surprising and intriguing sounds.

The 2007 solo debut of New York free improvising trumpeter Matt Lavelle, here performing on the hybrid instruments, the Bass-Trumpinet and Bass-Clarumpet, introduced and punctuated with spoken word insight and declarations, and using overdubs on selected tracks, making for an intimate and accomplished album of modern free jazz.

With a history of both improvisation and rock, NY saxophonist and sound artist (Creature Automatic, Love As Laughter) concentrates on the sopranino saxophone in this solo album, performing acoustic feats of impressive technical skill, and on many tracks performing with tuning forks and live electronics, sequenced in a compelling journey of contrasts and wonder.

Contrasting the explosively experimental side to his guitar work honed through the No Wave band DNA with glimmers of the lyrical approaches to his work heard in his acclaimed songwriting albums, Brazlian/Downtown New York legend Arto Lindsay shows his wide range of interests through thirteen succinct pieces of noise and thoughtful reflection.

Swedish guitar improviser Jon Lipscomb (LOPLOP, Swedish Fix) takes his listeners on a rugged trip across the strings, using distortion, tremolo and rapid-fire technique as he mines territories between free improv, noise and rock, his nimble mind stopping to explore areas of interest then cascading into new, turbulent environments; frightfully powerful.

Twenty three succinct recordings sourced from glass and related objects--wine glasses, glass bulbs, water jars, glass rods, &c.--each allowed to resonate or sing its unique characteristics, released as a vinyl album in 1970 and here remastered by Lawrence English under the guidance of Annea Lockwood herself; a unique album opening a microcosm of richly translucent sound.

Extremely active in the Downtown NY scene as a versatile double bassist in a wide variety of settings, Brandon Lopez presents a tour de force album of solo improvisations, developed to illuminate his abilities as a powerful string player but also as a mischief-maker on the strings through unexpected technique and the application of "RealBadVibes".

Performing solo on violin with surrounding effects that emphasize the dramatic tension in her extended sequences, Samara Lubelski presents two substantial journeys into the infinite, swirling in delays and reverb as her bow transitions from rapid up and down to long drawing and sustaining, pulling a variety of sounds that elate her listeners in spirals and eddies.

Using multiphonics, extended techniques and an intuitive sense of drama and narrative, Barcelona alto and baritone saxophonist Don Malfon takes his listeners on an 8-part journey of "Mutable" solo performances, using every inch of his horn (including inserting resonant objects), his body, tongue and breath to investigate the outer limits of his instruments.

An emotional solo concert performed at Chicago's Corbett vs. Dempsey gallery, an ode to Mazurek's mother a few months after her passing, on cornet, flutes, bells, books, maracas, apples, and little electronics, in a touching and beautiful celebration of her life.

A joint release between Astral Spirts and Relative Pitch, guitarist Ava Mendoza conjures five assertive and rugged "spells" performed on solo electric guitar, passionate works of raw technical skill and bold power as she improvises over two songs composed by herself, alongside pieces written for her from Devin Hoff, Trevor Dunn and John Dikeman.

A member of the French ONJ (Orchestre National de Jazz), saxophonist Metzger also works with a variety of real-time transformation music software; this is an excellent review of his compositions and his unique voice in modern improvisation.

Destroy All Monsters and Sensorium Saxophone Orchestra guitarist Ben Miller in an album of experimental solo guitar works, augmenting his guitar with effects, synthesizer, bass, tapes and radio to create seven fascinating works that reflect on his rock background through solid rhythmic and melodic hooks, but also captivates through unusual and surprising sonic elements.

Destroy All Monsters and Sensorium Saxophone Orchestra guitarist Ben Miller in an album of experimental solo guitar works, augmenting his guitar with effects, synthesizer, bass, tapes and radio to create seven fascinating works that reflect on his rock background through solid rhythmic and melodic hooks, but also captivates through unusual and suprising sonic elements.

The first complete solo release from Seattle, Washington bassist and vocalist Kelsey Mines, active in both classical music as a member of Yakima Symphony, Symphony Tacoma and the Paramount Orchestra, and as an improviser, here presenting a series of improvised solo-duets that explore how listening to our on-going internal dialogue helps us conjure honest, outward expressions.

A solo electric guitar soundtrack to James Nares' film "Street" performed by Thurston Moore, freely improvising in a dynamic and impressive performance recorded live at the Rubloff Auditorium at the Art Institute of Chicago, Chicago, Illinois.

Eight improvised performances on percussion from Paris-based drummer/percussionist Seijiro Murayama recorded in 2019 using acoustic sources from snare drums, mallets, brushes, voice, steel tables, gong and voice, captured in four locations around France and in Mishima City, Japan, each exploring new compositional methods and ways to improvise within them.

A journey through an uncharted jungle island from NY electronic composer David Lee Myers, aka Arcane Device, using field recordings in rhythmic environments with synthetic sounds buzzing and whirling around and electronic tones and textures rising and falling, composing detailed song structures that are embraceable and awe-inspiring at the same time.

A live set of electronic recordings from New York sound explorer David Lee Myers, aka Arcane Device, using modular synths under masterful control to create coherent excursions into territories both terrestrial and cosmic, each piece carefully evolving without histrionics or overt noise through warmly vivid and uniquely diverse works of sound.

Like passages through an electronic corridor, New York electronic artist David Lee Myers (Arcane Device) presents a series of "interludes"--long passages of rich electronic sound--and "intervals" of punctuated rhythms, described by Myers as: "In-between spaces for catching one's breath amid frigid landscapes, existential pauses, and mercurial pools of aboriginal pleadings."

Sonic explorer and feedback pioneer David Lee Myers in a collection of eight pensive electronic ambience works recorded at Pulsewidth in the spring of 2022, meditating on the mysteries of time and eternity through Apophis, a demon serpent of darkness whom Ra, as sun god, destroys every morning at dawn.

A perfect example of the radiant electronics David Lee Myers, aka Arcane Device, has developed over decades, in nine shimmering works of clear tones, controlled feedback and electronic errata, each piece transitioning in sublime ways as Myers evolves luminescent stories in glowing atmospheric sound, a richly lustered album of sound sculpting.

Referring to the music on this album from New York feedback and electronic pioneer David Lee Myers as "firmly rooted in the electronic music of the 1950s-1960s", over nine tracks we are taken on an otherworldly journey of detailed particulate electronic adventures, sometimes swooping, vertiginous, monstrous and unpredictable, each track captured live in Myer's Pulsewidth studio.

David Lee Myers began creating feedback music in 1989, originally under the name Arcane Device, developing unique approaches to harnessing feedback between audio devices in ways their manufactures did not intend; since 2014 he has used a set of new devices that allow intense control and beauty through vibrational interactions, as heard in this, his 18th solo album of feedback music.

A series of "Rooms" and related electronic environments from New York sound artist David Lee Myers, whose long running Arcane Device project runs parallel to these nearly ambient works that Myers intimates are for intimate environments, developed through deft use of Eurorack electronics, feedback, sampling and other elegant electronic processes.

Using electronic and digital tools similar to those that fuel his Arcane Device project, New York sound artist David Lee Myers presents an accessibly engaging set of compositions using modular electronics, feedback matrices, guitar textures, voices, and frogs in 11 polyrhythmic adventures; quirky yet non-chaotic, sublime experimental works of tone and texture.

Xenography is the ability to write in a language which the individual has not learned, an apt description of the rich dialects sculpted from feedback sources and expertly routed through circular circuits of sound processors by New York sound artist David Lee Myers, AKA Arcane Device, captured and layered into these astounding electronic compositions.

Four live recordings from Tokyo performances during 2021 & 2022 by No-Input Mixing Board performer Toshimaru Nakamura, the 11th in his series of albums featuring his unique approach to cross-wiring a mixer to harness the unexpected (and manufacturer's ill-advised) sounds of feedback & distortion, structuring the results into surprising and riveting sonic soundscapes.

Working in her native Buenos Aires, Argentina and in Berlin, tenor saxophonist Camila Nebbia (Habitable Records) presents sixteen succint, diverse and authoritative solo recordings captured in the studio in Bueno Aires, a mix of assertive harmonic statements and lyrical, often introspective works, at times narrating over her playing or adding effects.

Sonic exploration and studio composition from Kobe, Japan-based, Canadian sound artist Tim Olive, using amplified objects, cast-off electronics and home made instruments including metal teeth, tuning forks, clockwork motors, electromagnets, cassette playback heads and magnetic pickups, recording each and layering them in the studio to create corrosively captivating aural journeys.

The second-ever solo release from Tim Olive and his first since 2008, in a distinctive set of compositions that layer and superimpose multiple, darkly intense recordings of improvisations made with magnetic pickups, metal plates, springs, wire, tuning forks, electromagnets, bow, breath, dental floss, envelope generator, fuzz, spring reverb, and preamplifier.

Ten years having passed since his last solo acoustic guitar album, Bill Orcutt's new release focuses on a more lyrical, relaxed and reflective side to his playing, in ten succinct pieces recorded in the spring and summer of 2002 at San Francisco's community focal point for and member of Intersection for The Arts, The Living Room.

Using metal, glass, wood, and plastic, percussionist Brian Osborne (The Gate, Hatchers) offers twelve tracks of interweaving layers of simplicity and complexity, clarity and haze, many pieces initiating with deceptive simplicity and insinuating themselves in unique ways, all performed live in the studio and presented with no overdubs or affects.

Four works from Amsterdam-based Argentina composer Gabriel Paiuk, particularly "The Construction of an Imaginary Acoustic Space" about the intertwining of technology, affect, space and listening, performed by the New European Ensemble in a mix of strings, reed, brass, piano and tape; also a solo work for cello; a solo work for piano; and a piece for three clarinets.