ACL 2025 ~ Spring Music Preview

Experimental

ACL 2025 ~ Spring Music Preview ~ Experimental

Over a year ago, we predicted that experimental music would head in an even more multi-cultural, collaborative direction; this spring’s albums are the proof. Musicians from disparate genres guest star on each other’s albums, and in many cases co-compose. The world seems smaller, and more lovely, than we often see. These musicians are leading the way in creativity and imagination, offering us not only the possibilities of what music might sound like, but what society might look like if we could only set aside our differences and work together. If the outer world seems resistant to this message, it’s all the more important to hear.

Our cover image is taken from Penelope Trappes’ A Requiem, which was announced so early it was also listed in our Winter Music Preview! Soon we’ll all be able to welcome it together, as it blossoms like the large flowers on the cover. More details below!

Electro-Acoustic

ACL’s 2024 Label of the Year, forms of minutiae, has an ambitious plan for 2025: to call attention to the climate crisis, especially as it pertains to glaciers and melting ice. The label’s first release of the year comes from Marc Namblard, whose arctic summer will be released on March 21, the first World Day of Glaciers as proclaimed by the UN, who are also calling 2025 the International Year of Glaciers’ Preservation. The recordings, made in Iceland and Svalbard, tell a tale that sounds like an adventure but is actually real life. This will be followed in May by Ludwig Berger’s crying glacier, the OST to the short film of the same name, which received A Vimeo Staff Pick upon its release.

Natasha Barrett returns with Toxic Colour, in which field recordings receive electro-acoustic treatments. Among other studies, the set includes the third installment of the ongoing “Impossible Moments from Venice” series (Persistence of Sound, March 28). Daniel Blinkhorn finds the Wave Function in recordings of bushfires, ping-pong balls, a zither and more, often obscuring the original sounds in order to dive beneath their surfaces (Audiobulb, April 12). Edições CN offers three new releases on March 27 (along with two reissues). Shell I is the first of the newbies, an intimate collection that travels from forest to sea, incorporating Florence Cats‘ field recordings, theremin, piano and voice. Bryn Davis‘ Sometimes Things Change is a sound journal, replete with birds, leaf blowers, video game beats and manipulated tape. And Slow Reading Club and Charlie Usher‘s LEARNING is a choral exploration of Cornelius Cardew’s Paragraph 7, sung by an amateur choir who seems to be enjoying themselves quite a bit.

Bayt Yakan combines field recordings and performance walks in and around Luca Nasciuti‘s renovated building. The album is a study of time and transformation and a tribute to the city of Cairo (Flaming Pines, April 18). Using field recordings, tape loops and shortwaves radio, dogs versus shadows creates an examination of Nottingham’s sewage-filled River Trent. Ghost Artery is an elegy whose subject matter is stark enough to infuriate (Flaming Pines, March 21). Orchid Mantis / Breach is a split release with an environmental flavor. Michelle Helene Mackenzie and Stefan Maier‘s side is dedicated to Taiwan’s abandoned Sanzhi Pod City, now an insect haven; Olivia Block‘s side is an ode to the San Ignacio lagoon, a mating spot for grey whales (Portraits GRM, May 16). 8760 hours of audio have been edited down to only four on Joshua Bonnetta‘s The Pines, which covers a sonic year in the life of a single tree. Divided into seasons, the set provides a new answer to the old question about a tree in a forest (Shelter Press, April 3).

Difficult Art & Music has three albums slated for spring, and has already announced one for summer; now that’s proactive! The fun starts with the double compilation I Only Like Difficult Art (and music), which draws from a wide field, a perfect introduction to the label. Scolpaig‘s Spaceport One includes a 50-page art book, and addresses plans to disrupt the Scottish environment in order to build a spaceport that may never be used (April 11). Will Parker‘s Red Lake, Black Mine is also an art book, including the graphic score; the music, inspired by digging in Cornwall, includes song, dialogue and field recording (April 11). And Distant Animals‘ Old Works for Temperamental Strings is a collection of rarities all gathered in one place and perfect for completists (July 2).

Nick Storring plays dozens of instruments on Mirante, many of them percussive, including bawu, hulusi, xaphoon, cuíca, khamak and Boomwhackers, whirly tubes and dog whistles. The album, a tribute to Brazil, sounds like one man’s all-day party (We Are Busy Bodies, March 21). Percussion, synthesizer and tape manipulation all feature on Philippe Petit‘s Closing Our Eyes; listeners are invited to use their imaginations to create their own individual narratives (Cronica, April 1). Molto Ohm‘s FEED is a commentary on modern existence, a sonic play that includes beats, samples and stuttered narrative. The album uses technology to comment on technology, a curious conundrum (New Focus, March 21). Giles Aubry references the advent of the turntable on L’Makina, which features Ali Faiq on vocals and Idr Bazrou on lotar and rebab, while adding a machine learning algorithm (Corvo, May 15).

Here’s a fun one: Andreas O. Hirsch‘s The Salamander Treaty is inspired by Karel Čapek’s 1936 novel War With the Newts, and includes the artist’s own Carbophone Jr. and Electrified Palm Leaf. The salamanders’ peaceful desires carry a message that remains contemporary nearly a century later (April 4). No Hay Banda | Steven Takasugi | Huei Lin‘s Il Teatro Rosso sounds like a circus and looks like a cabaret. The Montreal ensemble has a flair for the theatrical, and honors the spirit of David Lynch. A short snippet can be seen here (No Hay Discos, April 25(). The Great Learning Orchestra resurrects 1964 texts and instructions from Yoko Ono, startng with Bicycle Piece for Orchestra. The double album Selected Recordings from Grapefruit is out March 21.

The timbres of Avian Art & Stein Urheim are just right for spring; the acoustic and electronic elements create a sweetly blended sound that bursts from the speakers like multicolored flowers. A Ripple Song is the title track and first single (March 21). Sound artist and trumpeter duo Bilayer and trumpeter Sarah-Jane Summers meet on Illrie to celebrate nature in all of its forms. The title is Norwegian for snowstorm, and the moods of the music change with the subjects: sometimes drone, sometimes jam (Aurora, March 28). Gagi Petrovic demonstrates incredible variety across the course of Music for Dance and Theatre 2011-2024. The pieces range from ambient to drone to industrial, with heavy doses of the avant garde. The generous running time allows ample space for development (Moving Furniture, March 28).

Larum‘s The Music of Hildegard von Bingen Part II heads in unexpected directions, from languid jazz to guitar drone, thanks to guest stars Bill Orcutt, Kokomo and Okkyung Lee. Through it all, the spiritual aspects of the music continue to shine (Puremagnetik, April 11). Longtime multi-collaborators Sissy Spacek again recruit a host of guests for Entrance, a set of musique concrète that delves into dissonance and abstraction, touching on the outer reaches of sound (Shelter Press, April 4). Ale Hop, Sara Persico, Anthony Pateras and many more contribute to Ricardo La Foresta‘s ZERO, 999, which is constructed of pre-recorded snippets of drummophone and repurposed in dense and often dark arrangements (OOH-Sounds, April 11).

Norwegian vocalist Bodil Rørtveit offers a gorgeous, multi-layered meditation on stargazing, “a vocal soundscape without words,” on Djupna (Deep). Stjerneteppe, which means “blanket of stars,” is the first single (Rainshine, April 4). In contrast, Penelope Trappes‘ A Requiem is dark and immersive, more like the spaces between the stars, enhanced by cello drones and raw electronic treatments (One Little Independent, April 4). One can’t really get more experimental than the team of SUMAC and Moor Mother. The artists first collaborated on an EP last year and are now preparing to unveil The Film, a concept album with plenty on its mind and the powerful music to back it up (Thrill Jockey, April 25).

Félicia Atkinson, Time is Away, Christina Petrie, and Maxine Funke are now Annie A, a creative ensemble that combines electronics, field recordings, poetry and more, creating a beguiling sonic world. The Wind That Had Not Touched Land is out March 28 on A Colourful Storm. Zurich duo Gūsū offer an intriguing blend of guzheng, spoken word and electronics on The Ending Was a Typical Part, honoring Chinese culture with patient poetry (Subject to Restrictions Discs, April 4). Seeking to replicate the feeling of being storm-tossed out on the Mediterranean Sea, Big Hands recruits an international array of guest stars on bells, balafon, bamboo kit and more, creating an international flavor. Thauma also incorporates field recordings and spoken word, adding to the intimacy (Marionette, April 11). Recitations of Jean-Luc Nancy’s fifty-eight indices on the body feature strongly on Stephen Roddy‘s Corpus / Mimesis, surrounded by shifting frameworks of sound (April 11). The title of Tam Lin‘s bluelit, no voice can be taken literally; the instrumental version of last year’s album removes the words, although fragments can still be heard on pieces such as “Baby Chime” (Flaming Pines, April 4).

Jazz and Improvisation

577 Records continues their incredible pace with a plethora of spring releases. Daniel Carter’s new trio Dawn After Dawn delves into dub, reggae, funk and a whole host of genres on Home Is Where You Are (March 28). Sonic Chambers Quartet makes its debut with the soulful Kiss of the Earth, the ground blooming with clarinet and saxophone (April 11). What About the Butterfly, asks Jackie Myers on a vocal jazz set that has a possibility of crossing over (April 18). Roberto Cassani / Graeme Stephen serve up a plate of Pictish Spaghetti, topped with double bass and Morricone guitar (April 25). Saxist Eric Shorter makes his debut on Shorter Bendian Shields, on which he also plays flute, guitar, bass and drums (May 2). Despite its forlorn title, Jacobo Vega-Albela‘s Unbelonging is “underpinned by joy, optimism and love,” an encouraging communication (May 6). Daniel Carter reappears with friends as Makeshift Spirituals, a quartet who engages in an extended jam session on Volume 1 (May 15). And Eva Novoa leads the Novoa / Kamaguchi / Cleaver Trio on Vol. 2, a languid and patient release (May 23).

Saxophone and clarinet intertwine on Radiesthésie, a breathy new release from Bertrand Gauguet | Jean-Luc Petit on UNRec (March 21). Saxophonist Amalie Dahl leads a quartet on Breaking/Building Habits, a live jazz recording that represents the first release on Sheep Chase Records imprint Sauajazz (April 4). Meanwhile, saxophonist Tara Sarter founds the trio Sarter Kit, releasing What I Am And What I’m Not, a minimalist recording that nevertheless manages to be funky (Squama Recordings, March 21); and saxophonist Stephen Page tackles the work of three composers on Earthly Round, which addresses the climate crisis in a myriad of fashions, blending chamber music and jazz. The title track is the first single (Navona, March 21). Scott Hamilton and Triology invite listeners to take The Slow Road this spring; the saxophonist creates a sonic path for relaxation (Cellar Music, April 11). Two alto saxophones contribute to the calm vibe of Sprechiamo! The ten-piece collective Gianna Brezzo, led by Marvin Horsch, reflects on Italian culture and especially with the music of prior decades, incorporated into this smooth collection (Jakarta, March 28). The self-titled LEDLEY is a tribute to footballer Ledley King, a creative exploration of timbre via saxophone, trombone and electronics. The album is also a tribute to place and time, and apparently Ledley himself has given it his personal stamp of approval! (Impossible Ark, April 4).

Pag-ibig Ko, Vol 1 includes saxophone and harp; Matthew Muñeses and Riza Printup create soothing nighttime melodies suitable for moonlit comfort (April 4). Saxophonist Sergei Khramtcevich leads a quartet on the four-part deep jazz suite Other Colours, with a strong rock underpinning that references bands such as The Necks (Incompetence, April 4). If Could / If I combines the talents of Alex Zethson and Johan Jutterström on piano and sax; by now you’ve realized that if you like sax, this is your season! (thanatosis, April 11). Zethson will appear again as one of thirteen performers on Jorden vi ärvde, presented by Vilhelm Bromander’s Unfolding Orchestra. The generous album touches on big band and modern composition, with three saxophonists (thanatosis, April 25).

Pianist Yaron Herman leads an accomplished ensemble on Radio Paradise, including a pair of saxophonists. Hymn (For a Good Day) is the happy first single, a panacea for difficult times (Naïve, April 4). The Satoko Fujii Tokyo Trio debuts on Dream a Dream, mixing improvised with semi-composed. A brief snippet can be seen here (Libra, March 28). Recorded live at the Hungry Brain, Ra Bishop‘s Of the Essence changes ensembles mid-set and retains its consistent groove. A 44:44 digital bonus track is included with the purchase (Amalgam, April 4). Monastery sounds less secluded than one might think; bassist Max Alduca has gathered a quintet whose jazzy exhalations can sound like a religious festival (Earshift, March 21). Trumpet, bells and electronics form the core of Sun Eaters (a pun on “sin eaters”), a ritualistic sci-fi set presented by Alberto Novello and Rob Mazurek (Hive Mind, March 28). Aaron Shragge‘s Whispering Worlds quartet draws from raga and other global traditions; the secret weapon of Cosmic Cliffs is the shakuhachi (Adhyâropa, March 28).

Pianist Charles Chen leads a sextet on Building Characters, an imaginative exercise that pairs musical legends with fictional and mythical characters such as Colossus of Rhodes and Alice in Wonderland (Cellar Music, May 16). While we’ve split this article into two parts, Drank‘s Breath in Definition could fall into either category. Part patient meditation for trumpet and electronics and part electro-acoustics, the set is as fluid as its improvisations (Trost, April 4).

Non-linear violin, breath and spoken word decorate David Handler‘s Life Like Violence, which includes one orchestral selection (Cantaloupe Music, May 16). Violeta García & Hora Lunga team up on I’ll Wait For You In The Car Park (specifically the McDonald’s car park), the Argentinian violinist and Swiss composer creating an amalgamation of styles that closes the geographical gap (~OUS, April 25). Violinist Matthias Kaiser teams up with pianist Reinhold Friedl for ololuge, the Greek word for ululation. This violin imitates the human tongue (tonkunstmanufaktur, April 11).

Adam O’Farrill seems to have lost an eyeball on the cover of For These Streets; fortunately, one doesn’t need an eyeball to play flugelhorn and trumpet. The composer leads an octet on a deep-dive into the music of the 1930s, extending a dialogue that sweeps across the span of an entire century (Out Of Your Head, March 28). Ayane Shino‘s RIVER せせらぎ THE TIMBRE OF GUITAR #2 revisits the oeuvre of Rei Harakami, a promising artist who died all too soon. Delving into lost YouTube clips and rare recordings, the guitarist creates a thoughtful, loving tribute (musicmine, April 25). Guitarist Max Walker recently moved to LA; on Chronostasis he exudes a sunny, progressive vibe, aided by like-minded friends (Orenda, May 2). Michael Larocca‘s Physical is a solo drum set, bristling with energy: all drums, no filler, but plenty of fills (Guardrail, 22 March). The oddly titled AnimauX veGeTal is an indication of the unusual timbres. XT + Anne Gillis play imaginary drums and sample a slip ‘n’ slide in this avant concoction (Infant Tree, April 4). Joris Rühl times the release of Récifs Étocs to coincide with the first daffodils; the four clarinetists coax the flowers from the ground (Umlaut, April 5). Zoo Too Trio is a happy name, and the music of Poetry Legroom is suitably bright. The pieces border on rock with light supporting electronics (Shifting Paradigm, May 16). Invincible Time is described by Martina Verhoeven/Luis Lopes/Dirk Serries as “a nightmare-ish live soundtrack to a fictional David Cronenberg movie.” It’s definitely not for the squeamish! (Raw Tonk, March 21).

stef.in‘s icterus II is another set of groove-filled, electric jams, the rocking quartet in fine form. We admire the consistency of presentation as the avian art is extended from the prior release (April 4). Collaborative improvisations lie at the heart of Glass Colored Lily, as shinobue and flute player Yuki Fujiwara leads an ensemble of like-minded musicians in a series of intricate free jazz jams (defkaz, April 15). Brazilian trumpeter Milano Casado makes her debut on Reflection Of Another Self, a set that encompasses electronics and spoken word. Already a visual presence (the opening track is “THIS IS MY HAIR (!)”), the artist is set to make a splash in the crossover market. Meshell Ndegeocello is among the multiple guests (Candid, May 16).

Readers with good memories may recall our first mention of Collateral, given that the combination of cello, piano and oud is so unique. Flickering Cotillion was recorded at the same time as their self-titled set, and will be released March 28 on Cassiar. Similarly unique: the voice, piano and tap dancing of Maggie Nicols melded to the percussion of Dan Johnson in a spontaneous, unrehearsed session; Contact is out May 16 on TBC Editions. Hardanger d’amore meets indigenous Andean flutes (including the pífano, sikus, and moseño) on Orbweaver, an intriguing set from Zosha Warpeha and Mariel Terán. The album imitates the natural world and respects native cultures (Outside Time, April 18).

Dino J.A. Deane’s Out of Context is a match for its moniker: music that can change on a dime depending on the proclivities of the performers. The goal “was to have no goal.” Live at the High Mayhem Festival 2006 offers this hallucinatory vintage music to a new generation (High Mayhem, April 27). Keiji Haino, Bill Laswell and Rashied Ali are Purple Trap, and they make a rocking, raucous racket on The Stone, an extended jam that sounds like a trio of volcanos letting off steam (Karlrecords, April 25). It’s loud, it’s wild and it’s live: RuinsZu team up for Jazzisdead Live, out April 18 on Subsound.

(Richard Allen)