Annea Lockwood was sitting on the shore of Flathead Lake in Montana with her partner, the composer Ruth Anderson. It was the summer of 1975, and it’d been a couple years since the two fell in love.
Lockwood was, among other things, enamored with the way Anderson’s music could make her feel “so at peace and so part of everything.” A similar phenomenon was happening here — she was soaking in the sounds around her, like the jet skis and motorboats in the distance. She was fascinated by the difference in speed between human activity and, say, a stone striking water, rippling outwards. “What if we could hear all those rhythms,” she wondered, “as one huge rhythm?”
At the heart of her sentiment is a certain…
Category: experimental
-1 outside / 24 inside documents collaborations between Zhao Cong and Kevin Corcoran when the two were in Beijing to perform at a series run by Aloe Records. After the show, the two spent an evening recording outside in an underpass below a major bridge on the northeastern stretch of Beijing’s 3rd Ring Road. Then later, they spent an afternoon recording in a studio often used to present shows. Both of these musicians focus on the materiality of sound and the processes of sound creation, delving in to the tiniest detailed textures and timbres of objects they utilize. Zhao is credited with “rotating mobile phone stand, karaoke light, tape recorder, etc.” and Corcoran with “snare drum, objects, and feedback.” But both Zhao and Corcoran are also keenly interested in…
Joseph Branciforte & Jozef Dumoulin are kindred spirits, with their musical inclinations leaning towards improvisation, experimentation, and the testing of the limits of musical forms.
Branciforte, based in New York, constructs and produces process-based music – often implementing electronic keyboards – through his prolific label greyfade. Dumoulin, from Belgium, is recognized for his role in redefining the Fender Rhodes electric piano as a 21st-century instrument through extensive electronic manipulation. A chance meeting more than a decade ago led to the two of them recording what would become ITERAE, a record that brings together their passion for imbuing the Rhodes with electronics and processing.
On their self-titled album (and their first recordings for the Thrill Jockey label) North Carolina group Setting takes rustic acoustic sounds into deep space, sitting around a cosmic campfire and creating a group sound that’s naturalistically beautiful and mysterious. The trio of Nathan Bowles, Jaime Fennelly, and Joe Westerlund work in both improvisation and composition with stringed instruments, synthesizers, and percussion, landing in a place that’s partially informed by traditional Appalachia, part droning fields of synthesis, and part meditative Krautrock repetition. All of these aspects of Setting’s sound are in play on the album’s opening track “Heard a Bubble.” The nearly nine-minute piece opens with a lonely banjo line, and is quickly joined…
Newly remastered version of Oren Ambarchi’s long out-of-print classic Hubris originally released on Editions Mego in 2016. Expertly remastered by audio wizard Joe Talia who worked with the original mixes, highlighting the myriad details of the audio with forensic precision, previously unheard up until now.
Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi’s Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi’s love of Wang Chung’s soundtrack to William Friedkin’s…
Browse the live listings in Tokyo long enough and you’ll inevitably stumble across a party themed around modular synthesizers. Whether it’s an annual event at a multi-level nightclub (Festival Of Modular) or an intimate set at a cozy neighborhood venue (Modular Wednesday at Shibuya Otto), the itinerary remains the same-artists plugging away in the moment, tinkering ad hoc for a live audience.
Ephemeral & Fleeting: Modular Music of Japan celebrates the transient nature of the country’s contemporary modular scene. Curated by accomplished modular artist Yumi Iwaki, these 10 songs are a chronicle of the diverse sonic approaches taken by synthesizer aficionados, and the creative rewards that await those steadfast enough to master…
Released a month before the composer’s 89th birthday, Irmin Schmidt‘s Requiem is a meditative work reflecting on loss and commemoration, as well as nature and the environment. The slowly unfolding composition, divided into two parts, is intended for deep listening. Schmidt gathered natural sounds such as rushing water and the calls of birds, frogs, and insects, hearing music within them, and decided to incorporate them into his own music. The beginning of Requiem features abstract piano notes laid over a bed of chirps and croaks, largely undisturbed, until some strange thrusting movements emerge after five minutes, resembling some sort of vehicle like a tractor manipulated into a rhythm. Dripping water periodically works its way into the rhythm as well,…
Wielding little more than drums and a keyboard, Osaka-based duo HYPER GAL are waging a perpetual loudness war against themselves.
Formed in the late 2010s, the band was inspired by the anarchic creativity of Japanese noise acts like Melt-Banana, Solmania, and Boredoms. But while their forebears deconstructed rock conventions, HYPER GAL’s primary influence is the glistening textures of pop. Their songwriting formula is bracingly simple: Kurumi Kadoya loops a keyboard phrase, pushing the volume until the melody grinds into a thick harmonic paste. Then she lays into the drums, heavy on the cymbals, while her bandmate Koharu Ishida half-sings and half-raps with a dreamy detachment.
The band’s 2021 debut album, Pure, which…
While it sounds like it might be the work of some mysterious intergalactic orchestra, Unbalance is the work of two musicians performing with little to no advance direction. Brazilian experimental guitarist and composer Carlos Ferreira and Korean performer and composer Dasom Baek combined their adept skills in ambient/drone, avant-garde, musique concrète, and free improvisation to create an album of four pieces entirely through uninterrupted improvisational flow.
…In addition to the electric guitar, Ferreira uses live electronics, working with an open-source software program called ppooll, which enables audio signal processing, performance, and routing. Baek, meanwhile, performs on traditional Korean wind instruments – jungju, daegum,…
It’s simple enough to account for the cutthroat kind of gravitas at the forefront of Consuelo, the sophomore release from experimental Catalan duo Los Sara Fontán. Like most of us, violinist Sara Fontán and percussionist Edi Pou are fed up with many of the phenomena that shape our small world: rising authoritarianism, the worsening climate crisis, the slow and fast violence borne of technocapitalism, war, genocide, and the rest. Accordingly, they have a lot to say about Consuelo, an album remarkable for the messages it conveys through the aural construction of intensely evocative soundscapes that feature not a single spoken word.
The sonic does not stand alone on Consuelo, to be sure. Fontán and Pou make their…
The odd, idiosyncratic music of Hans Reichel could be described as American primitive, but he was German and sophisticated. The songs collected on the two-disc compilation, Dalbergia Retusa, span a little under two decades and show Reichel in guitar-soli mode. Though he may be alone, the instruments he’s playing sometimes only tangentially resemble guitars.
A confederate of such German free jazz titans as Peter Brötzmann and Rüdiger Carl, Reichel, who died in 2011 at 62, often opted for a gentler approach than his peers, sticking to languid tempos and long, dwelling notes as opposed to corrosive blasts of sound. Yet his airy, even delicate songs have an inherent strangeness linking them to the world of the avant-garde.
No matter who is actually present in the same physical space while Oakland-based experimental artist and field recordist Kathryn Mohr records or performs, she is always alone. Even when her music’s turns toward intense claustrophobia — writhing over a stifled ability to connect with another body in the room — her work aims to convince any ears against the wall that they are catching the last set of layered voices bearing down over the last fuzz-ridden guitar remaining on the face of the earth. There’s no stillness in her isolation either, as 2025’s Waiting Room, her critical breakthrough and debut release with The Flenser, proved. Even in its more muted acoustic meditations, there is the suggestion of boots scuffing against each other to…
The latest album from Spencer Doran, one half of acclaimed electronic duo Visible Cloaks, bills itself as an ensemble work — but what a strangely nebulous and numerous group it is. On the album opener, “Block,” we hear three prepared pianos and a chamber ensemble; on another track, the credits list four guitars, five cellos, a clarinet, an oboe, and a bowed piano. Moreover, these performances seem to possess the super-charged cadence of a computer: the trilling piano flurries of “Block” accelerate with non-human speed; the notes have a pointillist quality, like scattershot dots across a DAW — until serene woodwind breathes calm into the composition. The point is that no human ensemble could ever play this music, not even one comprised of virtuosos. But that…
Ferdinand Schwarz studied jazz trumpet in Cologne before his compositional interests took off during the pandemic, when he became “obsessed with the music of John Cage, Éliane Radigue and Morton Feldman, but also Jon Gibson and Arthur Russell.” He was drawn to “music that allowed me to dissolve in it, whether listening or playing… a sort of creative perceiving, as a tool to grow, transcend, to lose ego.” During his free master studies in Oslo, he became “more specifically fascinated with the act of listening and its creative potential,” engaging with sound art, instrument building, intonation systems, and listening-based music territories.
Listening Time is a 45-minute work developed collaboratively with AREPO – Madara Eleonora Mežale (clarinet), Marco Slaviero…
“Nothing is impossible.” That was Susan Alcorn’s assessment of the potential of the pedal steel guitar, the peculiar instrument that she made her own. Alcorn passed away at 71 in January 2025 as possibly the world’s pre-eminent pedal steel player, driven by a vision to bring as much out of it as possible and, in doing so, to gracefully apprehend and interpret whatever music caught her interest. In her final years, Alcorn joined forces with Nomad War Machine, the Philadelphia duo of drummer Julius Masri and guitarist James Reichard; Contra Madre is her first posthumous release, and her first documented foray into metal-adjacent spheres after a lifetime playing country, jazz, and free improv. Her first album with “these metal guys from Philly” is an unconventional…
Bands are like the people in them; they tend to get set in their ways. But not Cleared. The sole fixed part of their method is that guitarist/electronic musician Michael Vallera (Luggage, Maar, numerous solo recordings and a swell duo with Lee Ranaldo) and drummer/electronic musician Steven Hess (RLYR, Haptic, Locrian, Slow Bell Trio) are both involved. They have the potential to like an instrumental rock combo and have often done so on previous recordings. But Lustres, their first for the Australian Room40 label, continues a process of ping-ponging material into diffusion.
One of the musicians collects, plays or synthesizes some audio, then sends it to the other. He works on it, adding and subtracting and atomizing the sound, then sends it back. The work gets…
Described as a “musical poem”, Mount Analogue is a lengthy meditation on the works of avant-garde poet and writer René Daumal that’s passed from Bill Laswell and P.St (plus an ensemble featuring Nils Petter Movaer, Anna Clementi, Hideo Yamaki and others) to guitarist Henry Kaiser.
Mount Analogue is named after Daumel’s most well-known book, the self-styled “Novel of Symbolically Authentic Non-Euclidean Adventures in Mountain Climbing” that emerged almost a decade after his early death at just 36 in 1944. That text is excerpted here on the album-length title composition, that Czech experimental sort P.St leads on electronics alongside Laswell, Kaiser, vocalists Clementi and Percy Howard, percussionist Yamaki, cornet player…
The lapping water that burnishes the edges of this collaboration between multidisciplinary artists Félicia Atkinson and Christina Vantzou – friends for over 15 years, kindred spirits for eternity possibly – holds the multitudes of humanity’s draw to the sea. These Water Poems sit in a lineage with the trireme of Ancient Greece, sickly Victorians at the coast for healing, writers beckoned to Tangier, and point-and-shoot film photos in a box in your family home, sunbleached and filled with bright swimsuits. Atkinson and Vantzou channel their own oceanside dwellings into ambient sounds tinged with nostalgia, joy and hidden depths.
It manifests in compositions that subvert the usual calm of water-based field recordings. The repeated piano chords and chanted mantras…
If you’ve recently listened to Okkyung Lee’s just like any other day, take a minute to collect yourself and reset expectations before diving into the South Korean cellist’s new record. While Lee’s 2025 collection of charming and bright-eyed, keyboard-focused ambient miniatures wouldn’t feel out of place in pastoral passages of a JRPG soundtrack, Signals, a commission by London’s Explore Ensemble, is stark, grave, and sharply abstract from first note to last.
The first sounds we hear, in fact, on the opener ‘Siwan’ (named for pianist Siwan Rhys) are the echoes of a resounding yet dangerously unstable piano stab. The sonic shape feels at once awfully close and impossibly distant, as if we were peering into the instrument’s guts…
BODY SOUND brings frequent collaborators Whitney Johnson, Lia Kohl, and Macie Stewart together in a string trio format. The album’s pieces are all based in improvisation, and they’re all shaped by the spaces they were recorded in, which included two Chicago recording studios and the Big Ears Festival in Knoxville. Engineer and co-producer Dave Vettraino helped out by manipulating tapes and sonically translating the unique qualities of the recording locations.
All of the pieces’ titles were drawn from Yoko Ono’s book of text scores, Grapefruit, and all consist of everyday items and actions. The compositions are intimate and delicate, yet they find ways to escape their confines, as if the musicians and their instruments are entranced and…