#freejazz — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #freejazz, aggregated by home.social.
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This morning's #workout #music is from Roscoe Mitchell & Moor Mother performing in 2019. It was The Art Ensemble of Chicago's "We Are On The Edge" that introduced me to Moor Mother, so I was excited to see this concert come across my feed. A must-see collaboration.
https://www.youtube.com/live/03nA7WqStg8
#Poetry #jazz #FreeJazz #SpokenWord #KettleBells #DumbBells #WellnessWe Are On The Edge on #bandcamp
https://artensembleofchicago.bandcamp.com/album/we-are-on-the-edge-a-50th-anniversary-celebration -
This morning's #workout #music is from Roscoe Mitchell & Moor Mother performing in 2019. It was The Art Ensemble of Chicago's "We Are On The Edge" that introduced me to Moor Mother, so I was excited to see this concert come across my feed. A must-see collaboration.
https://www.youtube.com/live/03nA7WqStg8
#Poetry #jazz #FreeJazz #SpokenWord #KettleBells #DumbBells #WellnessWe Are On The Edge on #bandcamp
https://artensembleofchicago.bandcamp.com/album/we-are-on-the-edge-a-50th-anniversary-celebration -
This morning's #workout #music is from Roscoe Mitchell & Moor Mother performing in 2019. It was The Art Ensemble of Chicago's "We Are On The Edge" that introduced me to Moor Mother, so I was excited to see this concert come across my feed. A must-see collaboration.
https://www.youtube.com/live/03nA7WqStg8
#Poetry #jazz #FreeJazz #SpokenWord #KettleBells #DumbBells #WellnessWe Are On The Edge on #bandcamp
https://artensembleofchicago.bandcamp.com/album/we-are-on-the-edge-a-50th-anniversary-celebration -
This morning's #workout #music is from Roscoe Mitchell & Moor Mother performing in 2019. It was The Art Ensemble of Chicago's "We Are On The Edge" that introduced me to Moor Mother, so I was excited to see this concert come across my feed. A must-see collaboration.
https://www.youtube.com/live/03nA7WqStg8
#Poetry #jazz #FreeJazz #SpokenWord #KettleBells #DumbBells #WellnessWe Are On The Edge on #bandcamp
https://artensembleofchicago.bandcamp.com/album/we-are-on-the-edge-a-50th-anniversary-celebration -
This morning's #workout #music is from Roscoe Mitchell & Moor Mother performing in 2019. It was The Art Ensemble of Chicago's "We Are On The Edge" that introduced me to Moor Mother, so I was excited to see this concert come across my feed. A must-see collaboration.
https://www.youtube.com/live/03nA7WqStg8
#Poetry #jazz #FreeJazz #SpokenWord #KettleBells #DumbBells #WellnessWe Are On The Edge on #bandcamp
https://artensembleofchicago.bandcamp.com/album/we-are-on-the-edge-a-50th-anniversary-celebration -
Saba Alizadeh & Farzané (NL/IRN) + Vehicle/Passenger (US/CW/DE)
OCCII, Friday, October 23 at 08:30 PM GMT+2
Saba Alizadeh
Architect of Power Ambient
Saba Alizadeh occupies a singular space in contemporary music ,a sonic language so distinct it seems to exist outside comparison.
Coming from a distinguished musical lineage and shaped by more than two decades as a composer, producer, and performer, he has developed an artistic voice that merges deep cultural memory with fearless sonic experimentation.
Across four critically acclaimed albums, he has continuously expanded the boundaries between contemporary composition, electronic music, and Persian sonic heritage.
Having lived through defining social and political ruptures – from witnessing the fall of the Berlin Wall as a child to experiencing the Green Movement and the Woman, Life, Freedom uprising in Iran – his work carries the emotional residue of history not as commentary, but as lived memory transformed into sound.
Emerging from Tehran’s underground electronic scene, Alizadeh forged a deeply personal language where Persian classical music, experimental electronics, archival recordings, and cinematic tension dissolve into what critics have called “Power Ambient.”
At the center of his performances stands the Kamancheh: the ancient Persian bowed instrument whose raw, human cry he reshapes through live processing and sonic experimentation into something both ancestral and radically contemporary.
His live sets unfold like fragments of forgotten cinema – dense, haunting, and physical. Continuously reimagining how history, memory, and resistance can breathe through modern sound.
”A bridge between the ancient and the contemporary” — The Wire
”A fresh, compelling soundscape” — Pitchfork
”Hope as an act of resistance” — Frankfurter Rundschau
”Music that feels like a cinematic unfolding of history” — Chain D.L.K.
”The stringed Kamancheh is a living soul and primal voice” — Veil of Sound
"Temple of hope" Live Concert<a href="https://sabaalizadeh.bandcamp.com/album/temple-of-hope">Temple Of Hope by Saba Alizadeh</a>
Farzané
(Farzaneh Nouri), an Iranian sound artist, creative coder, and researcher based in the Netherlands, works at the intersection of experimental music and computer science. Her ongoing practice-based research focuses on embodied knowledge in improvisational settings with machines. Embracing AI’s fundamental otherness while establishing relational connections, her practice aims at creating conditions of genuine encounter and collaborative destabilization between the artist and the machine. This speculative approach moves beyond technological determinism and cultural essentialism, exploring how human and machine intelligences might co-evolve through creative tension and collaborative aesthetic discovery.
Farzané at Audiomanzia<a href="https://farzane.bandcamp.com/track/chiasma">CHIASMA by Farzané</a>
VEHICLE/PASSENGER
Ethereal yet full of raw power. A tour-de-force of artistic expression combined with an urgent message on the state of our world.
In VEHICLE/PASSENGER we gather around thoughtful, radical poetry, as it weaves through energetically improvised pieces and delicate soundscapes. Exploring a queer perspective on body, society and improvisation. The trio reveals a unified, futuristic sound, repositioning the past, present and future of experimental music, free jazz, hip-hop, live electronics and poetry.
“An energy and urgency without simple slogans.” – WDR, Odilo Clausnitzer
“Vehicle/Passenger has created one of the most honest and unique recordings of 2024.” – All About Jazz, Maurice Hoge
The Ballad of a Never-ending Elevator Accident – VEHICLE/PASSENGER – Live in AmsterdamM Alberto (NL/AN) – poetry , saxophones and electronics
Lesley Mok (US) – drums and percussion
Florian Herzog (DE) – double bass and electronicsM. ALBERTO (they/them), is a Euro-Carribean improviser, award-winning poet and composer. Born in Curacao and currently based in the Netherlands. M.’s work is explicitly political, and always critical of colonial structures. They are one of the driving forces behind theatre collectives Boys won’t be Boys, as well as a steady collaborator in other critical productions. They have performed internationally on diverse stages and theatres from The Royal Concertgebouw and the Dutch National Opera to pop-festivalslike Sziget, Rock Werchter and Pinkpop.
FLORIAN HERZOG, bassist and composer, is a pioneer of the German and international jazz and avant-garde scenes whose bass playing has been described by the press as “emancipated, spirited and sensitive.”
He has worked with established greats like Theo Bleckmann, Jim Black and Nils Wogram, but also with the new generation and musicians like Anna Webber, Elias Stemeseder and Nick Dunston.
LESLEY MOK (they/them) is a percussionist and interdisciplinary artist based in Brooklyn, NY, who works in sound, installation, film, and theater. Interested in the ways social conditions shape our beings, Lesley’s work focuses on overacting humanness to explore ideas about alienness and privilege. Their work draws from queer and feminist art practices, Chinese philosophy, Caribbean folkloric musical traditions, futurist perspectives, and ancestral knowledge. Their critically acclaimed debut album ‘The Living Collection’ was awarded with a prestigious Deutscher Jazz Preis in 2024.
https://offbeat.amsterdam/event/saba-alizadeh-and-farzane-nlirn-vehiclepassenger-uscwde
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Saba Alizadeh & Farzané (NL/IRN) + Vehicle/Passenger (US/CW/DE)
OCCII, Friday, October 23 at 08:30 PM GMT+2
Saba Alizadeh
Architect of Power Ambient
Saba Alizadeh occupies a singular space in contemporary music ,a sonic language so distinct it seems to exist outside comparison.
Coming from a distinguished musical lineage and shaped by more than two decades as a composer, producer, and performer, he has developed an artistic voice that merges deep cultural memory with fearless sonic experimentation.
Across four critically acclaimed albums, he has continuously expanded the boundaries between contemporary composition, electronic music, and Persian sonic heritage.
Having lived through defining social and political ruptures – from witnessing the fall of the Berlin Wall as a child to experiencing the Green Movement and the Woman, Life, Freedom uprising in Iran – his work carries the emotional residue of history not as commentary, but as lived memory transformed into sound.
Emerging from Tehran’s underground electronic scene, Alizadeh forged a deeply personal language where Persian classical music, experimental electronics, archival recordings, and cinematic tension dissolve into what critics have called “Power Ambient.”
At the center of his performances stands the Kamancheh: the ancient Persian bowed instrument whose raw, human cry he reshapes through live processing and sonic experimentation into something both ancestral and radically contemporary.
His live sets unfold like fragments of forgotten cinema – dense, haunting, and physical. Continuously reimagining how history, memory, and resistance can breathe through modern sound.
”A bridge between the ancient and the contemporary” — The Wire
”A fresh, compelling soundscape” — Pitchfork
”Hope as an act of resistance” — Frankfurter Rundschau
”Music that feels like a cinematic unfolding of history” — Chain D.L.K.
”The stringed Kamancheh is a living soul and primal voice” — Veil of Sound
"Temple of hope" Live Concert<a href="https://sabaalizadeh.bandcamp.com/album/temple-of-hope">Temple Of Hope by Saba Alizadeh</a>
Farzané
(Farzaneh Nouri), an Iranian sound artist, creative coder, and researcher based in the Netherlands, works at the intersection of experimental music and computer science. Her ongoing practice-based research focuses on embodied knowledge in improvisational settings with machines. Embracing AI’s fundamental otherness while establishing relational connections, her practice aims at creating conditions of genuine encounter and collaborative destabilization between the artist and the machine. This speculative approach moves beyond technological determinism and cultural essentialism, exploring how human and machine intelligences might co-evolve through creative tension and collaborative aesthetic discovery.
Farzané at Audiomanzia<a href="https://farzane.bandcamp.com/track/chiasma">CHIASMA by Farzané</a>
VEHICLE/PASSENGER
Ethereal yet full of raw power. A tour-de-force of artistic expression combined with an urgent message on the state of our world.
In VEHICLE/PASSENGER we gather around thoughtful, radical poetry, as it weaves through energetically improvised pieces and delicate soundscapes. Exploring a queer perspective on body, society and improvisation. The trio reveals a unified, futuristic sound, repositioning the past, present and future of experimental music, free jazz, hip-hop, live electronics and poetry.
“An energy and urgency without simple slogans.” – WDR, Odilo Clausnitzer
“Vehicle/Passenger has created one of the most honest and unique recordings of 2024.” – All About Jazz, Maurice Hoge
The Ballad of a Never-ending Elevator Accident – VEHICLE/PASSENGER – Live in AmsterdamM Alberto (NL/AN) – poetry , saxophones and electronics
Lesley Mok (US) – drums and percussion
Florian Herzog (DE) – double bass and electronicsM. ALBERTO (they/them), is a Euro-Carribean improviser, award-winning poet and composer. Born in Curacao and currently based in the Netherlands. M.’s work is explicitly political, and always critical of colonial structures. They are one of the driving forces behind theatre collectives Boys won’t be Boys, as well as a steady collaborator in other critical productions. They have performed internationally on diverse stages and theatres from The Royal Concertgebouw and the Dutch National Opera to pop-festivalslike Sziget, Rock Werchter and Pinkpop.
FLORIAN HERZOG, bassist and composer, is a pioneer of the German and international jazz and avant-garde scenes whose bass playing has been described by the press as “emancipated, spirited and sensitive.”
He has worked with established greats like Theo Bleckmann, Jim Black and Nils Wogram, but also with the new generation and musicians like Anna Webber, Elias Stemeseder and Nick Dunston.
LESLEY MOK (they/them) is a percussionist and interdisciplinary artist based in Brooklyn, NY, who works in sound, installation, film, and theater. Interested in the ways social conditions shape our beings, Lesley’s work focuses on overacting humanness to explore ideas about alienness and privilege. Their work draws from queer and feminist art practices, Chinese philosophy, Caribbean folkloric musical traditions, futurist perspectives, and ancestral knowledge. Their critically acclaimed debut album ‘The Living Collection’ was awarded with a prestigious Deutscher Jazz Preis in 2024.
https://offbeat.amsterdam/event/saba-alizadeh-and-farzane-nlirn-vehiclepassenger-uscwde
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..these records, finally, are perhaps two sides of the Monk coin -- one a stretching and contortion of what was already there, one pinning #theloniusmonk to the mast of improvised music and sailing off into the whorling void. Big up yourselves, everyone concerned #jazz #freejazz #improv #musicreview
RE: https://bsky.app/profile/did:plc:evocfgfx3nkoccovotpzk6zc/post/3murpvsex33t2 -
..these records, finally, are perhaps two sides of the Monk coin -- one a stretching and contortion of what was already there, one pinning #theloniusmonk to the mast of improvised music and sailing off into the whorling void. Big up yourselves, everyone concerned #jazz #freejazz #improv #musicreview
RE: https://bsky.app/profile/did:plc:evocfgfx3nkoccovotpzk6zc/post/3murpvsex33t2 -
..these records, finally, are perhaps two sides of the Monk coin -- one a stretching and contortion of what was already there, one pinning #theloniusmonk to the mast of improvised music and sailing off into the whorling void. Big up yourselves, everyone concerned #jazz #freejazz #improv #musicreview
RE: https://bsky.app/profile/did:plc:evocfgfx3nkoccovotpzk6zc/post/3murpvsex33t2 -
..these records, finally, are perhaps two sides of the Monk coin -- one a stretching and contortion of what was already there, one pinning #theloniusmonk to the mast of improvised music and sailing off into the whorling void. Big up yourselves, everyone concerned #jazz #freejazz #improv #musicreview
RE: https://bsky.app/profile/did:plc:evocfgfx3nkoccovotpzk6zc/post/3murpvsex33t2 -
..these records, finally, are perhaps two sides of the Monk coin -- one a stretching and contortion of what was already there, one pinning #theloniusmonk to the mast of improvised music and sailing off into the whorling void. Big up yourselves, everyone concerned #jazz #freejazz #improv #musicreview
RE: https://bsky.app/profile/did:plc:evocfgfx3nkoccovotpzk6zc/post/3murpvsex33t2 -
Richard Andersson with Rudi Mahall, Artur Tuznik and Kasper Tom – Monk And More / أحمد [Ahmed] – Play Monk https://freq.org.uk/reviews/monk-play-monk/ @Hakarl ..these records, finally, are perhaps two sides of the Monk coin -- one a stretching and contortion of what was already there, one pinning #theloniusmonk to the mast of improvised music and sailing off into the whorling void. Big up yourselves, everyone concerned. #jazz #freejazz #improv #musicreview
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Richard Andersson with Rudi Mahall, Artur Tuznik and Kasper Tom – Monk And More / أحمد [Ahmed] – Play Monk https://freq.org.uk/reviews/monk-play-monk/ @Hakarl ..these records, finally, are perhaps two sides of the Monk coin -- one a stretching and contortion of what was already there, one pinning #theloniusmonk to the mast of improvised music and sailing off into the whorling void. Big up yourselves, everyone concerned. #jazz #freejazz #improv #musicreview
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Richard Andersson with Rudi Mahall, Artur Tuznik and Kasper Tom – Monk And More / أحمد [Ahmed] – Play Monk https://freq.org.uk/reviews/monk-play-monk/ @Hakarl ..these records, finally, are perhaps two sides of the Monk coin -- one a stretching and contortion of what was already there, one pinning #theloniusmonk to the mast of improvised music and sailing off into the whorling void. Big up yourselves, everyone concerned. #jazz #freejazz #improv #musicreview
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Richard Andersson with Rudi Mahall, Artur Tuznik and Kasper Tom – Monk And More / أحمد [Ahmed] – Play Monk https://freq.org.uk/reviews/monk-play-monk/ @Hakarl ..these records, finally, are perhaps two sides of the Monk coin -- one a stretching and contortion of what was already there, one pinning #theloniusmonk to the mast of improvised music and sailing off into the whorling void. Big up yourselves, everyone concerned. #jazz #freejazz #improv #musicreview
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Richard Andersson with Rudi Mahall, Artur Tuznik and Kasper Tom – Monk And More / أحمد [Ahmed] – Play Monk https://freq.org.uk/reviews/monk-play-monk/ @Hakarl ..these records, finally, are perhaps two sides of the Monk coin -- one a stretching and contortion of what was already there, one pinning #theloniusmonk to the mast of improvised music and sailing off into the whorling void. Big up yourselves, everyone concerned. #jazz #freejazz #improv #musicreview
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First listen: The Complete Machine Gun Sessions by The Peter Brötzmann Octet, released August 2007, originally released as Machine Gun, June 1968
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First listen: The Complete Machine Gun Sessions by The Peter Brötzmann Octet, released August 2007, originally released as Machine Gun, June 1968
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First listen: The Complete Machine Gun Sessions by The Peter Brötzmann Octet, released August 2007, originally released as Machine Gun, June 1968
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First listen: The Complete Machine Gun Sessions by The Peter Brötzmann Octet, released August 2007, originally released as Machine Gun, June 1968
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First listen: The Complete Machine Gun Sessions by The Peter Brötzmann Octet, released August 2007, originally released as Machine Gun, June 1968
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#saturday #newepisode of What's This Called? #radioshow for #FreeformPortland 6-8 PM Pacific Time!
90.3 FM & 98.3 FM on #TerrestrialRadio or #streaming #aroundtheworld from: http://listen.freeformportland.org:8000/stream
#ExpunkimentalMusic #drone #noise #postpunk #psychedelic #spacerock #freejazz #AvantGarage #strangemusic #noiserock #outsidermusic #musiqueconcrete #ElectroAcoustic #nowave #postrock #ambientmusic #plunderphonics #heavypsych #idmmusic #freeform
#archives (#listen anytime): https://whatsthiscalled.net/2026/08/28/29-august-2026/
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#saturday #newepisode of What's This Called? #radioshow on #FreeformPortland 6-8 PM Pacific Time.
90.3 FM & 98.3 FM #portland or #streaming #AroundTheWorld : http://listen.freeformportland.org:8000/stream
#ExpunkimentalMusic #drone #noise #heavypsych #PostPunk #AvantGarage #spacerock #freejazz #antifolk #electroacoustic #dub #musiqueconcrete #noiserock #psychfolk #postrock #strangemusic #undergroundmusic #ambientmusic #electronicmusic #FreeMusic #freeformradio
#archives (#listen anytime): https://whatsthiscalled.net/2026/08/14/15-august-2026/
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#hotorcold #JukeboxFridayNight #freejazz #MatthewShipp #WiliamParker #gershwin #summertime
The Matthew Shipp & William Parker Duo, "Summertime"
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Free Improvisers Meeting in Memmingen geht im Juni ’26 in die dritte Runde
https://jazzpages.de/free-improvisers-meeting-in-memmingen-geht-in-die-dritte-runde-2026-2605212/ -
Manfred Schoof wird 90 – Fotografien von Hans Kumpf und Manfred Rinderspacher
https://jazzpages.de/manfred-schoof-wird-90-fotografien-von-hans-kumpf-und-manfred-rinderspacher-2604051/ -
Drť (SK) + Donikąd + Szwindel | free jazz, avant rock, alt/indie rock grunge punk | koncert w Postoju, 23.01.2026, 20:00, 30 PLN
https://event.nemo.earth/event/drt-sk-donikad-or-free-jazz-avant-rock-altindie-rock
Muzyczny start nowego roku w postoju, już 4 razem, zaczynamy od wielkiego słowackiego wpierdolu feministyczno math rockowo free jazowo popierdolonego, czyli DRT. Do tego lokalne "donikąd" oraz "szwindel", czyli kolejne nowe wrocławskie zespoły które rosną szybciej niż inflacja, wpadajcie zobaczyć bo zaraz nam wyjdą z undengroundu, a nie ma lepszej piwnicy niż nasz salon, tak nam się przynajmniej wydaje.
Drť (free jazz, avant rock | Słowacja)
Zespół Drť powstał w 2019 roku z inicjatywy Miroslava Tótha. Od tego czasu wydał cztery albumy studyjne. Na żywo grupa wystąpi w nowym składzie, prezentując materiał z aktualnej płyty Drôtenky (Lowbottomy Records) – intensywny, skondensowany dźwięk czteroosobowego zespołu. Obok wokalu Zuzany Husárovej i barytonowego saksofonu Miroslava Tótha usłyszymy Jana Faixa na klawiszach oraz perkusistę Mariána Leskovskiego, znanego również z zespołu Shibuya Motors. Album Drôtenky wykorzystuje motyw błędnych ogników – świateł pojawiających się w ludowych przesądach, które nocą wabią ludzi na bagna – jako metaforę mierzenia się z kłamcami i manipulatorami:
„Kłamcy potrafią patrzeć prosto w oczy – tak długo, aż oszukany spuści wzrok, aż odwróci spojrzenie”.
https://drtband.bandcamp.com/album/ep-o-i-bez-bielok
Donikąd (alt rock, indie rock | Wrocław)
Donikąd to wrocławska grupa rockowa łącząca agresywne gitarowe riffy z chwytliwymi melodiami. Ich brzmienie czerpie zarówno z alternatywnego rocka lat 90., jak i ze współczesnego indie rocka. Teksty zespołu opowiadają o zmaganiach z trudnościami, które stawia życie, inni ludzie, a czasem my sami. W lipcu 2025 roku ukazała się ich debiutancka EP-ka „Rozmowy o Godzinie Trzeciej”.
https://linktr.ee/donikad.band
Szwindel (punk, grunge | Wrocław)
To nowa, wrocławska formacja, która zaskoczyła energicznym połączeniem grunguu i punku. Grają prawdziwe tsunami dźwięku oraz emocji, które na pewno porwie was w POGO! Warto dodać, że swoją demówkę nagrali mikrofalą, co na pewno ich wyróżnia, no to przyjdź na ten koncert i dołącz do takich pasjonatów.
https://www.instagram.com/szwindel.band/
Oddolne Centrum Społeczno-Kulturalne Postój,
Wrocław, ul. Metalowców 59b
https://postoj.org/adres-kontakt
Przestrzeń bezpieczna i wolna od alkoholu i środków odurzających.
Prosimy też o wsparcie nas finansowo, co bardzo pomoże nam działać dalej! https://postoj.org/fund/
Wydarzenie objęte patronatem Stowarzyszenia Nigdy Więcej w ramach akcji Muzyka Przeciw Rasizmowi: https://nigdywiecej.org
#freejazz, #avantrock, #altrock #indierock #grunge #punk #wroclaw #gig #koncert #muzyka #wydarzenie #trzezwakultura #trzezwaimpreza #trzezwezycie #trzezwosc
@Anxious_Musick_Magazine @pawarota @music @music -
#saturday #newepisode of What's This Called? #radio for #FreeformPortland #firstshow of #newyear2026! 6-8 PM Pacific Time 90.3 FM & 98.3 FM
#streaming #aroundtheworld: http://listen.freeformportland.org:8000/stream
#ExpunkimentalMusic #drone #noise #postpunk #psychedelic #AvantGarage #StrangeMusic #musiqueconcrete #electroacoustic #undergroundmusic #noiserock #freejazz #postrock #outsidermusic #plunderphonics #ambient #spacerock #heavypsych #freemusic #freeform
#ARCHIVED: https://whatsthiscalled.net/2026/01/02/3-january-2026/
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Drť (SK) + Donikąd | free jazz, avant rock, alt/indie rock
Oddolne Centrum Spoleczno Kulturalne Postój, Friday, January 23 at 08:00 PM GMT+1
PL:
Muzyczny start nowego roku w postoju, już 4 razem, zaczynamy od wielkiego słowackiego wpierdolu feministyczno math rockowo free jazowo popierdolonego, czyli DRT. Do tego lokalne "donikąd", czyli kolejny nowy wrocławski zespół który rośnie szybciej niż inflacja, wpadajcie zobaczyć bo zaraz nam wyjdą z undengroundu, a nie ma lepszej piwnicy niż nasz salon, tak nam się przynajmniej wydaje.
Drť (free jazz, avant rock | Słowacja)
Zespół Drť powstał w 2019 roku z inicjatywy Miroslava Tótha. Od tego czasu wydał cztery albumy studyjne. Na żywo grupa wystąpi w nowym składzie, prezentując materiał z aktualnej płyty Drôtenky (Lowbottomy Records) – intensywny, skondensowany dźwięk czteroosobowego zespołu. Obok wokalu Zuzany Husárovej i barytonowego saksofonu Miroslava Tótha usłyszymy Jana Faixa na klawiszach oraz perkusistę Mariána Leskovskiego, znanego również z zespołu Shibuya Motors. Album Drôtenky wykorzystuje motyw błędnych ogników – świateł pojawiających się w ludowych przesądach, które nocą wabią ludzi na bagna – jako metaforę mierzenia się z kłamcami i manipulatorami:
„Kłamcy potrafią patrzeć prosto w oczy – tak długo, aż oszukany spuści wzrok, aż odwróci spojrzenie”.
https://drtband.bandcamp.com/album/ep-o-i-bez-bielokDonikąd (alt rock, indie rock | Wrocław)
Donikąd to wrocławska grupa rockowa łącząca agresywne gitarowe riffy z chwytliwymi melodiami. Ich brzmienie czerpie zarówno z alternatywnego rocka lat 90., jak i ze współczesnego indie rocka. Teksty zespołu opowiadają o zmaganiach z trudnościami, które stawia życie, inni ludzie, a czasem my sami. W lipcu 2025 roku ukazała się ich debiutancka EP-ka „Rozmowy o Godzinie Trzeciej”.
https://linktr.ee/donikad.bandOddolne Centrum Społeczno-Kulturalne Postój,
Wrocław, ul. Metalowców 59b
https://postoj.org/adres-kontakt
Przestrzeń bezpieczna i wolna od alkoholu i środków odurzających.Prosimy też o wsparcie nas finansowo, co bardzo pomoże nam działać dalej! https://postoj.org/fund/
Wydarzenie objęte patronatem Stowarzyszenia Nigdy Więcej w ramach akcji Muzyka Przeciw Rasizmowi: https://nigdywiecej.org
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EN:
Musical start of the New Year in Postoj, already 4th times together, we start with the great Slovak feminist math rock free jazz - DRT. In addition, the local "donikąd", the new Wrocław's band that is growing faster than inflation, come and see because they are about to leave the underground in a moment, and there is no better basement than our living room, at least it seems to us.
Drt (free jazz, avant rock | Slovakia)
The Drť team was founded in 2019 on the initiative of Miroslav Tóth. He has since released four studio albums. The group will perform live in a new line – up, presenting material from the current album Drôtenky (Lowbottomy Records) - the intense, condensed sound of a four-piece band. Alongside the vocals of Zuzana Husárová and the baritone saxophone of Miroslav Tóth, we will hear Jan Faix on keyboards and the drummer Marián Leskovski, also known from the band Shibuya Motors. Drôtenky's Album uses the theme of false lights – lights appearing in folk superstitions that lure people to the swamp at night – as a metaphor for confronting liars and manipulators: "Liars can look straight into the eyes – as long as the deceived look down, until he looks away."
https://drtband.bandcamp.com/album/ep-o-i-bez-bielokDonikąd (alt rock, indie rock | Wroclaw)
It is a rock band from Wrocław, combining aggressive guitar riffs with catchy melodies. Their sound draws both from the alternative rock of the 90s. as in modern indie rock. The band's lyrics tell about the struggles of life, other people, and sometimes ourselves. In July 2025, they released their debut EP "conversations at three o'clock".
https://linktr.ee/donikad.bandGrassroot Socio-Cultural Center Postoj, Wrocław,
ul. Metalowiec 59b https://postoj.org/adres-kontakt
Space safe and free from alcohol and drugs.We also ask you to support us financially, which will help us a lot! https://postoj.org/fund/
Event under the patronage of the association Never Again as part of the action Music Against Racism: https://nigdywiecej.org
https://event.nemo.earth/event/drt-sk-donikad-or-free-jazz-avant-rock-altindie-rock
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Drť (SK) + Donikąd | free jazz, avant rock, alt/indie rock
23.01.2026, 20:00, 30 pln
https://squ.at/r/by8u
Muzyczny start nowego roku w postoju, już 4 razem, zaczynamy od wielkiego słowackiego wpierdolu feministyczno math rockowo free jazowo popierdolonego, czyli DRT. Do tego lokalne "donikąd", czyli kolejny nowy wrocławski zespół który rośnie szybciej niż inflacja, wpadajcie zobaczyć bo zaraz nam wyjdą z undengroundu, a nie ma lepszej piwnicy niż nasz salon, tak nam się przynajmniej wydaje.
Drť (free jazz, avant rock | Słowacja)
https://drtband.bandcamp.com/album/ep-o-i-bez-bielok
Donikąd (alt rock, indie rock | Wrocław)
https://linktr.ee/donikad.band
Oddolne Centrum Społeczno-Kulturalne Postój,
Wrocław, ul. Metalowców 59b
https://postoj.org/adres-kontakt
Przestrzeń bezpieczna i wolna od alkoholu i środków odurzających.
Prosimy też o wsparcie nas finansowo, co bardzo pomoże nam działać dalej! https://postoj.org/fund/
Wydarzenie objęte patronatem Stowarzyszenia Nigdy Więcej w ramach akcji Muzyka Przeciw Rasizmowi: https://nigdywiecej.org
#trzezwakultura #trzezwaimpreza #muzyka #wroclaw #wydarzenie #koncert #impreza #nigdywiecej #freejazz #avantrock #altrock #indierock #drtband #donikadband
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Kim Hiorthøy – Dust Knuckle
#Electronic #Experimental #Norway #ambient #freejazz #kimhiorthoy #tapemusic #Italy
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://superpang.bandcamp.com/album/dust-knuckle -
Heathe – Control Your Soul’s Desire For Freedom Review
By Samguineous Maximus
As I prowled the depths of the promo bin, preparing for my next review, a peculiar glint caught my eye. The label read, “RADIOACTIVE: FOR N00B ABUSE ONLY,” and below it, in what must have been an act of genre-tag terrorism, sat the words: nü metal/gospel/jazz. I briefly considered calling the authorities, but morbid curiosity won out. What kind of unholy chimera lurks inside something with that particular trifecta? I dusted off the cover like a bomb disposal tech, hoping the wires are color-coded. The culprit is Control Your Soul’s Desire For Freedom, the sophomore album from Danish group Heathe. The press blurb boasts “dissonance and endless repetition” alongside “depressive pop, live techno and pitch-black post-hardcore.” This project is either utterly revolutionary or catastrophically bad. Has Heathe somehow crafted an engaging 65-minute aural journey against all odds? Or will Control Your Soul’s Desire For Freedom see them disappear completely into the caverns of their own rectum?
As it turns out, the central sound on Control Your Soul’s Desire For Freedom isn’t quite as mind-boggling as it might seem. I’d place Heathe in the same category as The Body or Swans—sonic provocateurs who rely on oppressive atmosphere in tandem with monotonous repetition while pulling liberally from various musical traditions to convey emotion, often at the cost of songwriting. There are indeed notes of nü metal, gospel, and jazz scattered throughout the album, but they don’t redefine Heathe’s core aesthetic. Instead, these elements serve to augment the central concept or thematic devices of each track. Control Your Soul’s Desire For Freedom is clearly intended more as a listening “experience” meant to illicit powerful emotions than a collection of songs for consumptive pleasure. Each of the 6 tracks offers a different flavor of existential dread, ranging from harsh industrial loops accented by jazzy horns (“My Gods Destroy”) to Massive Attack-like triphop ethereal beats and autotuned choral vocals (“Uproar Taking Shape”). The only constants across them are a throat-shredding screamo wail, which makes up the majority of Heathe’s vocal delivery, 1 and an almost slavish devotion to repetition.
Each song is built on a distinct rhythmic or melodic idea, repeated ad nauseam throughout its runtime. To their credit, Heathe add nuance by carefully shaping the pacing and delivery of these repetitions. Opener “Black Milk Sour Soil” begins with a cappella screams that persist for several minutes before giving way to subtle synth rhythms, tribal drumming, and ominous group chanting. “Valencia’s Next” employs many of the same elements but builds them around a hypnotic central drum loop, adding and subtracting blasts of harsh noise alongside, yes, jazz flute. Individually, these tracks are compelling and texturally rich. Taken together, however, the elongated song lengths and the band’s preference for atmosphere over traditional song structure can make a full-album listen daunting. To their credit, Heathe place powerful climaxes at the end of several tracks, ecstatic post-rock crescendos where the horns and choirs break into consonance, but they aren’t enough to entice me back into repeated listens.In many ways, Control Your Soul’s Desire For Freedom feels less like a conventional album and more like a performance art piece designed for a live audience. Heathe clearly understand how to convey emotional intensity, both uplifting and harrowing, and they wield that skill to striking effect. The final track, “Black As Oil,” is a gorgeous blend of modern classical and ambient, serving as a powerful yet bittersweet resolution after an album steeped in oppressive textures. As the strained vocals fade over shimmering guitar melodies, I’m hit with a wave of emotion—a kind of pained calmness. It’s the same sensation I might get from an avant-garde live performance that’s both awe-inspiring and slightly alienating. There’s real power in Heathe’s ability to evoke that feeling, but as a piece of recorded music, it leaves me wanting just a little more.
Control Your Soul’s Desire For Freedom is a difficult album for me to pin down. As a fan of the autre and experimental, I’ve endured more than my fair share of tuneless dirges masquerading as clever, and Heathe are not guilty of that. Beyond offering genuinely novel and distinctive sounds, there’s a powerful emotional core to this album that I deeply respect, but not one I’m keen to repeatedly partake in. Heathe are a band I’ll definitely be keeping an eye on, and I’d love to experience their brand of sonic alienation in a live setting. For now, though, they fall short of delivering an album that feels truly essential.
Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Empty Tape / Virkelighedsfjern
Websites: hethe.bandcamp.com|facebook.com/heathedeath
Releases Worldwide: October 3rd, 2025#25 #2025 #ControlYourSoulSDesireForFreedom #Denmark #Drone #EmptyTape #Experimental #FreeJazz #Heathe #Industrial #MassiveAttack #Noise #NuMetal #Oct25 #PostHardcore #Review #Reviews #Swans #TheBody #Virkelighedsfjern
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Ava Mendoza/Gabby Fluke-Mogul/Carolina Pérez – Mama Killa Review
By Angry Metal Guy
By: Nameless_n00b_601
The more experimental a piece of music is, the harder it must work to ground its artistic expression in an emotional or compositional core. Dazzling displays of aural innovation or sonic provocation still need a conceptual throughline—something for even the most open-minded listener to latch onto. As a fan of more “challenging” styles, I find there’s a fine line between music that feels like “artistic expression for its own sake” and music that offers “engaging tunes I actually want to listen to.” Mama Killa is the debut improvisational collaborative album from a trio with an impressive musical pedigree, consisting of guitarist Ava Mendoza (Bill Orcutt Guitar Quartet, Unnatural Ways), violinist Gabby Fluke-Mogul (Zoh Amba, Ivo Perelman, William Parker), and drummer Carolina Pérez (Hypoxia, Castrator). Named after the Incan goddess of the moon, the album promises “eight tracks of high-volume, riff-based guitar-violin improvisation bolstered by thunderous drumming.” Can this newly formed power trio avoid the common pitfalls of experimental music and deliver over 50 minutes of compelling, instrumental free jazz?
Mama Killa offers a set of compositions that resist easy classification. While “free jazz” is likely the closest label, the sound here is a novel fusion of dissonant aesthetics, ambient impulses, Afro-Latin grooves, and avant-garde metal. I’d point to John Zorn’s more metal-focused offerings, or the most recent Mamaleek albums as potential antecedents, but Mama Killa truly sounds like nothing else. Each player draws from their unique background to craft performances that exist at a stylistic crossroads. Mendoza’s guitar work ranges from off-kilter psychedelic blues riffs, effects-heavy noise, and introspective drone, punctuated by ethereal, tremolo-picked leads. Her ingenuity is matched by Fluke-Mogul, whose violin playing is both versatile and unpredictable. She uses an array of techniques and effects pedals to summon everything from shrieking wails to rhythmic plucking and somber melodies. Pérez, meanwhile, brings her death metal roots to the drum kit, incorporating double bass gallops and anchoring the string players with a solid, rock-oriented foundation. While her style may lack the finesse and tight precision of a traditional jazz drummer, her command of dynamics, fluidity, and aggression elevate the string pyrotechnics of her bandmates.
The album and its track list are held together by a close attention to dynamics, allowing the listener to distinguish peaks from valleys in what might otherwise feel like formless terrain. High-intensity, riff-driven tracks like raucous opener “Puma Punku,” the black metal-tinged “We Will Be Millions” and the krautrock-inspired “Nowhere but Here” are spaced out by slower, more contemplative pieces that highlight different elements of the trio’s artistry. “Trichocereus Pachanoi” places Pérez in the spotlight with an undulating drum solo that eventually gives way to Sunn O)))-like waves of guitar drone—a motif expanded in the tense and unsettling “Mama Huaco.” Meanwhile, “Partera Party” centers Fluke-Mogul, who begins with a sparse, exhilarating violin solo before easing into an almost playful groove once the drums enter. This sense of contrast lends Mama Killa a strong pacing. Whenever the trio’s intensity hits a peak, it is soon tempered by several minutes of minimalist reflection. While some of the quieter moments occasionally linger a bit too long, the album overall offers a surprisingly well-balanced listening experience, especially for a genre so rooted in unpredictability.
It helps that Mama Killa features a raw, no-frills production style that not only highlights its careful use of dynamics but also brings sonic clarity to its adventurous performances. Legendary engineer Martin Bisi (Sonic Youth, Swans, Boredoms) captures everything from the subtle hiss of Mendosa’s amps to the soft timbre of Pérez’s cymbal wash, placing the listener firmly in the room without relying on studio tricks that might dilute the emotion of these pieces. This allows the gorgeous violin melody of “Amazing Graces” and the slow-burn, post-rock build of the closer “Mama Coco” to truly resonate. Unfortunately, the production does highlight a somewhat weak vocal performance on 2 tracks (“Puma Punku” and “Nowhere but Here”), where improvised blackened yelps appear to distract from the stellar instrumental parts. This is ultimately a small complaint, but it does detract slightly from an otherwise impressive work.
Mama Killa is an exciting debut that manages to both chart new sonic territory and entertain while doing so. It certainly stands as a challenging work which listeners might not be keen to partake in regularly, but for those willing to embark, Mama Killa offers a unique and varied work of experimental music with a sly thematic core. It’s an album where each contributor’s artistic voice is clearly discernible, and their cohesion elevates this collection of improvised music beyond typical genre pitfalls. If the trio finds time amid their busy musical schedules to release another project, it will be exciting to see how they might further develop an already compelling formula.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: Lossless
Label: Burning Ambulance Music
Website: mendozaflukemogulperez.bandcamp.com
Releases Worldwide: July 11th, 2025#2025 #AvaMendozaGabbyFlukeMogulCarolinaPérez #Castrator #FreeJazz #Hypoxia #JohnZorn #Jul25 #Mamaleek #Progressive #Review #Reviews #Sunn #SunnO_ #Swans
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It’s a Don Cherry sort of day, so I’m listening to Don Cherry.
https://bygrecords.bandcamp.com/album/mu-first-part-mu-second-part
#DonCherry #MuFirstPart #MuSecondPart #EdBlackwell #FreeJazz #ImprovisedMusic @improvisedmusic
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SOTHIAC feat. RICCARDO SINIGAGLIA live @ SpazioPontano35
Sabato 17 maggio, dalle 21:00 alle 23:00, presso Spazio Pontano35, Via Pontano, 35 Milano
Sabato 17 Maggio allo Spazio Pontano con il set di improv/kraut con i Sothiac e con il Maestro Riccardo Sinigaglia di Futuro Antico!
https://www.riccardosinigaglia.com/sini/bioit.html
Prima parte: Riccardo Sinigaglia solo set
Pausa
Seconda parte: Sothiac con Riccardo SinigagliaSothiac è un modo di essere e di pensare alla ricerca di una creatività autentica.
Moon- voce e synth
Shine - chitarra e cetra elettrica
Angie - chitarra, flauto traverso e synth
borda - batteriaTra le loro esperienze hanno aperto ai Faust al Café Oto di Londra e a Jozef Van Wissem.
Hanno registrato un Album ad Amburgo con Amaury Cambuzat dei Ulan Bator e Faust e firmato per la 33 Jazz Records rilasciando due Album per il progetto trio con il sassofonista e produttore inglese Paul Jolly che ha aperto ai Black Sabbath negli anni 70.
Il tour in Giappone nel 2016 (18 date in 22 giorni) e tra il 2017 e 18' in Europa e in Cina attraversandola da nord a sud tutta in treno spingendosi in Manciuria suonando come prima
band europea.
La vocalist Pat Moonchy (Moon) fa parte del progetto Moonchy & Tobias con il produttore americano Todd Tobias (Robert Pollard, Ipecac Records di Mike Patton).
Angelo Avogadri (Angie) ha fatto parte dei Giöbia e La Morte viene dallo Spazio.
Il batterista borda (Teo Ravelli) ha registrato un Album con il chitarrista dei Rollins Band Chris Haskett.https://www.facebook.com/profile.php?id=100063930600682
https://www.facebook.com/riccardo.sinigaglia.35
Spazio Pontano 35
Via Pontano 35, 20127 Milano
Inizio concerti h. 21:00
ingresso ore 20:30
ingresso con tessera associativa (€5) + offerta libera#AltreMusiche #AngeloAvogadri #nolo #PatMoonchy #RiccardoSinigaglia #sothiac #SpazioPontano35 #sperimentale #TeoRavelli #FuturoAntico #FreeJazz #experimental #CosmicMusic #avantjazz #krautrock #LucioLiguori #Milano
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Susan Alcorn & George Burt – A&B
#Jazz #experimental #freeimprov #freeimprovisation #freejazz #georgeburt #guitar #pedalsteel #susanalcorn #UK
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives)
https://iorramrecords.bandcamp.com/album/a-b -
Don Cherry - "Mu" First Part & "Mu" Second Part
So good!!
Drums, Trumpet, not much more needed.https://bygrecords.bandcamp.com/album/mu-first-part-mu-second-part
#DonCherry – trumpet, piano, flute, voice, bells, percussion
#EdBlackwell – drums, percussion, bells -
Live at Bab-Ilo
by RKS TrioLive at Bab-Ilo
Quentin Rollet : sopranino and alto saxes, Korg Monotron Delay, iPhone, SmarFaust App
Michel Kristof : electric guitard, Sfx, cowbells
Makoto Sato : drums
Recorded In Paris, 02-09-24 at the Bab-Ilo
Anthea : artwork
credits
released February 29, 2024#jazztrio #experimentalmusic #experimentalguitar #freejazz #muteantsounds #netlabel
https://muteantsoundsnetlabel.bandcamp.com/album/live-at-bab-ilo
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2
by 3MTRIOMakoto Sato : drums (right channel)
Marcio Gibson : drums (left channel)
Michel Kristof : e. guitara feral symphony of free jazz / improv vibrations.
the non stop, free form drums of Makoto Sato -drums (right channel) /
Marcio Gibson -drums (left channel)
creates the movement that Michel Kristof uses to place his kinetic and spastic guitar into.#experimentalmusic #experimentalguitar #muteantsounds #3mtrio #jazztrio #freejazz
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Oh ja, die Promo-CDs sind jetzt auch da 🙂
#jazz #freejazz #enjoyjazz #live #Ditzner #Szafirowski #LucEx #fixcel #fixcelrecords #liveatenjoyjazz #carteblanche #enjoyjazz #Mannheim #Heidelberg #Ludwigshafen #altefeuerwachemanheim #RheinNeckar #MetropolregionRheinNeckar
