Supersilent's 15th album and their first since 2018: a gatefold double LP with 15 tracks and 64 minutes of new improvised music, on Smalltown Supersound.
Second DarkSonicTales album by Swiss sound artist Rolf Gisler, drone minimalism and post-rock built from field recordings, mastered by Lawrence English.
David Granström brings the electric guitar into his long-form, digitally precise music, recorded partly at EMS Stockholm, with Maria W Horn on hurdy-gurdy.
Six-CD box issued alongside David Tibet's exhibition at Dox Gallery in Prague: the six installation musics played in its six rooms plus an overview of Current 93, with six colour cards of his paintings. None of this music appears on the vinyl or cassette.
Elizabeth Vogler sings in Occitan and other South-West dialects to harmonium alone in the church of Lescun, in the Pyrénées: six songs between ancient folk and experimental music, first time on vinyl, 100 copies.
The 2005 album of the Montreal ensemble, back for its 21st anniversary: six songs of protest and love for strings, guitars, piano and group voices, recorded at Hotel2Tango with Howard Bilerman.
Nine new pieces with Latin titles by the Swiss accordionist and composer, his first album since the Invada diptych Introspectio and Repertio. Recorded and mixed by Nicola Jannuzzo at Veruston Studios.
Sixteen audio scenes answering the long-exposure photographs of Brice Bischoff: cassette recordings of canyons, caves and ravines, reshaped in the studio with film-style spatial effects. Mastered by Giuseppe Ielasi.
Flutist Nicole Mitchell and percussionist Joe Westerlund, a former mentee of Milford Graves, improvise in a rural studio near Chapel Hill: looped flutes, mbiras, metallophones and live electronics, with no overdubs.
Chilean poet Cecilia Vicuña reads from Cloud Net over spontaneous music by pianist Ricardo Gallo and the Colombian trio Hombre de Barro, recorded in 2022 near Bogotá. A plea for water, life and ancestral knowledge.
First duo album by trombonist Kalia Vandever and DARKSIDE guitarist Dave Harrington, recorded in three rainy days in Los Angeles: brass and guitar between drum machines, samples and quieter, intimate pieces.