#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 -
#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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#saturday #newepisode of What's This Called? #radioshow for #FreeformPortland 6-8 PM Pacific Time!
90.3 FM & 98.3 FM #aroundpdx #streaming #aroundtheworld from: http://listen.freeformportland.org:8000/stream
#ExpunkimentalMusic #heavypsych #protometal #postpunk #drone #noise #noiserock #freejazz #electroacoustic #musiqueconcrète #plunderphonics #AvantGarage #experimentalmusic #spacerock #postrock #dub #nowave #electronicmusic #freemusic #freeformradio
#archives (#listen anytime!): https://whatsthiscalled.net/2026/07/31/1-august-2026/
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#saturday 6-8 PM PDT What's This Called? #newradioshow #FreeformPortland!
90.3 FM & 98.3 FM #TerrestrialRadio #portland
#streaming #AroundTheWorld http://listen.freeformportland.org:8000/stream#ExpunkimentalMusic #drone #noise #PostPunk #psychedelic #AvantGarage #strangemusic #undergroundmusic #psychfolk #heavypsych #spacerock #noiserock #postrock #protometal #protopunk #resistancemusic #freejazz #ElectronicMusic #musiqueconcrete #electroacoustic #plunderphonics
#archives (#listenanytime) https://whatsthiscalled.net/2026/07/17/18-july-2026/
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#saturday #4thofJuly #newepisode of What's This Called? #radioshow for #FreeformPortland 6-8 PM Pacific Time.
90.3 FM & 98.3 FM: #TerrestrialRadio in #portland & #streaming #aroundtheworld: http://listen.freeformportland.org:8000/stream
#ExpunkimentalMusic #Drone #noise #PostPunk #postmetal #psychedelic #AvantGarage #strangemusic #undergroundmusic #noiserock #freejazz #freemusic #hiphop #soulmusic #plunderphonics #outsidermusic #garagerock #FreedomRock #freeform
#ARCHIVED (#listen anytime): https://whatsthiscalled.net/2026/07/04/4-july-2026/
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#tonight 2 hours after the What's This Called? #radioshow Ricardo Wang will be subbing Lazer Bacon's Snaq Attack! 10 to Midnight PDT on #FreeformPortland!
90.3 FM & 98.3 FM on #TerrestrialRadio in #portland & #streaming #AroundTheWorld: http://listen.freeformportland.org:8000/stream
#soulmusic #reggae #ExpunkimentalMusic #electronicmusic #vaporwave #hiphop #postpunk #noiserock #psychrock #freejazz #popmusic #undergroundmusic #freemusic #freeform !
#archive (#listen anytime!): https://whatsthiscalled.net/2026/06/20/guest-host-for-snaq-attack-20-june-2026/
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#saturday #newepisode What's This Called? #radioshow on Freeform Portland! 6-8 PM Pacific Time.
90.3 FM & 98.3 FM #TerrestrialRadio in #portland #streaming #aroundtheworld http://listen.freeformportland.org:8000/stream
#ExpunkimentalMusic #dronemusic #noise #postpunk #garage #psychedelic #AvantGarage #outsidermusic #spacerock #freejazz #strangemusic #undergroundmusic #ambientmusic #noiserock #electroacoustic #SoundArt #plunderphonics #avantfolk #heavypsych
#archives (#listen anytime!): https://whatsthiscalled.net/2026/06/19/20-june-2026/
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Bull of Heaven – 342: Good Night, Sweet Prince, Vol. 5
#Experimental #ExperimentalHipHop #FreeImprovisation #FreeJazz #Glitch #IDM #Noise #NoiseRock #SoundCollage #Denver
CC BY (#CreativeCommons Attribution) #ccmusic
https://bullofheavendc.bandcamp.com/album/342-good-night-sweet-prince-vol-5 -
Le punk nous a apporté un certain réconfort. Si tu habites dans une ville où il se passe que dalle, tu rêves.
#ThePopGroup #PostPunk #PunkMusic
#Bristols #UK #NoiseRock #Bass
#Funk #FreeJazz #Dub #music #socialmediahttps://www.youtube.com/watch?v=VONjSHTAIto&list=RDVONjSHTAIto&index=1
https://www.youtube.com/watch?v=v1vc_BbBaPs
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Under – What Happened In Roundwood Review By Samguineous MaximusThere’s something tantalizing about the brand of metal-adjacent noise rock that’s experienced a renaissance in recent years. It’s ugly, it’s loud, and it doesn’t give a damn if you’re comfortable. You’ve got breakout stars Chat Pile dragging nü-metal’s bloated corpse through the mud, Couch Slut dishing out dissonant, riff-heavy nightmare fuel, and Intercourse sounding like a feral animal tearing flesh for fun. This isn’t “revival” music; it’s bands weaponizing noise, smashing metal’s brute force into punk’s emotional hemorrhaging, and then deliberately breaking whatever’s left just to see it scream. Enter the UK’s Under, stepping into this mess with zero interest in playing nice. They fuse sludge metal’s suffocating weight, noise rock’s hostility, and art rock’s weird, confrontational instincts into something genuinely unhinged. Their third record, What Happened In Roundwood, doesn’t aim to be palatable. It aims to crush, mesmerize, and leave a dent. The question isn’t what they’re doing—it’s whether Under hit hard enough to leave permanent damage.
In the first half of What Happened In Roundwood, Under establishes their own distinct style that sits nicely in conversation with their American contemporaries. The foundations of these songs are built on angular sludge riffs over looping odd time signatures and off-kilter rhythmic patterns, like if a more avant-garde Melvins crashed into a version of Swans that was capable of editing. Bassist and vocalist Matt Franklin anchors the music with simple but weighty low-end riffs, locking tightly with drummer Andy Preece’s commanding, hypnotic grooves. Guitarist Simon Mayo fills in the gaps with jagged riffs and layers of dissonant, skronk-heavy leads. Franklin lends a sneering, British rasp to the endeavor, guiding the songs with an impassioned vocal performance that successfully conveys the aural depravity on display. This formula is deepened with the addition of menacing choral vocals and harmonies (“Ma,” “The Alchemist”), swirling guitar cacophonies (“Tantrum), and even Primitive Man-tinged, slow noise bursts (“Isaac”). It’s an effective and thoroughly unsettling display with just enough variety in its execution to keep things exciting until the B-side obliterates any sense of normalcy.
What Happened In Roundwood by Under
In the second half of What Happens In Roundwood, Under undergo a dramatic sonic shift, and the results are thrilling. The final stretch of the album leans heavily into exploratory, avant-garde jazz-influenced territory, with the tracks flowing seamlessly into one another like a three-part suite. These songs stand out as the album’s clear highlights. The sequence begins with “Rings,” which unfolds in a state of subdued horror, slowly building tension through sparse instrumentation before reaching a blissful climax. This transitions smoothly into “Roots and Limbs,” a jazzy, post-hardcore-like track that increases the tempo and intensity, providing a sense of release after several slower songs. All of this builds toward the closer, “Felling.” The final track plays out like a fever dream, reprising key moments from earlier in the album and reshaping them into a chaotic haze of noise. When the music finally collapses into rich choral vocals, it feels like the calm at the center of a storm. A perfect ending to a bold and striking second half.
This places What Happens in Roundwood in a peculiar position. The second half of the record explores markedly different sonic territory than the first, and is stronger for it. Under’s more standard sound, showcased on the first five tracks, is engaging, but compared to the highs of the final three, it falls a little short. Repeated listens leave me wanting just a bit more grit or memorability in the more straightforward sludge riffcraft before it gives way to the more exploratory material. I appreciate the band’s efforts to vary their noise-rock/sludge approach through vocal layers/embellishments or a Southern tinge (“Escape Roundwood”), but I find myself largely whelmed by the opening salvo. This isn’t a major mark against the record; the album is solid throughout. Still, it keeps the work from standing quite as tall alongside some of my favorites in the style.
With What Happens In Roundwood, Under have delivered a solid sludgy noise rock record with plenty of autre appeal. I wish the impressive oddity were distributed a bit more evenly throughout the album’s runtime, but it’s still an enjoyable listen that carves out its own unique niche within the broader style. The next time the UK group revisits their brand of sinister sludge, I’ll be excited to listen.
Rating: Good!
#2026 #30 #APFRecords #ArtRock #ChatPile #CouchSlut #ExperimentalMetal #FreeJazz #Intercourse #Jan26 #Melvins #NoiseRock #PrimitiveMan #Review #Reviews #SludgeMetal #Swans #UKMetal #Under #WhatHappenedInRoundwood
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: APF Records
Websites: understockport.bandcamp.com | facebook.com/understockport
Releases Worldwide: January 23rd, 2026 -
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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Free download codes:
Spite Cathedral - Life Kills, Bury Me In Concrete Once Again
"Described as 'sounding like the bastard son of Genesis P. Orridge and Alice Coltrane'."
#experimental #drone #noise #industrial #abstract #freejazz #musiqueconcrte #music
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Dutchyyy – Mother (Nocturnalis) EP
#HipHopRap #Meditationmusic #freejazz #gamesoundtrack #instrumentalhiphop #lofihiphop #Tampa
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://dutchmassive.bandcamp.com/album/mother-nocturnalis-ep -
#NowPlaying Jimmy Lyons & Sunny Murray Trio - Jump Up/What To Do About (Hat Hut Records, Switzerland 1981).
Recorded live at Jazz Festival Willisau '80 on August 30, 1980.
With John Lindberg on bass.
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Cecil Taylor - "It Is In The Brewing Luminous" (1980)
#NowPlaying #CecilTaylor #SunnyMurray #JimmyLyons #AlanSilva #RamseyAmeen #JeromeCooper #HatHut #improv #jazzimprov #freejazz #jazz #vinyl #vinylrecords @vinylrecords
