Spartiti Spariti
Tip! Spartiti Spariti is a composition in which diverse practices and experiences converge and overlap: the processing of ‘concrete’ sounds, magnetic-tape collage, field recording and the manipulation of acoustic instruments. At its core lies a profound investigation into the ecology of sound, understood not as mere phenomenological documentation but as a radical experience through which identity is rediscovered. The work’s genesis is deeply rooted in the composer’s biographical memory and in th…
Fall In A Hole
The Fall live in Auckland, August 1982, recorded by Chris Knox for Flying Nun: Marc Riley's last tour, two drummers, feedback-drenched rarities and Hex Enduction-era favourites. First vinyl reissue, with poster and notes by Roy Montgomery.
77 - Early Years - 79
The Fall's first four Step-Forward singles, 1977-79, plus Dice Man from Dragnet: Mark E. Smith's early art punk of atonal guitar, looping bass and combo organ, back on vinyl for the first time with liner notes by Stephen Malkmus.
The Dream Will Freeze In Midwinter’s Memories
John Clyde-Evans played in that formidable band called Hood in the early 90s. In the years that followed, he was one of the most adventurous figures in the incredibly diverse British underground scene. His productions from that era ranged from blissful tape loops of string instruments to bizarre, mind-numbing noise experiments—created using, among other things, traditional Indian instruments from the time he spent living there... Then, for nearly twenty years, he completely fell off the radar...…
Boundary
4 tracks recorded in 2025 and 2026 by young mancunian duo Hewn, whose music Jack Davidson (Noise not music) once described as "frail but nonetheless flesh-and-blood ambient". Still about there...
Varier: Berlin
Renowned saxophonist, woodwind player, bandleader and composer Tamar Osborn stands at the heart of the UK’s forward-thinking music movement. A multi-instrumentalist whose genre-slipping creativity has made her the go-to voice for artists within the new wave of jazz and improvised music, Osborn now unveils her most ambitious and exploratory project to date. Well known and highly regarded as a bandleader and featured player across a wide number of groups - most notably her modal ensemble Collocuto…
I
Oruma is a trio formed by Ola Rzepka (drums, zither, percussion), Artur Rumiński (electric guitar) and Mat Barski (electric guitar). At its foundation is the musical dialogue previously developed by Rumiński and Barski as a guitar duo and documented on the albums “On the Margin” and “At the Junction”. Their encounter with Ola Rzepka during Kraków’s Kakofonie series opened this music to a new sense of dynamics, pulse and collective form.
Oruma’s music exists at the intersection of free improvisat…
From Red Black to Black, from Blue Black to Black
David Grubbs' commissioned music for Josiah McElheny's singing paintings, wall works with hand-blown glass discs that resonate sound: one 30-minute piece for lap steel, electric guitar and Serge synthesizer, built on microtonal slide.
In Sore Bless
With In Sore Bless, Cecilia and Ali emerge as The Discretes, following and cultivating diverse veins of sound. Post-noise ballads, distilled jams, fragments of Anatolian-Trip-Hop and other genre-amalgams, all become a supplicant at St. Cecilia’s altar, praying to be guided by her voice. Cecilia sings in English, French and Italian, calling to an omnipresent yet elusive love, binding, repelling, fragile, transient, spiritual. Her lyrics are recounted over a background of synth drones, hand percus…
Dancing with Dragonflies
Confront Recordings announces the release of Dancing with Dragonflies, a compelling new collaboration between double bassist Alan Niblock and percussionist Mark Wastell.
Hyper possibility
Is art artificial, is it a rhythm, or is it an algorithm—this is the question Ulf Herold poses, and the answer sounds rather affirmative: the two are not necessarily to be understood as opposites, but as dynamic counter-poles—this becomes evident in Herold’s four-track EP Hyper Possibility. The first track, “self generating piano,” offers an image in which the piano is played without “the master”, playing by itself. This sound is “artificial” insofar as no classical melodies can be found within …
A Cold Night in Rome
On A Cold Night in Rome, Gregorio Bardini turns a 2007 Cold Spring event into a ritual of noise, flute, voice and historical residue. Ezra Pound’s metallic ghost, bagpipes, violin, distorted guitar and ethnic percussion converge in a live document that feels both industrial and archaic - a harsh, deeply human soundscape outside category.
Death of a century
On Death Of A Century, Milusic turns the wreckage of twentieth-century culture into a feverish post-industrial radio play. Roberto Migliussi and David Granziera splice spectral voices, drum-machine pressure, occult atmospheres and found-sound absurdity into a kaleidoscopic transmission - half archive, half séance, and far too wired to mourn politely.
Nouvelles Ethnologiques de l’Obscur Museum
On Nouvelles Ethnologiques de l’Obscur Museum, NEO Museum forge a fierce, finely cut collision of free jazz, radical rock and European avant-garde composition. Born in mid-80s Vandœuvre-lès-Nancy, the trio turns saxophone, guitar and drums into a compact laboratory of fractured forms, bristling improvisation and volatile collective invention.
Anuraaqtuq
Inuit singer Tanya Tagaq live at Victoriaville in May 2010 with Jean Martin on drums and computer and Jesse Zubot on violin: throat singing, cries and breath stretched into an hour of raw, physical improvisation.
Élektrik Toboggan
René Lussier and Martin Tétreault meet Otomo Yoshihide at Victoriaville on 19 May 2008: two electric guitars, three turntables and a spy microphone in the trio's first performance together.
Phon-O-Victo
Montreal turntablists Martin Tétreault and Kid Koala, live at Victoriaville on 21 May 2005, vinyl only: old self-help and demonstration records, scratches and loops, from the noise side and the hip-hop side of the instrument.
L'Oasis
Eugene Chadbourne and René Lussier, live in Paris and at Victoriaville in May 2002: acoustic and electric guitars, banjo and voice in a twisted hoedown of free improvisation, bluegrass and country blues.
Not
Michel Doneda on soprano saxophone, eRikm on samplers and scratches, Jean-Marc Montera on guitar and electronics, recorded in Metz and Lons-le-Saunier in May 1999. Liner notes by Thurston Moore.
Accomplices
CCMC in its trio line-up of Michael Snow, John Oswald and Paul Dutton: piano and synthesizer, alto saxophone and sound poetry, recorded live in Toronto, Jonquière and Victoriaville in 1996 and 1997.