Sonic Transmissions Records
Sonic Transmissions Records is a direct result of the upheaval of 2020. In March, Ingebrigt Håker Flaten was visiting his native country Norway when the coronavirus pandemic shuttered Planet Earth. Instead of trying to find a circuitous route to the States, he decided to relocate Trondheim after 14 years abroad, leaving his longtime Austin home, and start a record label featuring burgeoning, established, and legendary artists of the musical avant-garde working in diverse fields of improvisational music.
Xanthic Tales
Xanthic Tales
Xanthic Tales is the first album documenting the international collaboration between trumpet player Oscar Andreas Haug, pianist Margaux Oswald and drummer Axel Filip. Free flowing, thematic and daring, the trio makes use of elements such as microtonality and preparations to create their captiiating themes and narratives.
Margaux Oswald is a pianist of French-Filipina origin, born in Geneva, and currently based in Copenhagen. She is one of the new members of the artist-run label and collective ILK in Copenhagen. Her solo piano debut album Dysphotic Zone, released on Clean Feed Records, was chosen as one of the best solo album of 2022 by the New York City Jazz Record, and was chosen as top 10 international album of the year by jazz.pt, the leading website for Jazz in Portugal.Oscar Andreas Haug has created a unique and distinct expression for himself in the Scandinavian jazz scene, with his lyrical tone and technical flexibility. Haugs exploration into the limits of the microtonal trumpet has made him an active musician playing and recording in Scandinavia and Europe with bands such as Bliss Quintet, Amalie Dahls Dafnie and Little North. Axel Filip is an Argentine drummer, composer, improviser and arranger currently based in Berlin. He is known for his versatility and ability to perform within a wide range of musical genres, from jazz and popular music to Argentine folk music, avant-garde, free and conducted improvisation.
Margaux Oswald – piano, prepared piano
Oscar Andreas Haug – trumpet
Axel Fillip – drums
All music by: Margaux Oswald (KODA), Oscar Andreas Haug (TONO), Axel Filip (GEMA)
Recorded February 2023 in Copenhagen, Denmark.
Mixed and mastered by Fernando Filip (Soundaka)
Photography by Nico Nebbia
Design and Layout by Hein Westgaard
Worldsorrow
Worldsorrow
Improvised. Expressive. Beautiful. Ambient. Alive.
“Dybbroe, Saarup, and Kragelund play music that demands your full attention (…) you have to sharpen your ears, but in return, you’re rewarded with image-evoking auditory narratives from the wild – but also human-manipulated – nature (…) The trio, thanks in part to Kragelund’s electronic tools and live processing, manages to conjure up a universe where anything can happen. We walk in the green forest, deep into the caves, down into the underground, and then back up, ascending toward the clouds. Constantly emotionally enveloping, at times free as a bird.”
–David Dyrholm, Politiken
Together, Køs unite their love of grandeur and fragility in a search for intense new sonic landscapes. In recent years, the trio has received significant attention in Scandinavia for their highly distinctive sound, where free improvisation is at the core.
In an electroacoustic universe, the sounds of woodwinds, strings, drums, and vocals are blended, bent, and manipulated – where instruments both merge, stand out, and form new harmonies. Sometimes the music resembles a pop hit – other times it sounds like ambient symphonic music – or suddenly, like a blanket of noise.
As a listener, you must be prepared for long-form developments, expressive outbursts, beautiful melodies, expansive sonic textures, repetitive rhythmic layers, and large dynamic shifts.
Køs has been playing together since 2014 and is known from diverse bands such as Caktus, Josiah Konder, Merdh Laleh, Winter, Goon, and Marni.
In 2021, they released the album ‘Ud af en mund’ (‘Out of a Mouth’) in collaboration with poet Pia Tafdrup, based on excerpts from her quintology on the senses. Køs has also collaborated with saxophonists Lars Greve and Lotte Anker, violinist Nils Gröndahl, percussionist Victor Dybbroe, drummers Anders Vestergaard and P.O. Jørgens, visual artists Hilal Can and Ingerlise Ølgaard, and lighting designer Torfinn Sommerfeldt Lysne.
Køs creates music where the journey is the excitement – and presence and expression are essential.
—
Maria Dybbroe – reeds, vocals, bass
Valdemar Kragelund – electronics, guitar, bass, live-sampling, keys
Kristian Saarup – drums, vocals, guitar, keys
Recorded in isolation on the island of Ærø during the COVID-19 pandemic
All improvisations and compositions by Køs
Texts by Maria Dybbroe and Kristian Isholm Saarup
Mix by Valdemar Kragelund
Mastering by Jørgen Træen
Coverart by Erlend Eggestad
Pressed by T-Time
Supported by Koda’s Cultural Funds and Dansk Artist Forbund
Sonic Transmissions Records 2025
Where Is Direction?
Where Is Direction?
Consonances Octet is an ensemble created by composer and trumpet player Peter Wallem Anundsen with the goal of combining dense harmonic structures from contemporary classical movements with the spontaneity of jazz and improvisational music. The music explores chambermusical timbres and each musician’s distinguished sound to create wholly new soundscapes. Composers such as Olivier Messiaen, Jimmy Giuffre, Caroline Shaw, Anna Webber and Erik Hove are all important figures of inspiration, and the ensemble gathers references from their compositional styles into their own music.
Their first album Where Is Direction? releases on Sonic Transmissions Records 11th of october and is Peter Wallem Anundsens debut as a bandleader. The compositions presented on the album explores Anundsens own approach to concepts such as atonality, polychords, and dissonances which is weaved together with traditional harmonic and melodic expressions. The title of the record is an invitation into the unpredictable tonal landscapes which many of the compositions explore , and challenges the listener to perceive both consonances and dissonances in new ways.
—
Kristian Enkerud Lien – Electric & acoustic guitar
Sondre Moshagen – Piano
Bendik Løland Lundsvoll – Upright bass
Tor Andreas Haugerud – Drums & percussion
Børge Tandberg Brustad – Violin
Selma Sophie Tudor Edwards Granly – Cello
Live Sunniva Smidt – Cello & vocals
Peter Wallem Anundsen – Trumpet & piccolo trumpet
Recorded in Øra Studio, Trondheim, may 2024
Engineering & mix by Kyrre Laastad
Mastered by Karl Klaseie
Cover photo & design by Sofie Røssland Berrefjord
All compositions by Peter Wallem Anundsen
Supported by Statens Kunstnerstipend, Trondheim Kommune, NOPA, Cultiva Ekspress, BandOrg & Trafo.
Voices In Between Voices
Voices In Between Voices
This is freely improvised music with Tone Åse, vocals and electronics, and Sten Sandell, voice and grand piano. The album was recorded at Dokkhuset,Trondheim in March 2022. An driving force for these musicians is the energy, connections, spaces and transformations between voice/text/sound/music/. They explore the symbiosis between the human voice and the instrumental, each with their own starting point, Åse with the voice and electronics, Sandell with the voice and the grand piano. As a duo, they meet in improvised sonic and musical conversations that can go anywhere – and that is what they do on this record.
Recorded live at Dokkhuset 9/3 2022 by Åsmund Arnesson Rise/Øra Studio
Mixed by Ståle Storløkken at Heaven Hill Studio
Mastered by Helge Sten at Audio Virus Lab
Produced by Tone Åse and Ståle Storløkken, creative inputs by Emil Storløkken Åse
Cover art: Sten Sandell
Cover design: Juliane Schutz
Supported by Arts Council Norway and Trondheim Kommune
Under the Sun
Under the Sun
Phoenix consists of Emil Storløkken Åse, guitar and compositions, Jenny Frøysa, baritone sax, and August Glännerstrand, drums.
The music resembles a mix of the Jimi Hendrix Experience, Per “Texas” Johanson and Maria Kannegaard trio, with hints of Julian Lage, ABBA, and Frank Zappa. In other words, Nordic electric rockjazz with clear inspirations from the 70s.
The band name is inspired by the Phoenix, a mythical animal that sets itself on fire and is then reborn from the ashes. Phoenix is also the capital of the state of Arizona, USA – a place with a lot of desert scenery. Hence the album title “Under The Sun”.
The album has riff-based songs with fuzz guitar, but also calm, sonorous ballads with open improvised landscapes and lyrical melodic lines, where the band brings out the details and depth of their musical interplay. Overall, the album seems like the start of what will potentially become a dynamic and creative catalog of music.
Emil Storløkken Åse – Guitar
Jenny Frøysa – Baritone Saxophone
August Glännestrand – Drums
All songs composed by Emil Storløkken Åse and PHOENIX
Recorded by Mathias Rognskog and Åsmund Arnesson Rise at Nyhavna Studio. Produced by PHOENIX
Mixed by Ståle Storløkken and Emil Storløkken Åse at Heaven Hill studio Mastered by Helge Sten at Audio Virus Lab
Cover art and design by Juliane Schütz
A special thanks to our families, partners and friends.
Trio Glossia
Trio Glossia
“Trio Glossia is a new North Texas-based jazz trio whose stylistic influences span the whole history of post-bop into free improv and beyond. Equally at home as composers and improvisers, theirs is a music that is equally challenging and accessible; cerebral, yet satisfyingly energetic. Comprised of drummer/vibraphonist Stefan Gonzalez, drummer/saxophonist Joshua Cañate, and bassist Matthew Frerck, they are here to show that jazz is not only alive and well, it is still as fresh, brash, eclectic and rebellious as it ever was. On their debut single, the cheekily-titled Nerdy Dirty Talk, they skip, rollick, and roll forward with all the spry energy and glee of a youthful cartoon imp, who is just a little too sexy for their shirt; and almost too chaotic for this here cold, stale paradigm. A glib, infectious dose of whimsy, affecting to both brainwaves and libido if listened with one’s full being properly engaged. Beginning each round with an insistent knock knock knock on Heaven’s gate, they don’t wait for you to ask who’s there. They come in hard swingin’ with an insistent forward pulse and an intuitive pan-chromatic melodicism; a singing joyfulness fit to put a smile on the face of even the most hardened cynic. They are not merely dreaming of their masters, they are here to seize the reins and celebrate the dawning of their own (free) kingdom. So sit back with your favorite cognac, caviar, or conundrum. OR get up, get back, get out, and get down with the baddest version of yourself that you can muster, and don’t be afraid to conspicuously blush. Cuz it’s time for some Nerdy Dirty Talk! (motherfucker)”
-Aaron Gonzalez
—
Matthew Frerck – acoustic bass
Joshua Cañate – tenor saxophone, drums
Stefan Gonzalez – vibraphone, drums
Recorded, mixed, and mastered by Aubrey Seaton at The Blue Room. June 30, 2024.
Til Anna
Til Anna
It might not sound like a big deal that Ingebrigt Håker Flaten’s niece recently turned 15 years old, but in Norwegian culture, it’s a thing.
Fifteen marks the symbolic changeover from childhood to adulthood via the confirmation ceremony. Some families even celebrate a youth’s coming of age in a non-religious context. Others spend a year preparing for the moment.
The busy recording and touring schedule of Flaten, the bass playing member of The Thing and mastermind of the Sonic Transmissions music festival in Austin, Texas, didn’t jibe with the once-in-a-lifetime event. Instead, the Oppdal, Norway-born artist recorded Til Anna in April 2019 and gifted the album a month ahead of his niece’s – and godchild’s – confirmation in Trondheim. (Anna Flaten-Hoff is the oldest of Ingebrigt’s twin brother’s two kids.)
The solo album, which is a bit of a rarity in Flaten’s decorated recording history, takes a wholesale improvisational approach while keeping Charlie Parker’s classic number “Confirmation” and a religious folk song from his home village Oppdal, contained on Ingebrigt’s album Village Songs “Den Signede Dag,” as subconscious points of attack.
There’s nothing overtly religious in Til Anna, but there’s definitely something in the music that speaks to a different consciousness. In other words, in this year of relentless uncertainty, Til Anna is a protector.
Recorded live at The Treehouse in Austin, Texas during a Sonic Transmission fundraiser, Flaten molds a moody throughline – from peak highs to new glooms – via pizzicato ping pongs in the first track, “Confirmations.” The album’s closer, “Abstractions,” coaxes introspective thanks to Ingebrigt’s neo classical arco before settling in with a Jimmy Garrison-type meditation.
The album, originally released in May 2019 in digital-only format, will receive the vinyl treatment on October 6, 2020.
The record, whose title is a nod to Norwegian saxophonist’s Jan Garbarek’s 1967 album Til Vigdis, also marks the first-ever release on Flaten’s new Trondheim-based label Sonic Transmissions Records.
The label’s namesake might be familiar to music fans – since 2015, the revered Sonic Transmissions music festival in Austin has presented Joe McPhee, Alvin Fielder, Perseph One, Black Spirituals, Obnox, Jaimie Branch, Carmelo Torres and too-many-to-name legends, both established and fledgling, in the free jazz, experimental hip hop, agitated punk rock and psychedelic cumbia artforms.
Music by Håker Flaten / TONO.
Recorded live during a Sonic Transmissions fundraiser at The Treehouse in Austin, Texas on April 7, 2019 by Scoop Sweeney.
Mixed by Chico Jones on May 2, 2019. Mastered by Lasse Marhaug on May 8, 2019. Re-mastered for vinyl by Lasse Marhaug on May 7, 2020.
Cover design by Federico Peñalva.
Thanks to Jon Lebkowsky, Scoop Sweeney, Maggie Duval and Plutopia News Network for the generous support in hosting this fundraiser and recording the concert.
This album is for my dear niece and godchild Anna Flaten-Hoff as my gift to her confirmation ceremony on May 11, 2019. Hurra for deg!!!!!
Throw It In the Sink
Throw It In the Sink
In their debut album, Throw It In The Sink, Lily Finnegan and gabby fluke-mogul give their respects to the queer punk rock & avant jazz musicians of the expansive continuum past, present, future. A prayer, a scream, a steadfast commitment – the pair weave improvised song, solo, and laughter in this music, recorded in the depths of July 2023 in Chicago.
Lily Glick Finnegan is a Chicago born and based drummer, composer, improviser and organizer. Her wide ranging interests and cross genre influence are embodied in her own self led quartet, along with Ken Vandermark’s Edition Redux and punk band Cucuy. Lily collaborates with a wide range of artists including Nicole Mitchell, Fay Victor, James Brandon Lewis, gabby fluke-mogul, Shanta Narullah, Ed Wilkerson Jr., Devon Gates, Dave Rempis, Macie Stewart, Lia Kohl, Christof Kurzmann and Jason Stein. This is her second year curating the Experimental Sound Studio Option Series and Catalytic Sound Festival. www.lilyglickfinnegan.com
gabby fluke-mogul is a New York-based violinist, improviser, composer, educator, organizer and doula. Weaving within the threads of avant and free jazz, with deep roots in improvised and experimental music, their music has been described as “embodied, visceral and virtuosic” and “the most striking sound in improvised music in years”. gabby is humbled to have collaborated with Nava Dunkelman, Joanna Mattrey, Ava Mendoza, Charles Burnham, Fred Frith, Luke Stewart, Zeena Parkins, Tcheser Holmes, Lester St. Louis, William Parker, and Pauline Oliveros among many other musicians, poets, dancers and visual artists.
—
Recorded at Experimental Sound Studio.
Mixed and Mastered by Troy Cruz.
Art by Ralph Rivera.
Sonic Transmissions Records STRCD31
through itself
through itself
“Quite a powerful and immersive listening experience.”
–Eyal Hareuveni, Salt Peanuts, Oct 19 2025
—
“Their sound, replete with vibrations animated by breath, covers a full spectrum of moods and emotions. With ‘through itself’, Senso di Voce has created an immersive sound experience that rewards repeated listening and provides a fitting background for needed contemplation.”
–Ken Shimamoto, Stash Dauber, Sept 13 2025
—
“Senso di Voce carries something both primal and contemporary all at once. There’s a mindfulness in the material, and also in the way Esin and Megan sonically move together. The silence feels just as impactful as the sound. The voice really does meld with the oboe at times, becoming a single timbre!”
–Jeremy Nuncio, Sept 17 2025
—
‘…through itself…’* ©2023 a work by Esin Gunduz, draws inspiration from the mystical and philosophical writings of revolutionary Islamic thinker İbn ‘Arabî (1165-1240). This 20-minute chamber work is an exploration of profound philosophical concepts of his, through sound.
Each of the four movements explores a different concept, their trajectory mirroring that of Sema, a Sufi ritual.
I. Selam:
yearning to become one with (wajd)
II. Everything is alive:
the life-force inside all existent things (‘even inside a rock’)
III. Perplexity:
the state of bewilderment / non-dual awareness (hayrah)
IV. Oneness:
the state of union / higher state of consciousness (‘immediate tasting’)
İbn ‘Arabî valued ‘immediate experience’ above all:
‘…through it(self)…’ invites listeners to immerse themselves in vibrations, guiding them to the depths of consciousness through sound, to resonate with the timeless wisdom of İbn ‘Arabî.
“Their sound, replete with vibrations animated by breath,
covers a full spectrum of moods and emotions. (…)
“With ‘through itself’,
Senso di Voce has created an immersive sound experience that rewards repeated listening and
provides a fitting background for needed contemplation.”
–Ken Shimamoto, Stash Dauber, Sept 13 2025
“(…) Listening left me very much in my body.
Senso di Voce carries something both primal and contemporary all at once.
I took the music with me on my walk last night, it became its own kind of ritual. There’s a mindfulness in the material, and also in the way Esin and Megan sonically move together. The silence feels just as impactful as the sound.
(… ) voice really does meld with the oboe at times, becoming a single timbre!”
–Jeremy Nuncio, Sept 17 2025
—
Esin Gunduz – voice, tremolo harmonica, bass harmonica, harmonium
Megan Kyle – oboe, English horn
Track 1-5. Recorded live at the Institute Library, New Haven, CT
Track 6. Recorded live at Evangelical Lutheran Church of the Atonement, Philadelphia, PA
Audio recording and mix: Esin Gunduz
Mastering: Andrew Weathers
The View
The View
After 8 years of collaboration, British drummer and composer, Phelan Burgoyne, and New Zealand rising-star pianist, Alex Ventling, release their long awaited debut album, ‘THE VIEW’ – a culmination of the duo’s musical development in a robust and shining statement. The album presents compositions by both musicians, in a journey through lyrical improvisations, choral-like piano movements, synth empowered grooves and prepared-piano textures. New Zealand trumpet legend, Kim Paterson, features on the track, ‘First Train To Finse’. The rich and percussive interweaving of piano and drums in the intimate duo setting, opens the door to a vast sound-world of possible colours and textures, giving the pair freedom and space to explore and improvise together. The connection built over years of musical friendship is unmistakable in their sensitive interplay, with the resulting music clear and honest with impressive maturity and humility. The album was recorded in summer 2023 in Trondheim, (using Alex’s own historical Steinway & Sons Model S from 1940) and will be released on Trondheim based Sonic Transmission Records.
—
Piano, Synth – Alex Ventling
Drums, Synth – Phelan Burgoyne
Trumpet – Kim Paterson (Track 5)
All tracks composed by Alex Ventling and Phelan Burgoyne, except for Track 7 composed by Leoš Janáček.
Recorded by Nyhanva Studios at Folketshus Trondheim, Norway, 31.07.23-03.08.23
Mixed by Åsmund Arnesson Rise
Mastered by Karl Klaseie
Artwork by Giuseppe Sciortino
The Things I Ate
The Things I Ate
With the release of the album The Things I Ate, the talented guitarist and composer Peder Overvik Stuberg (b. 1996) makes a bold entrance unto the international jazz scene. The album showcases an instrumentalist, a band leader and a composer with a varied yet simultaneously distinctive and remarkable well honed style. A style that is forward leaning and brimming with personality, while also revealing traces of the likes of Sonny Sharrock and Jeff Parker as well as John Coltrane and Lee Konitz. As Stuberg himself says it: “The title The Things I Ate hints to the fact that I have many sources of inspiration, which in my head merges into new music.”
The Things I Ate is an ambitious release, containing 14 original compositions, 9 of which are recorded with the quartet aptly named Peders Hode (meaning “Peder’s head”), which consists of Peder Overvik Stuberg on guitar, Ask Morris Rasmussen on tenor sax, Alf Svendsen Høines on double bass, and Elias Tafjord on drums. The remaining 5 compositions are performed by an extended octet, with Amelia Gòmez Snerte on vocals, Håvard Aufles and Anna Ueland on keys, and Martin Heggli Mellem on drums.
Throughout the album, one may notice echoes of distinctive guitarists like Sonny Sharrock, for example in the snarling tone on the spiky “Speed On Speed”, Jeff Parker in the economical playing and post-rock like atmosphere of the title tune, and in certain phrases and compositional characteristics there are hints of a kinship to Mary Halvorson. Stuberg shares another characteristic with these esteemed musicians in that the inspiration is not merely focused around the guitar. Rather, there’s a clear concern for the whole with an emphasis on composition as well as improvisation, and the value of allowing ones compatriots to make their mark on the music. An example of this can be heard in the opening tune, “Hva Skjer”, where the tone is set by the drums and the bass in hefty and stomping interplay, before the tenor sax and guitar enters some time later, playing darting lines in tandem.
Stuberg describes Peders Hode as a group of friends as much as a band. In addition to common inspirations like Sonny Rollins and other 50s and 60s jazz, the members have other interests of their own, like Brazilian music, electronic music, prog rock, and more, interests that occasionally adds seasoning to Stuberg’s music. As such, The Things I Ate reveals an exceptionally well honed band of musicians that are allowed and dare to add their own voices to the overarching compositional framework.
The quartet part of the album feels compact and tight, consisting of pieces that in various ways grabs hold and pull the listener through sharp twists and turns. The music for the octet was rehearsed for the duration of two days ahead of recording and live performance on the occasion of Stubergs exam concert. These pieces tend to stretch out more, and have a slightly more airy and open feel to them. “Speed,” for example, eventually spins into prog rock-like explorations, while parts of “Kast Sats Fart” sound like spiritual-jazz filtered through hip-hop samples and subsequently performed by a live ensemble.
The variation and breadth on the Things I Ate hints towards a wide ranging net of inspirations, but has a marked wholeness, as well as a through line, both through Stuberg’s compositional style, his peculiar playing style, as well as through the contributions of the other band members of Peders Hode and in the attentive and open minded interplay of everyone involved in the recording. The album is being released in three instances: first with the release of the teaser EP New Wave EP on September 22., while an LP version focusing on the octet and a digital release containing both this as well as the quartet recordings will be released on October 7.
Peder Overvik Stuberg (January 17., 1996) grew up in Inderøy, Nord-Trøndealg, in Norway. He studied at the renowned Jazzlinja at the Norwegian University of Science and Technology, Trondheim from 2017 to 2023. He works as a musician, and this fall teaches at the jazz department of Sund Folkehøgskole.
Peder Overvik Stuberg – guitar
Ask Morris Rasmussen – tenor saxophone
Alf Svendsen Høines – bass
Elias Tafjord – drums
Amelia Gòmez Snerte – vocal (track 10-14)
Håvard Aufles – keyboards (track 10-14)
Anna Ueland – keyboards (track 10-14)
Martin Heggli Mellem – drums (track 10-14)
All compositions by Peder Overvik Stuberg
Artwork by Erlend Peder Kvam
Recorded at Øra Studio in Trondheim
Recorded and mixed by Kyrre Laastad
Mastered by Karl Klaseie
The Essence
The Essence
Time, here, is a serving suggestion. Karl Bjorå Trio – Bjorå (guitar), Ingebrigt Håker Flaten (upright bass), and Ole Mofjell (drums) – treats meter like a toolkit, not a law. The set opens in manic, rattling, chitter-chatter conversation: pattern-shifting, bebop-Beefheart feints; sustain-augmented guitar doubling as its own accomplice. It progresses with angular melodies rolling one into the next with a near train-shuffle, the guitar desynchronising in sudden bursts of tempo yet somehow staying on the rails – a high-wire act that refuses to fall. Mid-flow, the air tilts: textural blankets of wavering loops, overtones that bloom, a slow corrosion into noise – then the interlocking locomotive returns. By now, prediction is useless and that’s the pleasure: insane comping for a song that isn’t there; a burrow into bowed dread; tape stutter and breakdown, double-speed ghosts, vinyl crackle – and then, like a side-door, the sound of 80s electric-piano chords, overdriven drumkit and fuzz riffology wars. What feels like random beat and riff reveals a spine. That’s Bjorå’s trick: melody and structure pulled from chaos like a diamond from a barrel of broken glass. This is jazz but not free so much as—
Milo: Let’s interrupt this monologue for a moment, have an espresso, and talk about the personnel.
Thilo: Yes, Milo – we’re here for that!
Milo: Many things have been said about project leader, Karl Bjorå (guitar): “Each melody takes every sharp angle… executed with surgical precision.” [1]; Aftenposten hailed him as “en gitarist for vår tid” (“a guitarist for our time”)[2]. Time and again, his versatility is noted: that he moves between raw, noise-inflected energy, angular modern-jazz language, and hook-friendly but proggy songcraft. It seems that here he has taken a deep dive into pre-fusion jazz and has come up with some new treasures?
Thilo: Yes, Milo. Reviews and bios consistently frame him as versatile and “exploratory,” and he’s still up to those tricks. He’s predictably unpredictable, catching us off-guard with unexpected choices.
Milo: And what a trio! Ingebrigt Håker Flaten (upright bass), long described as “one of the busiest contemporary practitioners on the instrument,”[3] with a trans-Atlantic footprint from The Thing to Atomic, and an absolutely massive discography that seems to be a veritable who’s who of contemporary jazz!
Thilo: Absolutely! Ingo IS Mister Bass Man! A veritable demigod of the lower frequencies, and seemingly completely unaware of constraints – if he can dream it, he’ll do it!
Milo: Oh yeah! He’s in charge of everything below Middle C. And what about Ole Mofjell (drums)?
Thilo: His hyper-alert time feel and fearless improvising have made him a go-to across Scandinavia’s boundary-pushing scenes. Volatility in service of form: risk as a route to momentum. Restless energy shepherded into service of the music!
EXCUSE ME, GENTLEMEN!
As I was saying: This is jazz but not free so much as untamed. Bass and drums mark the territory; the guitar redraws the map. Micro-fanfares flare, surf-rock conniptions skitter, discord becomes a breadcrumb trail. The trio often sets off in different directions and somehow reaches the same door – then, when locked in cohesion, gleefully disperses on parallel adventures before reuniting as if there were never another choice. Manic, not angry: curiosity at a sprint. When the tape ghosts clear, the shape stands there – lean, a little singed, unmistakably a tune. File it left of free, right of rock: design-forward, road-tested, splinters included – hard-bop Looney Tunes for the post-consensus hangover. It is the essence.
—
Karl Bjorå (guitar)
Ingebrigt Håker Flaten (upright bass)
Ole Mofjell (drums)
Produced by Karl Bjorå. Recorded by Karl Bjorå at Flerbruket
Mixed by Karl Bjorå
Mastered by Espen Høydalsvik at OSLO:Fuzz
Cover art: Signe Emmeluth.
Design: Juliane Schütz.
Label: Sonic Transmissions Records
Texas Edition
Texas Edition
A co-release with our friends at Astral Spirits out of Austin Texas!!
This release is an orchestral expansion of the vocabulary of The Hatch. The duo work of Desprez and Rasmussen extrapolating into two local scenes in Texas.
THE HATCH is:
Mette Rasmussen
Julien Desprez
THE HATCH EXPANSION HOUSTON ORCHESTRA (LP1)
Ruth Langston: cello
Keisha Cassell: violin
Tom Carter: guitar
John Alan Kennedy: percussion, drum feedback
Misha Tsypin: vocals
Julien Desprez: guitar
Mette Rasmussen: alto saxophone
Sonia Flores: bass
Rachel Orosco: sound, light, visuals
THE HATCH EXPANSION AUSTIN ORCHESTRA (LP2)
Carl Smith: bass clarinet
Henna Chou: cello
Jonathan Horne: guitar
Sarah Ann Philips: piano
Joshua Thomson: alto saxophone
Julien Desprez: guitar
Mette Rasmussen: alto saxophone
Ingebrigt Håker Flaten: bass
Lisa Cameron: drums
TEIP TRIO II
TEIP TRIO II
TEIP TRIO’s sophomore effort, TEIP TRIO II, is a rougher, more textured venture than its predecessor. Hours of recordings became the raw material for a composition, moulded, layered and processed to form a narrative whole, a journey into a world that’s strange yet beautiful.
—
“From the start, TEIP Trio has been guaranteed a certain degree of singularity simply on the strength of its instrumental line-up. Clarinet-electric guitar-baritone guitar trios just aren’t that thick on the ground. Their synthesis of heavy rock, free improvisation, classical and folk music does not push them towards any middle ground. But on II, time itself has pushed them even farther towards the periphery.
Recorded in just two days, the trio’s eponymous debut album was a live-in-the-studio document of their carefully balanced improvisational approach, which made ample use of blank audio space. The trio, which includes guitarist Arne Bredesen, clarinetist Jens-Jonas Francis Roberts, and baritone guitarist Nicolas Leirtrø, took its time recording material for the follow-up. Why not? TEIP Trio came out in January 2022, so ongoing pandemic and supply chain issues gave them no reason to rush right back into the production pipeline. However, a leisurely but persistent recording practice caused the trio started to amass a lot of material than they could fit onto an LP. So, they further smudged the original material by recording some of it onto cassette tape while layering and editing their improvisations into compositions,
The resulting music has a rougher, tactile quality. A patina of torn-woofer grime further distresses the guitarists’ sequence of battering tones on “Interlocking Rings,” and bits of fuzz adhere to the excerpted reed phrases on “Arranging And Rearranging.” The instruments still stand apart from each other — the clarinet bubbles and slithers, the guitars shudder and scrape. But they now share space with hybrid sounds of less obvious origin, such as the constellation of long, bright pitches and the muffled microphone bumps that encircle Roberts’ patient phrases on “Crepuscular.” Each track has a distinct character, but they share a bulkiness that is an artifact of the multiple analog steps in the signal chain.
Too often, musicians who arrive at a distinct sound consolidate it as they go along. TEIP Trio has done the opposite by using post-production to grind it up. It’s a gutsy move, but it pays sonic dividends in the present while setting a precedent for further transformation down the road.” -Bill Meyer, Dusted Mag
—
Arne Bredesen, guitar
Jens-Jonas Francis Roberts, clarinet
Nicolas Leirtrø, baritone guitar
Produced by TEIP TRIO
Additional cassette work and tape manipulation by Kyrre Laastad.
Recorded at various places at various times.
Mixed by Kyrre Laastad at Øra Studio, February 2024
Mastered by Karl Klaseie at Øra Mastering, April 2024
Facilitated by Kim Lillestøel, Kyrre Laastad, Mona Hynne, Fond for utøvende kunstnere, Frifond and Trondheim kommune.
Cover by Juliane Schütz
TEIP TRIO
TEIP TRIO
Spiking out of the vibrant improv-scene in Trondheim is the young and experimental TEIP TRIO with their eponymous debut album. In spite of their young age they have been around as a trio for years and years, which is clearly audible on this ambitious collection of takes. The unconventional lineup of two guitars and a clarinet contributes to tension and distinctiveness in their consolidated sound, exploring different musical rooms in and between dissonance and harmony, always attentive and rich in timbre. The heavily processed electric guitars wrap the acoustic clarinet as a musical equivalent to the parable of David and Goliath. Luckily, no one dies in the TEIP TRIO stories, but rather the two extremes give life to one another.
“[…] their interactions are buffered with expanses of empty space – no matter how frantically the woodwind belches or the strings grind, balance is maintained. TEIP TRIO are not the first group to import heavy rock elements into free music, but no one else has found a way to lose the weight without losing the edge.”
– Bill Meyer, The Wire
“The three players move together with a measured and unhurried gracefulness, so that even as they conjure the sounds of a building imploding around them, they do so in slow motion. […] That Bredesen, Leirtrø, and Roberts are able to express a sense of beauty from within tension and discord is a testament to both their individual and collective skill as improvisers. They apply splashes of light to vast swathes of inky darkness as keenly as they cast patches of shade across luminous landscapes. The combination of these modes is the recipe for a riveting record.”
– Bryon Hayes, Dusted Magazine
“[…] the three young musicians sound like their own, inquisitive and uncompromising, with a coherent sonic vision and unique dynamics that stress elusive melodic veins through nuanced tension and conflict.”
– Eyal Hareuveni, salt peanuts*
“Norway again proves to be a hotbed of modern guitar”
– Michael Ross, Guitar Moderne
Jens-Jonas Francis Roberts, clarinet
Arne Bredesen, guitar
Nicolas Leirtrø, baritone guitar
Recorded June 13 and 14, 2020, at Øra Studio, Trondheim
Recorded and mixed by Kyrre Laastad
Mastered by Karl Klaseie
Artwork and design by Juliane Schütz
Svartsymra
Svartsymra
Svartsymra is an avant-garde exploration of sound and musical boundaries by the experimental contemporary ensemble KRISE, led by Kristian Enkerud Lien. The ensemble ventures into new territories by blending just intonation, microtonality, rock club vibes, and Norwegian folk music in an innovative way, resulting in a fascinating and engaging listening experience. Through experimentation with ideas from Ben Johnston, Harry Partch, and Eivind Groven, they aim to promote a more complex yet captivating musical journey.
The album consists of six parts: Diapuls/fluxus serves as an introduction, presenting four chords, each with specific tunings where the voice leading and melody remain the same, growing or withering into a section where the individuality of instruments merges into a landscape of sine waves. Nekrotek portrays a septimal death club. Der ergeh stig og olieh flyg is partly a solo piece for fretless acoustic guitar and partly a free improvisation accompanied by a cassette player. 161182038 is a deconstructed and reconstructed gangar, a Norwegian folk dance. Den der, red, ned is a solo piece for a self-built just intonation guitar, transitioning into something reminiscent of a bagpipe synth. The album concludes with a brief groove, Vurg, featuring a melody that brings the ancient instrument, lur, to mind.
Svartsymra is a construct, it can be something that grows and withers at the same time. This concept is reflected on the cover art, depicting a stone or a lung, a classical order, and a comedy amidst a tangle of lichens. It is also a nod to Groven’s recordings on “Som symra rein og blå” and death.
Emil Bø – trombone
Anna Ueland – retuned synth, MS20, voice
Bjørn André Syverinsen – drums
Kristian Enkerud Lien – refretted guitar, fretless guitar, lap steel
Recording by Kyrre Laastad Øra studio December 2022
Mixed by Kyrre Laastad February/March 2023
Mastered by Karl Klaseie Øra Mastering March 2023
Production, composition and artwork by Kristian Enkerud Lien
Thanks to Emil Bø, Anna Ueland, Bjørn André Syverinsen for great musicanship, Kyrre Laastad, Karl Klaseie, Ingebrigt Håker Flaten for collaboration, to Ben Johnston, Eivind Groven og Paul Klee for inspiration, to John Scheider for fretlets and Kulturrådet and Trondheim kommune for financial support.
Står op med solen
Står op med solen
Står op med solen’ (Rising with the sun) is the second album by Amalie Dahl’s Dafnie. With this album, the band continues the exploration of their collective sound. We hear influences from both old school free jazz, and contemporary Scandinavian jazz like Fire! Orchestra and Christian Wallumrød Ensemble, as well as clear connection to the Trondheim milieu, where the group was founded in 2020.
The energetic and expressive band explores their more subtle side with this record. ‘Står op med solen’ is an album longing for humans to be one with nature. The music comments on the world’s ultra-capitalistic power structures of today. The band navigates like one organism through parts of organic free jazz, strict structures and composed cells.
They start out where their first record ended, in the familiar free jazz sound with riffs and melodies, and take us safely on their onward journey. Amalie Dahl’s Dafnie brings together five well-known names from the Norwegian jazz scene, also known from other projects like Kongle Trio, Bliss Quintet, I like to sleep, Veslemøy Narvesen, Galumphing Duo, Treen and Trondheim Jazz Orchestra, among others.
The band has already been touring in Scandinavia, Poland and Germany during the past 3 years, and is well known for their playful and close chemistry. Their first record ‘Dafnie’ (Sonic Transmissions Records, 2022) received excellent reviews in The Wire, The Quietus among others. To celebrate the new album Amalie Dahl’s Dafnie will do 11 concerts in Europe between April 22nd and May 5th.
Amalie Dahl – saxophone and electronics
Oscar Andreas Haug – trumpet
Jørgen Bjelkerud – trombone
Nicolas Leirtrø – double bass
Veslemøy Narvesen – drums, percussion and saw
Recorded at Flerbruket by Magnus Skavhaug Nergaard August 7-8th 2023.
Mixed by Magnus Skavhaug Nergaard
Mastering and Lacquer cut by Anne Taegert at Dubplates & Mastering
Coverart by Juliane Schütz
Coverdesign by Jeroen Wille
Compositions by Amalie Dahl
This is a split-release with Aguirre Records.
Sirenjaw
Sirenjaw
Sirenjaw documents the first meeting of three musicians who, while previously connected through various collaborations, had not performed together as a trio before this recording. The project brings together long-standing musical relationships: Lukas Koenig and Vinicius Cajado share a deep-rooted connection within the Viennese music scene; Koenig and Kit Downes have collaborated both live and on record; and Downes and Cajado have recently worked together in a range of ensemble contexts in Berlin. The recording took place during a hot summer day in Vienna, where the trio approached the meeting with an open and immediate focus on collective improvisation. The resulting recording captures this initial encounter and serves as the foundation for an ongoing collaboration. Sirenjaw marks the beginning of a new ensemble, shaped through process, presence, and a commitment to collective exploration.
—
Vinicius Cajado – bass
Kit Downes – piano
Lukas Koenig – drums
Recorded on 20th June 2025 in Vienna with Martin Siewert
Mixed by Kit Downes. Mastered by Andres Marino
Sonic Transmissions Records 2026
Røda Linjen
Røda Linjen
Amalie Dahl – alto and baritone saxophone, clarinet
Oscar Andreas Haug – trumpet
Jørgen Bjelkerud – trombone
Nicolas Leirtrø – double bass
Veslemøy Narvesen – drums, percussion and saw
All music by Amalie Dahl.
Recorded by Kyrre Laastad in Øra Studio on 28th and 29th of June 2021.
Mixed by Kyrre Laastad and mastered by Karl Klaseie at Øra Studio, Trondheim, September and October 2021.
Artwork and design by Juliane Schütz.
Notification Generation
Notification Generation
The Norwegian group SUPERSPREDER has made a name for itself in recent years as an energetic and colorful addition to the Norwegian jazz scene. With infectious intensity and a boundary-pushing blend of jazz and avant-garde neo-soul, they have crafted a unique sonic signature.
The album opens the door to a sonic world where nothing stands still. SUPERSPREDER balances raw energy with melodic finesse, while unexpected tempo shifts and explosive contrasts propel the music forward. On stage, the band creates a vibrant universe where their lyrics explore layers of social critique and existential unease—wrapped in humor and a generous dose of madness.
Notification Generation dives into the chaos of contemporary life and the search for balance in a world overwhelmed by information streams and environmental collapse. The album reflects an existence at high speed, where the boundary between control and chaos is constantly being tested.
—
Miriam Kibakaya – vocals
Amalie Dahl – alto and barytone saxophone
Mona Krogstad – tenor saxophone
Guro Kvåle – trombone (vocals on SUPERPØNK)
Oliver Skou-Due – piano and prophet rev2
Oda Steinkopf – double bass
August Glännestrand – drums
All music by SUPERSPREDER
Recorded at Flerbruket by Magnus Skavhaug Nergaard 2024
Vocals recorded by Mathias K. Marstrander 2024
Mixed by Martin Miguel Almagro Tonne
Mastered by Karl Klaseie
Cover art and design by Annika Verdal Homme
Released on Sonic Transmissions Records 2025
Supported by FFUK, BandOrg and Fond for lyd og bilde
Morose
Morose
“Members of the Thing, White Denim, MF Doom, and Akkolyte have come together under this (relatively) new roof to create a sound that blends free jazz and hip-hop, seeing no distance between them.” – Pop Matters
“One of the most interesting and original acts in Texas – perhaps the entire planet” – The Austin Chronicle
“The Young Mothers are bringing forth more Free Improv violence before they’re waving goodbye with “Shanghai”, a surprisingly soulful and well epic closing tune catering a kind of cinematic drama and panorama scale production as a foundation for intense, yet distorted Rap-sequences and psychedelic guitar workouts. Interesting, this.” – Nitestylez
“No rest for the weak/No power in the streets,” Taylor speaks, a throbbing bass riff and percussion section emerging and remaining locked into its pattern despite the scream-laden sections of high tempo violence.” – Letters From A Tapehead
“Then Young Mothers roared out of the gate with fierce, jarring visceral power. Theirs is a dense, multi-layered sound where Ivesian contrapuntal lines often divide the ensemble into competing units — How fortunate 30 or so of us were that they docked in Deep Ellum last night. I’ll be anxiously awaiting their return.” -Ken Shimamoto
—
Francisco Rosaly – drums, percussion
Ingebrigt Haker Flaten – electric bass, acoustic bass
Jonathan Horne – guitar, vocals
Jason Jackson – tenor & baritone saxophone, vocals
Jawwaad Taylor – pocket trumpet, electronics, rap
Stefan Gonzales – vibraphone, drums, vocals
All arrangements by The Young Mothers. Produced by The Young Mothers.
Recorded by Jonathan Lee Chan at Sugar Hill Studios, Houston TX, June 2016. Additional recording by Bart van Hasselt, Amsterdam, January 2017.
Mixed by Jonathan Lee Chan at Sugar Hill Studios, Houston TX, January and March 2017.
Mastered by Martin Siewert, Vienna/Austria, November 2017.
Co-executive production by Richard Lynn and Ingebrigt Håker Flaten. Album art by Jesse Lott.
Morning Light
Morning Light
Morning Light continues Maria Norseth Garli’s devotion to being in something for a long time, where the music is allowed to build up organically, and where all the nuances of the voice and strings are used as an instrument. A magnetism arises in what seems to last forever, and in the rawness and the many details that arise.
Maria’s voice is both fragile and razor sharp, and is wrapped in a dynamic sea of guitars.“They say that not everything that glitters is gold but this is definetly the real deal.” – beehy.pe“Substance in every little phrase and every note.” – Tor Hammerø, Nettavisen
«She has made one of the strongest records that has come from a Norwegian vocalist in several years.» – Jan Granlie, salt-peanuts*
Maria Norseth Garli – vocals, guitar, violin
Lars Ove Fossheim – guitar, synth guitar, vocals, jew’s harp, accordion
Nicolas Leirtrø – baritone guitar
Kyrre Laastad – woodblocks, guitar
Produced by Maria Norseth Garli
Recorded and mixed in Øra studio autumn 2022 by Kyrre Laastad
Mastered by Karl Klaseie in Øra Mastering
Cover by Audun Lønning Gjerdi
Photos by Sigrid Erdal
Memphis Metaphysics
Memphis Metaphysics
Memphis Metaphysics is a bold free jazz project uniting Swiss-Filipina pianist Margaux Oswald, Norwegian guitarist Hein Westgaard, legendary drummer Ra Kalam Bob Moses, percussionist Kevin Cheli, and Memphis saxophone master Art Edmaiston. Recorded live in Ra Kalam’s Memphis living room during Oswald and Westgaard’s 2023 journey through the American South, the album merges avant-garde spiritual jazz and European free improvisation with the raw, soulful spirit of Memphis. Ra Kalam’s drumming anchors the music with deep emotional resonance, guiding the ensemble’s uncompromising interplay.
The album’s five tracks draw inspiration from ancient Egyptian concepts of the soul—each piece named after a spiritual element such as the Ka, Sah, and Shuyet. These themes are mirrored in the visual artwork, which references early 20th-century archaeological discoveries in the Egyptian city of Memphis—curious stone tablets inscribed with ears, believed to receive and preserve human prayers. Just as those artifacts were vessels of voice and spirit, Memphis Metaphysicsbecomes a ritual of sound: a channeling of histories, energies, and improvisational fire into a cosmically grounded listening experience.
—
Ra Kalam Bob Moses – Drums
Hein Westgaard – Electric Guitar
Margaux Oswald – Piano
Art Edmaiston – Tenor Saxophone
Kevin Cheli – Percussion
Hein Westgaard (KODA), Margaux Oswald (KODA), Kevin Cheli (ASCAP), Art Edmaiston (ArtEd Songs, BMI) and Ra Kalam Bob Moses (ODJIBOA MUSIC, BMI)
Recorded on the 1st of December 2023 in Memphis, Tennessee by Kevin Cheli Mixed by Michal Biel. Mastered by Giuseppe Ielasi
This album was made possible with support from Koda’s Cultural Funds (Koda Kultur).
Dedicated to the memory of Norwegian sociologist Odd Gåsdal (1951-2025).
Ib (The Heart) 08:08
Shuyet (The Shadow) 05:00
Khet (The Physical Body) 14:46
Ka (The Vital Essence) 10:46
Sah (The Spiritual Body) 07:46
Total running time: 46:26
Cover by Hein Westgaard & Ditlev Behrens
Layout & Design by Tomo Jacobson
The drawings of ancient Egyptian tablets are derived from the book “Memphis I (British School of Archaeology in Egypt and Egyptian Research Account: Fourteenth Year, 1908)” by W. M. Flinders Petrie
The picture is a Photochrom print made by the Photoglob company in 1905, and depicts the statue of Ramses II in Saqqara, a village 30 km south of Kairo, which houses one of the most important
ancient cemeteries of ancient Memphis.
℗ & © 2024 Sonic Transmissions
All tracks published by Koda, BMI and ASCAP n©b
Memories
Memories
Amalie Dahl is a Danish saxophone player, currently based in Oslo (Norway). She is known for having a distinct sound and strong integrity both as an improviser and a composer. She ended her education at the Jazz department at NTNU in Trondheim in 2021.
The year after she released her first album as a bandleader, “Dafnie”, on Sonic Transmissions Records, which has received excellent reviews. Since then the band has been touring in Scandinavia, Poland and Germany. She is also playing with several other projects like SUPERSPREDER, Dahl/Dalen/Søvik, Trondheim Jazz Orchestra and Hedvig Mollestad’s Tempest Revisited. On September 1st 2023 her first solo record,“Memories”, will be released on Sonic Transmissions Records.
“(…) Dahl is a musician that has a lot to say and knows how to say it, loud and clear and with infectious, playful energy. She is well-versed with old-school free jazz and modern contemporary reed-leaded bands but has an independent voice of her own. (…)”
– Eyal Hareuveni, Salt Peanuts, 19. Maj 2022
Release: September 1st 2023
Recorded by Amalie Dahl at Springbrættet, Ringsted musik og kulturskole, January 2023
Mixed by Viktor Bomstad March/April 2023 Mastered by Sara Alexandersson April 2023 Coverart and design by Juliane Schütz
Supported by Aage Krarup Linds Legat
Megamax
Megamax
Tog – the trio of Steinar Heide Bø (drums & percussion), Vetle André Skåli (baritone guitar) and Brede Sørum (soprano & tenor saxophones, moog) – is an unstoppable engine, powered by rhythmic outbursts, crunching riffs, saxophone scurries and wails, the kind of playing that teases and herds the listener towards an unrelenting frenzy, a breathless sonic assault on the senses.
Their music is loaded to bursting point with diverse musical elements running from the near-ethereal to the combustible. Their bristling riffs are punctuated by moments of soundscaping, expressionistic passages that serve as launchpads for crunching jazzpunkrock explorations, or as sly feints before they release another careering juggernaut of frenzied high-octane invention. They shift moods with ease, attack and release unexpectedly, switch sonic lanes in a heartbeat, and frequently leap from a near-standstill to terminal velocity in a heartbeat. Expression and intensity are what matter, and when this is coupled with their quality musicianship, almost anything can and does occur.
Since their debut in 2019 Tog has played at major festivals in Norway, as well as providing support for jazzrock giants Kanaan and Møster! With MEGAMAX, Tog are striding boldly towards higher levels, proving that their blend of musical ingredients is capable of making something not only imbued with volatility, but possessing enough atmospheric scene-setting to raise its singular profile high within the collective musical consciousness.
Steinar Heide Bø: drums, percussion
Vetle André Skåli: baritone guitar
Brede Sørum: soprano & tenor saxophones, moog
Recorded and mixed by Åsmund Årnesson Rise & Mathias Unhjem Rognskog at Nyhavna Studio
Mastered by Karl Klaseie at Øra Mastering
Artwork by Juliane Schütz
Thanks to Bandorg, Trafo, Ingebrigt Håker Flaten / Sonic Transmissions Records
MAN EATING TREE
MAN EATING TREE
MAN EATING TREE is the first solo album by Belgian-born, Oslo-based pianist Jonas Cambien. On prepared piano and electric organ, Cambien channels a soundscape of meditative repetition and oscillating rhythms.
Cambien’s background is dappled with diversity. While training in classical piano at the Conservatory of Brussels, he focused on contemporary repertoire. This would deeply shape his playing and ensuing projects, largely in Norway, where Cambien has embedded himself as a pillar of Oslo’s free jazz and improvised music scene. There, he has released four albums as a band leader with Jonas Cambien Trio and Maca Conu, and lent his touch to many more constellations, such as Aksiom, Platform, and Simiskina. A far cry from Northern Europe, Cambien found his way to Egypt via an ongoing collaboration with oudist and composer Aly Eissa and violinist Ayman Asfour. Cambien’s work with The Handover saw him absorbing an Egyptian stylistic sensibility on the keys, which entered the aqueduct of his musical influences, a complex and vibrant blend that surfaces in MAN EATING TREE. While this album is a culmination of the experiences and inspirations that live in its creator, it is a distinct departure from his previous releases. Grounded in repetitive melodies and fluctuating rhythms that stratify and evolve, it nods to contemporary composer Ligeti, along with minimalists Terry Riley and Steve Reich.
The opening track, “Tre”, begins with a minimalist repeating piano motif a la Philip Glass. Vacillating rhythms cascade around it, pulling and pushing the tension before building into a hallucinatory, clattering finale. “Árbol” shows off Cambien’s hemispheric prowess, as his hands work autonomously to knit a tapestry of wobbling polyrhythms and layered motifs. Muscular and percussive, it cascades into a gentle, aquatic space before resolving into crystalline clarity. With deep listening, this one would surely rewire some brain synapses. “Silverware Vibrating Inside Grand Piano” is exactly that. The metallic buzz and cavernous rumble of metal on metal, amplified by wood, is an elemental meditation. Cambien’s Handover-enhanced musicality is particularly visible on “BOOM”.
Executed on Ace Tone organ and prepared piano, it enters serenely before chugging forth on a lurching rhythm. A rippling Alice Coltrane-esque solo tops it off.
MAN EATING TREE is certainly the work of someone who, having mastered his craft, is now unfettered by constrictions, free to play among the garden of chance. Though a work of great sophistication, it remains unpretentious and footloose; music that will saturate the subconscious as much as the conscious mind.
(text: Tucker Wiedenkeller)
—
Composed and performed by Jonas Cambien on prepared piano and Ace Tone Top 5 combo organ
Recorded by Morten Qvenild
Mixed by Magnus Nergaard and Bård Ingebrigtsen
Masterd by Lasse Marhaug
Artwork by Johann Kauth
Sonic Transmissions Records 2026
Live in Espoo
Live in Espoo
Mikko Innanen – alto, baritone, sopranino and tenor saxophone; oboe
Ingebrigt Håker Flaten – bass
Recorded live on February 7th, 2025 at the April Jazz Club at EMMA, Espoo Museum of Modern Art
Recording by Tuomas Haimakainen
Mixing and mastering by Lasse Marhaug
Cover photo and layout by Lasse Marhaug
Produced by Mikko Innanen & Ingebrigt Håker Flaten
Sonic Transmissions Records (STRCD40) and The Fiasko Records (FRDG-139)
Live at Moldejazz
Live at Moldejazz
Amalie Dahl – alto saxophone, composition
Henriette Eilertsen – flute, electronics
Oscar Andreas Haug – trumpet
Jørgen Bjelkerud – trombone
Sofía Salvo – baritone saxophone
Ida Løvli Hidle – accordion
Anna Ueland – synthesizers
Lisa Ullén – piano
Nicolas Leirtrø – double bass
Ingebrigt Håker Flaten – double bass
Trym Saugstad Karlsen – drums
Veslemøy Narvesen – drums
Recorded at Moldejazz, Teatret vårt, July 17th 2025 by Erik Valderhaug
Mixed by Jørgen Smådal Larsen
Mastered by Mastered by Helge Sten at Audio Virus Lab
Coverart & design by Juliane Schütz
Released on Sonic Transmissions Records
All compositions by Amalie Dahl
Supported by Komponistenes Vederlagsfond, Kulturrådet and Koda Kultur.
Live at Artacts ’22
Live at Artacts ’22
Experience the power and emotion of Ingebrigt Håker Flaten (Exit) Knarr in this rare live recording. Originally commissioned by the renowned Vossa Jazz Festival in 2020, this large-ensemble work is a deeply personal journey, paying homage to the people, music, and places that have shaped Ingebrigt’s career as a touring musician across Austin, Chicago, and Europe.
Drawing inspiration from jazz, free jazz, avant-garde, world music, and psychedelic rock, the music features an extraordinary ensemble of talents. From celebrated artists like Mette Rasmussen, Oddrun Lilja Jonsdottir, Erik Kimestad Pedersen, Joakim Rainer Petersen, Olaf Olsen, and Atle Nymo, each musician contributes to the vibrant and exploratory energy of the performance.
This album captures the spirit of a live concert from the last concert of an EU tour (and last tour with this lineup) at artacts ’22 festival, recorded at the Alte Gerberei in St. Johann in Tirol.
“From loose elements to a cohesive form: this is one of the great strengths of Håker Flaten’s (Exit) Knarr. In the vinyl recording of the concert at the St. Johann artacts 2022 festival, this approach is no different than on the magnificent preceding album, Breezy. What begins with Spanish-inspired chords in Håkkåran culminates in a collective anthem where all the performers play their souls, steering toward a finale reminiscent of Charlie Haden’s Liberation Orchestra.
In Chaos Pad / À la lalala love you, there’s a sharp uptick in tempo, accompanied by a powerful horn section. Such saxophones! Side two of the record opens as an expansive centerpiece, before Pedersen’s trumpet steps into the spotlight, true to the title Miles Ave. Meanwhile, Jonsdottir—daughter of Jon—creates unexpected counterpoints on electric guitar.
The concluding track, Museumsplein, begins as another anthem but is gradually deconstructed, torpedoed until it falls apart into its individual fragments, leaving us staring at the shards before us.” – Freistil
—
Ingebrigt Håker Flaten – acoustic and electric bass, compositions
Mette Rasmussen – alto saxophone
Atle Nymo – tenor saxophone, clarinets
Erik Kimestad – trumpet
Oddrun Lilja Jonsdottir – electric guitar, vocals
Joakim Rainer Petersen – piano, keyboards
Olaf Olsen – drums, percussion
All compositions by Ingebrigt Håker Flaten (TONO)
Recorded Live at Alte Gerberei, St. Johann in Tirol, March 13, 2022 by Charles Wienand and Markus Massinger
Mixed and mastered by Markus Massinger
Cover Pic: Bernard Embacher
Design: DER ROTE FADEN grafikdesign
Light.Sentence
Light.Sentence
All music by Joakim Rainer Petersen
This exciting and young piano trio lead by Joakim Rainer Petersen consists of some of Norways most active young jazz musicians. They play with their eyes directed forward while being rooted in the classic piano trio format. The music is spontaneous and playful, and rhythmically captivating. The compositions build complex shapes and asymmetric loops. The trio draws lines to composers and musicians such as Andrew Hill, Paul Bley and Kris Davis! A particularly exciting mix of expressions that are combined with listening, playing and focused interaction.
The Joakim Rainer trio was titled Norwegian Young Jazz Musicians of the Year when they won Jazzintro at Molde International Jazzfestival 2022. We’re very happy to release their amazing debut album on Sonic Transmissins. The album is released on a beautiful LP with cover art by Adrian Borge.
Joakim Rainer Petersen – piano
Alexander Riris – double bass
Rino Sivathas – drums
Recorded at Store Studio in Bodø, Norway October 2021
Recorded, mixed and mastered by Martin Bowitz
Cover Art by Adrian Borge
Thanks to Ingebrigt Håker Flaten, Nordnorsk jazzsenter, Trondheim Kommune, Trafo og Bandorg for making this possible.
Intergalloptic Roundtrip
Intergalloptic Roundtrip
Emil Storløkken Åse’s PHØNIX is now releasing their second album, “Intergalloptic Roundtrip”. This almost 50 – minute long concept album showcases PHØNIX’ bold evolution in both name and sound.
On this album, the band has expanded their musical palette through collaborations with some of their favorite musicians and friends, bringing Emil’s compositions to life with a powerful mix of expressions.
Imagine Jimi Hendrix meeting Terje Rypdal, blending rock ‘n’ roll guitar with jazz and psychedelica, while simultaniously weaving in elements of classical, avant-garde, and pop vibes. “Intergalloptic Roundtrip” brings PHØNIX’ eclectic desert-themed music out in space, for an epic sonic experience!
—
PHØNIX
Emil Storløkken Åse – all guitars, upright piano, backing vocal
Jenny Frøysa – baritone saxophone, bass clarinet, bass synth, accordion, recorder, backing vocal
August Glännestrand – all drums and percussion, drum machine
Featuring on Horseback Takeoff:
Ella Marie Runesdatter Wolden – lead vocal, backing vocal
Strings
Tuva Halse – violin
Live Sunniva Smidt – cello
Nicolas Leirtrø – double bass
Choir
Elias Langseth
Hans Ona Gjul
Jakob Leirvik
All songs composed by Emil Storløkken Åse
All songs produced by PHØNIX
String and choir arrangement on Horseback Takeoff by Emil Storløkken Åse
Recorded at Øra Studio, December 2023
Engineered by Mona Hynne
Additional recording at Heaven Hill Studio, December 2023
Engineered by Ståle Storløkken
Mixed by Mona Hynne at Øra Studio
Mastered by Karl Klaseie at Øra Mastering
Cover art/photo by Juliane Schütz
In-correcto 058: Botapierna (En vivo Matik Matik)
In-correcto 058: Botapierna (En vivo Matik Matik)
This record is a reminder that not so long ago, concerts were made in front of audiences. People sweated in small spaces, collaborating live with musicians in real-time. Botapierna is a unique recording that celebrates human interaction in these safe havens for experimental music. Some of these places are small mysterious taverns that survive almost intact to the inevitable passage of time and to the brutal pace of globalization. It might seem strange, but some of them have survived the pandemic in spite of neglect and unfair treatment by local governments and cultural institutions around the world. Maybe it is the imminent call to improvisation and the noise of musicians that keeps them alive. What is true is that their stages are some of the last places in which improvisers and adventurous musicians can expose to the world, their true declaration of principles: the pushing of sound boundaries. This was all very well known to Håker Flaten and Santiago Botero before meeting in 2017 at the Sonic Transmissions Festival in Austin, EEUU.
At the festival, Botero performed the United States debut of his fiercely danceable, heavy-groove cumbia band ‘Los Toscos’ in a unique formation that included master Carmelo Torres, one of the fundamental remaining personalities of the cumbia sabanera tradition from the Colombian Montes de María. At the same festival, Håker Flaten presented The Young Mothers, one of his most creative and expressive projects which features sound injections of grindcore, hip-hop, and free improv. Their professional friendship grew to the point Haker Flaten was invited by Botero to play with The Young Mothers in one of the hottest melting pots of experimental music in Bogotá, Colombia, the one and only Matik-matik, unaware that one week after the performance, the city and much of the world would be locked down due to the ravages of the global pandemic.
It was the perfect opportunity for Botero to combine The Young Mothers with his tropical-groove influenced project, El Ombligo (The Navel), for a one-time-only, mind-blowing concert. The date also fell on Matik’s 12th anniversary. The result: a 10 musician extended line-up that brought together both bands with the intention of creating a musical backbone inspired by Miles Davis’ Bitches Brew or On the Corner. The show was a spiritual experience that combined fiery extended free-jazz improvisations with traditional cumbia and gaita melodies and rhythms. A concert in which Pedro Ojeda, Frank Rosaly (drum sets), Ingebrigt Håker Flaten, Santiago Botero (basses), Jonathan Horne, Kike Mendoza (electric guitars), Jawwaad Taylor (trumpet / MC), Jason Jackson (saxophone), Ivan Medellín (organs), and Stefan Gonzalez (vibraphone) united to release the groove and improvised music that was inside their souls that one night, in that small and sweaty jazz tavern in Bogotá.
—
Pedro Ojeda, Frank Rosaly: drum sets
IIngebrigt Håker Flaten, Santiago Botero: electric basses (profesor planta Pontificia Universidad Javeriana. Bogotá, Colombia)
Jonathan Horne, Kike Mendoza: electric guitars
Jawwaad Taylor: trumpet / MC
Jason Jackson: sax
Ivan Medellín: keyboards
Stefan Gonzalez: vibraphone
Recorded live at Matik matik, March 7th, 2020. Bogotá, Colombia
Mix / Master: Benjamin Calais
Cover art: Yeyé Torres
Text: Ivan Medellín / Luis Daniel Vega / Pedro Moreno
Improvisasjon av 21. november 2022
Improvisasjon av 21. november 2022
On the evening of the 21st of November 2022, the first of a four-day long recording session at Verkstedhallen, Trondheim, TEIP TRIO and Maria Norseth Garli got together for a one-off set of improvisations. Garli’s acoustic guitar, combined with the room’s lack of monitoring, called for a soft and mellow approach, resulting in an ambient and meditative session.
“Improvisasjon av 21. november 2022” is an unedited 36-minute-long improvisation in four chapters, and a record documenting the first meeting between the two artists.
Arne Bredesen, electric guitar
Jens-Jonas Francis Roberts, clarinet
Maria Norseth Garli, acoustic guitar
Nicolas Leirtrø, electric baritone guitar
Mixed by Kyrre Laastad
Mastered by Karl Klaseie
Improvisasjon av 13. januar 2023
Improvisasjon av 13. januar 2023
On Friday, January 13, 2023, TEIP TRIO and Lene Grenager opened the 2023 edition of All Ears Festival for Improvised Music, held at the Munch Museum in Oslo, Norway. This first encounter between the two artists was captured by Stig Gunnar Ringen and is now released as an unedited recording documenting the event.
“Improvisasjon av 13. januar 2023” was released through Sonic Transmissions Records on October 31st, 2025.
Arne Bredesen, guitar
Jens-Jonas Francis Roberts, clarinet
Lene Grenager, cello
Nicolas Leirtrø, baritone guitar
Recorded by Stig Gunnar Ringen at MUNCH, Oslo
Mixed by Kyrre Laastad
Mastered by Karl Klaseie
If a tree falls in the forrest and no one is around to hear it, does it make a sound?
If a tree falls in the forrest and no one is around to hear it, does it make a sound?
Sanem Kalfa is an artist of remarkable depth, known for her ability to explore an expansive vocal range that captivates and moves audiences. Often described as an emotional journey, her performances blend technical virtuosity with profound storytelling. With this solo album, Kalfa unveils a new facet of her artistry—her voice intertwining with the rich, expressive tones of the cello. This record is a deeply personal exploration, weaving together electronic elements, cello, and voice to tell stories—both her own and those of women whose strength, resilience, love, and sorrow shape the world. Kalfa creates an intimate soundscape, layering textures through an unconventional use of looping, live recordings, and delicate instrumental arrangements. Some songs embrace raw simplicity, featuring only voice, ukulele, and cello, allowing their emotional core to shine through. Inspired in part by the poetry of Turkish writer Sait Maden, Kalfa fuses evocative lyricism with her unique vocal vocabulary, electronics, and strings. The result is a deeply moving, boundary-defying work—an ode to the power and complexity of the female experience.
—
Sanem Kalfa – voice, cello, electronics, ukulele
Recorded, Mixed and Mastered by Alistair Payne at The Tracking Room, Amsterdam, February 2022.
Cover art by John Herndon.
Huggutillin
Huggutillin
Dykdypp – the band with the most misspelled name in Norwegian music history, and one that will continue to torment proofreaders in jazz magazines and festivals for years to come.
A tornado of soaring saxophone solos, scraping — almost screaming — guitar, driving bass, steady drumming, and wild energy… and right in the middle of it all: cello!
Despite their young age and a mix of still-in-progress and freshly completed jazz studies (from Bergen and Trondheim, respectively), the band has already celebrated multiple birthdays together.
What might appear from the outside as a glorious mess — orange, brown, and blonde; messy and neat; tall and short; smooth and scruffy; uncompromising and fragile; plucking and blowing — is united through breathless, folk-infused rock-prog-jazz. Where the only thing more rock’n’roll than the electric guitar is the saxophone.
That you’ll love this vinyl/CD/streaming link for the rest of your life, I have no more doubt about than that you’ll get a proper workout for your neck, tapping foot, and smile muscles at a Dykdypp concert.
Enjoy!
Kisses, claps, and hugs,
— Selma with the red hair
Åsne Ausen Fossmark – tenor saxophone
Arin Myklebost Gran – guitar
Selma Sophie Tudor Edwards Granly – cello, vocals
Johannes Wilhelm Burns Lykkås – double bass
Linus Hanem Solvang – drums
Recorded by Jo Ranheim in Øra Studios
Mixed by Kyrre Laastad in Øra Studios
Mastered by Karl Klaseie in Øra Studios
Photography by Eva Hovem Gjelsvik
Coverart and layout by Erlend Wik