
When Cecil Taylor’s Free Jazz Was at Its Peak
“This music is of biblical importance in many ways for fans of Cecil Taylor and the avant-garde. It was captured at an exciting time in his career.” – Zev Feldman

“This music is of biblical importance in many ways for fans of Cecil Taylor and the avant-garde. It was captured at an exciting time in his career.” – Zev Feldman

With Mellemtid, Danish composer Emil Mark updates an older instrument, pipe organs, with modern technology in a minimalist approach.

Phew and Danielle de Picciotto create music that expands and contracts constantly, so transparent at times that it’s barely there at all.

Born from a cover-song subscription model, Xiu Xiu’s latest album unearths the raw humanity in pop confections. Jamie Stewart discusses this and more.

Shane Parish thrives on conceiving projects that seem contradictory and overly challenging, yet come off as effortless and innovative.

Meg Okura creates a unique musical blend, and her new album with the Pan Asian Chamber Jazz Ensemble, Isaiah, is ambitious and lushly accessible.

Ecstatic Visions is an ambitious interpretation of new and recent compositions from the unique duo of Stephanie Lamprea and Alistair MacDonald.

Annie Hogan’s exploration of artistic expression shows world-building, all sorts of paintings, mental photographs, and invisible portraits carry great weight.

This year has been particularly exciting for experimental music, ranging from free-form guitar freak-outs to lush, ambient, always pushing boundaries.

Laura Ann Singh steers her reckless way through traditional jazz, torch song elegance, avant-garde experiments, and an anarchic sense of punk rebellion.

David Garland’s The Spark may be an expression of loss, but it also overflows with kindness, positivity, and the endless curiosity of a truly original artist.

Everything Is Now expertly demonstrates how NYC’s varied avant-garde subcultures were birthed in cold-water lofts, coffeehouses, and tiny storefront galleries and theaters.