Music > contemporary / electronic / experimental / improvised music

John Also Bennett's first solo album.

Cosey FanTutti, Présence Panchounette, Nicolas Boulard, Olivier Quintyn, Wilfrid Almendra, Caroline Delieutraz, Simon Fisher Turner…

Alessandra Eramo's solo album Tracing South is a sonic enchantment through the use of extended vocal techniques, analog electronics and her hypnotic field recording of bagpipe (zampogna) during the Carnival rites in Southern Italy.

Serving as a score for David Hartt's film of the same name about the Habitat Puerto Rico project by Moshe Safdie, In The Forest finds Karl Fousek at his most focussed and controlled.

Eva-Maria Houben's music has somehow always been about perspective. These two new pieces, one for piano and one for organ, are once again prime examples.

A unique example of Amacher's late work.

A 5-disc overview of exploratory works written between 2005 and 2018, including long-form ensemble pieces, idiosyncratic trio combinations and a collection of 10 solos investigating various potential in teractions between instrument and tape.

Archival and live recordings from Australia's premiere prepared acoustic improvising trio.

Two pieces of electroacoustic music and musique concrète, Music Promenade (1964-1969, permanent version for four stand-alone tape recorder) and Unheimlich Schön (made in 1971 in the studios of the Südwestfunk in Baden-Baden).

Three rare pieces by a composer best known for his work for the stage, dance and theater, a perfect introduction to the work of a fascinating figure of 20th century electroacoustic music.

"Jeu du monde" is a collection of around twenty musique concrète pieces which spreads over more than six hours of music. Each CD has been designed as an audio film which tells a full story.

Maryanne Amacher, focus Bisou Records, interviews with Joe McPhee, Loren Connors and Bruno Billaudeau...

Pascal Dusapin's complete work for viola, performed by Vincent Royer (alto), and Brigitte Krömmelbein (violin). A unique artist, Pascal Dusapin continues his musical journey, formal and yet never dogmatic, offering his fiercely emotional music through a great range of diverse forms.

Cocoon, the solo project of Clair Obscur's leader Christophe Demarthe, publishes his fourth album on Optical Sound.

During Spring 2015, Eamon Sprod (Tarab) and Eric La Casa spent one week to record on waste grounds, at the north east of Paris, and along the canal Ourcq. Spaces which are somehow both inside yet apart from the city; waiting spaces from which to listen to the threshold of the city.

A panorama of the world of do-it-yourself fanzines.

Interviews with Cornelia Sollfrank, Lílian Campesato, Hyphen-Labs, Faith Holland, Mary Flanagan, Spideralex, Linda O'Keeff; Sonic Territories, monumental loudspeakers to the people; books, DVDs and CDs reviews...

Piano always had a central role in the discography of French composer Sylvain Chauveau. This selection of unreleased and out-of-print short pieces—mostly soundtracks—showcases what might be Chauveau's musical signature: quietness, slow pace, long resonances, a close as possible to silence. Music to be played at night.

Third chapter in the Sufi Word's series by Belgian composer Jean-Luc Fafchamps, featuring Ensemble Musiques Nouvelles and Centre Henri Pousseur, conducted by Jean-Paul Dessy.

Belgian composer Gobert presents a chisselled and chaotic form of “Chamber Electronic Music”, for piano and laptop, in duos with pianist Nao Momitani and his [KNAPP] bandmate, Gilles Doneux, for Sub Rosa: a subtle mix of electronic composition and contemporary touches.

The first (and the last) concert of mythic Kosmiche Belgian band Kosmose (1973-78): unreleased songs recorded and mixed in March 1975, something undoubtedly cosmic but with a DIY, home-made edge, dirtier than clean, noisier than technology-based.

The first (and the last) concert of mythic Kosmiche Belgian band Kosmose (1973-78): unreleased songs recorded and mixed in March 1975, something undoubtedly cosmic but with a DIY, home-made edge, dirtier than clean, noisier than technology-based.

A previously unheard masterpiece of Israeli multimedia artist Ami Shavit, inspired by the Yom Kippur war, in Sub Rosa's Early Electronic Music series.

The first issue of the annual publication dedicated to sound and music experimentation, co-published by Shelter Press and Ina GRM – Groupe de Recherches Musicales, Spectres – Composing Listening presents a series of texts by composers (Félicia Atkinson, François Bayle, Brunhild Ferrari, Stephen O'Malley, Jim O'Rourke, Eliane Radigue, Chris Watson...) who discuss personal dimension in the practice of experimental sound art and music.

Reference monograph.

A composition for improvising sextet by Austrian double bassist, composer and improviser Werner Dafeldecker, providing a structure that doesn't curtail the qualities of the musicians, yet forces them to listen very closely to each other and make focused decisions about parameters that are often overlooked in completely free improvisation.

A set of pieces written by sound artist William Engelen for a 18th century organ, exploring and pushing the sonic boundaries and possibilities of the instrument.

A composition for brass chamber ensemble that explores the origins of language and its relationship with music.

Recordings made between 2005 and 2014 by the experimental German band.

The noise duo Peür meets Didier Bourgoin (text and voice).

The first French translation of Neuhaus's writings.

A detailed investigation into the Japanese noise scene (Japanoizu), with a sharp critical eye and an in-depth knowledge of local sources, by a specialist of alternative cultures and experimental musics in Japan.

Elian Radigue; sound and magic; Arnaud Rivière / Mark Morgan / Blenno die Wurstbrücke; James Saunders; Bill Orcutt...

Featuring Jeremy Toussaint-Baptiste, Ornette Coleman, Nicole Kaack, Bradford Bailey, G. Lucas Crane, Jennie Gottschalk, Ambrose Akinmusire, Mats Gustafsson, Peter Margasak, Terry Riley, Kim Brandt, John Cage, Josh Sinton, Edgard Varése, Marc Hannaford, John Zorn, Matthew Mehlan, Million Tongues Festival, Alex Mincek, Lester St. Louis, Steve Lehman...

Guest edited by Shawn Jaeger, the Lee Hyla issue features remembrances and appreciations of the deeply missed composer by Stephen Drury, Rhonda Rider, David Rakowski, Bryan Hayslett, Chris Fisher-Lochheed, Eliza Brown, Scott Wheeler, and Ben Hjertmann (as well as articles by or with Jerome Harris, Charissa Noble, Rick Moody, Sam Amidon, Colin Stetson, Claire Chase, Kate Soper, and Eric Wubbels).

Concert by the improviser quartet recorded in public on September 22, 2018 at the Romanesque church in Vézac (France).

A sound dialogue between eRikM and Anthony Pateras.

In Myotis, Anthony Laguerre goes beyond rhythm using improvisation and a free approach as main technical support of invention. In a research based on rhythm and sound material around drums, he expresses sensitivity, softness and power thanks to expert skills and sound recording techniques. The union of these materials create songs made of multiple tones combined with percussions and occasionally harmonica.

Félicia Atkinson and Jefre Cantu-Ledesma have thought of this new collaboration as a series of soundscapes filled with literary and cinematographic references, from Sylvia Plath's poetry to the films of Hal Hartley and Wong Kar Wai. The album carries a strange echo of the 1990s, materialized in Julien Carreyn's cover photograph.

The ninth solo album of the American composer and percussionist reflects his move to Manhattan, where he produced Stadium. Starting with urban field recordings, he then builds on these environments to create subliminal spaces for his percussion, keyboards and acoustic instruments. Central to his work, his drumset and acoustic percussion performances are pushed to new levels with mesmerizing string and brass arrangements.

The ninth solo album of the American composer and percussionist reflects his move to Manhattan, where he produced Stadium. Starting with urban field recordings, he then builds on these environments to create subliminal spaces for his percussion, keyboards and acoustic instruments. Central to his work, his drumset and acoustic percussion performances are pushed to new levels with mesmerizing string and brass arrangements.

The score composed and recorded by KTL (Stephen O'Malley & Peter Rehberg) for the dance piece ‘The Pyre', written and directed by Gisèle Vienne. A tensed composition haunted by the voice of Dennis Cooper.

Singing songs while playing ding dongs, Charlemagne Palestine's solo voice over the bells of his studio carillon is a premiere in his recorded works, and possibly the first voice/carillon record in musical history. All the little shamanic stuffed deities inhabiting the carillon added their souls to the spirit of the reverberating songs, including a song in memory of Mika Vainio.