Another Timbre Special
Natural World
Natural World by Laurence Crane offers an expansive and quietly subversive study in sonic ecology, blending piano, soprano, and field recordings. Written for Juliet Fraser and Mark Knoop, the piece unfolds over three movements, combining encyclopedic texts, birdsong, and elemental musical motives in a measured fifty-five-minute reflection on beauty and environmental fragility.
The Pankow-Park Sessions
The Pankow-Park Sessions Vol.1 is a striking documentation of collaboration between Ernstalbrecht Stiebler and Tilman Kanitz, offering a series of works that blur distinctions between composition and improvisation in an acoustic setting. These recorded sessions capture the artists’ shared sensitivity to resonance, duration, and the momentary emergence of musical events. Rather than foregrounding virtuosic display or dense structuring, the album cultivates a sense of spaciousness where tones, sil…
Adjacent Sound
Adjacent Sound positions Gabriel Paiuk as a composer attuned to the phenomena of perception, proximity, and the thresholds where listening itself becomes the subject. Rather than presenting a collection of isolated pieces, the album unfolds as a unified exploration into how sound delineates and dissolves boundaries - between performers, between recorded and live presence, between the material and the ephemeral. Every aspect of the release is shaped by a careful questioning of what it means to li…
Discreet Angel
Discreet Angel brings to light the uniquely understated voice of Mark Ellestad, gathering three chamber works composed between the late 1980s and early 1990s. What unifies the album is its atmosphere of meditative quiet and fragile resilience, qualities honed through Ellestad’s focus on pared-down gesture and subtle shifts in form. Rather than presenting polished showpieces, these compositions favor modesty, restraint, and an honest vulnerability - traits that resonate strongly with listeners se…
Hlaholika
With Hlaholika, Adrian Democ offers a collection of chamber pieces unified by a focus on stillness and the unhurried unfolding of sound. Rather than chasing after overt drama, Democ’s writing reveals itself through the subtle layering of sonorities and stark, melodic lines, letting each instrument’s character shine. Apartment House brings sensitivity and patience to these recordings, allowing the music’s quiet radiance to emerge organically, rather than by force.
The album opens with “Ma fin est…
Outermost Melodies
Ian Antonio discovered Jürg Frey via algorithm. About 15 years ago, SoundCloud kept leading him to the same piece, maybe Circular Music No. 2. "I wouldn't notice the piece starting but then realize I was in fact listening to it closely," he recalls. "The stillness and closeness and warmth were somewhat new to me." At the time, Antonio played "a lot of very loud and often very fast music" with groups like Wet Ink, Talujon, Zs, and Yarn/Wire. Frey's music was "very much the opposite."
This double …
Unfurling
Unfurling introduces a trio where established voices in contemporary experimental music - Angharad Davies, Klaus Lang, and Anton Lukoszevieze - are brought together in an environment shaped as much by deep listening as by compositional foresight. Born out of a residency and recorded during the intense yet open space of a single studio session, the album becomes a portrait of creative trust and shared focus. Throughout the 52-minute performance, each musician both asserts and dissolves their indi…
Among the Tarnished Stars / Quatuor pour la fin du temps
UK ensemble Apartment House performs two landmark works for the same instrumentation of violin, cello, clarinet and piano: Olivier Messiaen's Quatuor pour la fin du temps (1941) and Toronto based composer Linda Catlin Smith's Among the Tarnished Stars (1998). Released by Another Timbre in August 2019, this recording takes a fresh modern approach to the Messiaen, drawing out its experimental character, while revealing the sense of drama and intricate gradations of sonority in Smith's rich and mys…
Oltreorme
Oltreorme stands apart in Osvaldo Coluccino's chamber output—a suite performed entirely using acoustic objects, with no conventional musical instruments. Created between August and December 2012 and recorded in the composer’s own Italian home, the four lengthy tracks chart a path through realms of near-silence: rustling, brushing, scraping, knocking, and the smallest resonant shifts unfold as if nature and human hand have fused. Coluccino’s process is sculptural - each sound is revealed, layered…