Digital

Original Silence

2008

"Pristinely recorded at a 2006 Italy performance, this is another outstanding work from Thurston Moore, Jim O'Rourke, and Mats Gustafsson's improvisational noise/jazz/rock ensemble."

Nate Wooley

2009

"“Seven Storey Mountain” involve a sloughing off of conventional technique in favor of esoteric sounds, and a sensation of slow, steady ascent through mysterious terrain toward a distant peak. -Steve Smith, New York Times"

Nate Wooley

2009

"It is a haunting, often aggressive sound world that moves from a place of chilled droning into a dense and pummeling chaos, before returning to a stressed restraint reminiscent of the work’s opening moments. -Molly Sheridan, New Music Box"

Nate Wooley

2013

"The concept of this cycle is to simulate the ecstatic experience described by Trappist Monk Thomas Merton in his book of the same name. The music is both introspective and noisily rapturous. -Mark Corroto, All About Jazz"

Nate Wooley

2016

"This album requires active engagement on the part of the listener. It’ll push you through your confusion into a place satisfyingly close to enlightenment. High volume and good speakers are heavily recommended. -David Menestres, Free Jazz Blog"

Brandon Lopez

2020

"Brandon Lopez solo bass."

Mats Gustafsson

2014

"This is a rare copy of this unique CD limited to 220 copies showcasing Günter Christmann's work alongside a host of improvisers. The CD itself has a wooden panel front opening up to a 2 x CD jewel case."

Trio X

2004

"The musicians address a narrow window within a broad perspective. The recording as a whole describes a memory of the epitome of the Harlem Renaissance and how musicians came out of that time still longing for a recurrence of the dream of the focal point which was Sugar Hill- where resided the quintessence of the African-American culture.... one whole world within a geometry of avenues and streets. The music possesses a substantive subtlety. It is taut and somewhat restrained, even though the fluidity of McPhee’s tenor lines overrides the tightness of the rhythm section. The music is soft even when it is loud. The music grows out of melody into abstraction easily, without fracture. -Lyn Horton, jazzreview.com"

Kaja Draksler & Terrie Ex

2020

"Scrape meets sigh, jagged fish-hook pluck meets sparse wire-damped drizzle, instinct meets intuition, and when the disc is done, it’ll seem quite sensible to dive back in and swim the whole length in reverse. - Bill Meyer, Dusted"

Trio X

1999

"McPhee is such a versatile player that sparks fly whether he blows a saxophone or trumpet. Here, he performs solely on the soprano sax, joined by bassist Dominic Duval and percussionist Jay Rosen. The mood is generally more pensive than to be expected, although fires are lit in a few of the pieces. McPhee shows himself to be a thoughtful, sensitive player, where every note counts and space is just as important. -Steve Loewy, AllMusic "

Chris Corsano

""The Young Cricketer plays out like a showreel for Corsano’s miraculous dexterity and virtuosity as a drummer. It’s a set of recordings made during Corsano’s time living in Manchester back in 2006 utilising all manner of objects and apparatus to offset and treat his drumkit, often morphing its sound into something unrecognisable. The Young Cricketer is a beautifully recorded album, with Corsano’s expanded kit occupying a vast stereo field, and every percussive gesture allotted its own distinct place in the mix. Consequently, this is probably the most thorough representation of Corsano’s near peerless drumming yet committed to record and stands as a pretty indispensable document for all lovers of free music and percussive invention. Stunning.” - Julien Héraud"

John Butcher / Andy Moor / Thomas Lehn

2001

"A set of stunning improvisations by Andy Moor (electric guitar), John Butcher (saxophones) and Thomas Lehn (EMS synth). "One of the most thrilling improv outings released this year so far." -Dan Warburton, The Wire"

The Vandermark 5

1999

Jaap Blonk & Terrie Ex

2018

"Don't expect conventional stuff. Let yourself be challenged. Who's Knocking? Well, Jaap Blonk and Terrie Hessels who not only make music very freely, but are also busy with electronics. Friends, musicians among themselves. Very nice album for those who like to be surprised. -Philippe De Cleen, Written in Music"

Spaceways Inc.

2000

Rodrigo Amado

2015

"Lisbon’s Rodrigo Amado has chosen a crack team of improvisers with whom to present his vocabulary. With This Is Our Language, he has succeeded in uniting the varied parlances of creative musicians around the world. Over the span of forty-three minutes, Amado has condensed a diverse array of concepts that blossom and mature with each listening. This is a commanding and authoritative recording that should not be missed. -Peter Gough, Free Jazz Blog"

Nate Wooley / Fred Lonberg-Holm / Jason Roebke

2009

"The five improvisations on Throw Down Your Hammer and Sing still retain their attachment to the tools at the players' disposal; split-tones and cagey muted brass are clearly the trumpeter's task, while cutting tenor projection and string bulwarks belong to cello and bass, respectively. -Clifford Allen, All About Jazz"

Nate Wooley / Fred Lonberg-Holm / Jason Roebke

2009

"The five improvisations on Throw Down Your Hammer and Sing still retain their attachment to the tools at the players' disposal; split-tones and cagey muted brass are clearly the trumpeter's task, while cutting tenor projection and string bulwarks belong to cello and bass, respectively. -Clifford Allen, All About Jazz"

Dave Rempis / Matt Piet / Tim Daisy

2018

"Throughout the album, Rempis plays with an open, fluid voice, which pairs well with Daisy’s resonant pitches and warm rhythms. And his sly references and unvarnished fury cut straight through Chicago’s thick night air. - Lee Rice Epstein, The Free Jazz Collective"

Joe McPhee / Jamie Saft / Joe Morris / Charles Downs

2015

"Expanding upon the melodic, harmonic and rhythmic advances established by Coltrane and his spiritual brethren half a century ago, Ticonderoga is a bracingly vital reminder of the expressive potential of free music. -Troy Collins, All About Jazz"