soundstream

“All three are among the best musicians in free jazz land. Trio X is the epitome of tradition-based free jazz. It is free improvisation, with the themes of some standards or spirituals, often, but not always, as an excuse for improvising, being touched upon sketchily.” -Stef, Free Jazz Blog

Double Bass – Dominic Duval
Drums – Jay Rosen (2)
Tenor Saxophone, Soprano Saxophone – Joe McPhee
Trumpet – Joe McPhee (tracks: 2-1 to 4-8, 6-1 to 7-5)

Disc 1 recorded Oct. 2, 2006, The Winston Room, St. Lawrence University, Canton, NY
Disc 2 recorded Oct. 3, 2006, Picker Art Gallery, Colgate University, Hamilton, NY
Disc 3 recorded Oct. 4, 2006, The Hideout, Chicago, IL
Disc 4 recorded Oct. 5, 2006, Bucksbaum Theatre, Waukee, IA
Disc 5 recorded Oct. 6, 2006, Luna Cafe, Greenbay, WI
Disc 6 recorded Oct. 7, 2006, Bohemian National Home, Detroit, MI
Disc 7 recorded Oct. 9, 2006, Cafe Opus, Hamilton College, Clinton, NY

“With the caliber of musicians comprising the trio, it is not surprising that there is a consistently high quality to these unusual interpretations, which, for the most part, merely hint at recognizable melodies. For example, “Monkin’ Around” skirts around “Blue Monk” without totally absorbing it, while “My Funny Valentine” just touches on the melody.” -Steve Loewy, AllMusic

Tracks 1 to 4 recorded March 25, 2001, St. George The Martyr Church, Toronto, Ontario, Canada
Track 5 recorded March 24, 2001 at the Bug Jar, Rochester, NY

Joe McPhee: Saxophone
Dominic Duval: Double Bass
Jay Rosen: Drums, Percussion

“These are pieces which the trio has often played before and they master the themes to perfection, yet still managing to bring them in a refreshingly innovative way. The same level, with recognizable themes throughout (Ellington, Monk), is kept up on the rest of the live album. The variation between serene pieces and intense passages, the technical mastery and the telepathic interplay of the three musicians, is absolutely stellar. The small crowd attending the performance is enthusiastic, and rightly so. This is what music is all about. Highly recommended.” -Stef, Free Jazz Blog

Soprano Saxophone, Trumpet [Pocket] – Joe McPhee
Bass – Dominic Duval
Drums – Jay Rosen

Design – Joe McPhee
Engineer [Recording] – Jim Staley
Photography by Jerry Starpoli
Producer – Bob Rusch, Joe McPhee

Recorded March 4, 2005 at Roulette at the Location One Gallery, NYC, NY.

“When they are “on,” the members of Trio X play music that is as good as it gets, and evidence of that is amply abundant here, with some important and exciting interpretations of the emotionally vibrant “God Bless the Child,” the Ayler-esque “Goin’ Home,” and the poignant “‘Round Midnight and Later.”… It is the melodies that shed the most light on the group’s strategies, which interpret and continually reinterpret the essence of song in a surprisingly and strikingly accessible way.” -Steve Loewy, All Music

Tracks 1 to 4 recorded live at Edgefest ’99, Ann Arbor, MI, 1999
Tracks 5 to 7 recorded live at Vision Fest, NYC, NY, June 6, 2001

Dominic Duval: Double Bass
Jay Rosen: Drums, Percussion
Joe McPhee: Saxophone

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

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

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)

One day, one bass, one bow, one reel.
Nothing spectacular, just pure feeling, focus and spontaneity in a legendary place,
recorded directly on tape and presented to you in the same order they were recorded.

NICOLAS LEIRTRØ
Solo double bass live to 2-track.

Recorded and mixed by Greg Norman live to 2-track at Electrical Audio, Chicago, September 4, 2024.
Mastered by Helge Sten at Audio Virus Lab, Oslo, January 2025.

Cassette manufactured in Canada by Duplication.

Cover design & linoprint by Nicolas Leirtrø.

Released by Sonic Transmissions Records February 14, 2025.

Previously released on Tektite Records – March, 2014

Jason Jackson: alto,tenor,& baritone saxophone
Jawwaad Taylor: vocals,trumpet & electronics (drum programming
on The ‘Wood and Ruth)
Jonathan F. Horne: guitar
Stefan Gonzalez: vibraphone & drums (vocals on Wells, the original)
Ingebrigt Håker Flaten: acoustic & electric bass (electronics on Wells, the original)
Frank Rosaly: drums & percussion

Guest Musicians:
Mars WIlliams: soprano saxophone on Molé
Bob Hoffnar: pedal steel on Molé
Ralph White: kalimba on Ruth

Horn Section on Ruth:
Carl Smith: tenor-saxophone,
Alex Heitlinger: trombone,
John Elliot: tuba.
Additional Percussion on Molé by Orquestra Francisco Javier Rosaly.

All compositions and arrangements by Ingebrigt H. Flaten (TONO/NCB/BMI) except Theme from Fanny & Alexander
(composed by Benjamin Britten: suite for cello solo, Op. 87) and Ruth (based on a traditional from Uganda).

Recorded and Mixed by Chico Jones at Ohm Recording Facility/Austin Texas, during Fall 2012 /Spring 2013.

Mastered by Martin Siewert at Garnison7, Vienna, October 2013.

Produced by Ingebrigt Håker Flaten and Chico Jones.
Ruth and The ‘Wood co-produced by Jawwaad.

Photos and Layout by Andrea Lorena.
Graphic Design by Embret Hooker.
MonsterMan Jonathan F. Horne.

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

“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

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

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

A trio that evokes a multitude of sonic realms. Through original compositions, the group delves into intense musical experimentation, crafted with tenderness and fury, framed within songs that sail between familiar and enigmatic melodies.

With over 20 years of experience as performers, composers, improvisers, and educators, its members have been friends since childhood. In a time marked by uncertainty and the need for new forms of expression, they decided to create this project as a creative refuge, transforming questions, doubts, and emotions into a source of musical inspiration.

By early 2025, Hurakan Orkan is set to release their new album, Ábrego Arcano.

An album born from experimentation and sonic freedom, continuing the journey begun in their early steps. This release emerges like a whisper in the wind, carrying the essence of the band to new depths where the abstract and the lyrical intertwine to offer a unique experience. Ábrego Arcano is an invitation to explore the sonic universe the band has built, letting the music speak for itself, without borders or limits—like an ábrego wind that opens doors to unknown and fascinating worlds.

The album will be co-produced in collaboration with Musica Corriente from Medellín and Sonic Transmissions from Norway.

María A. “Mange” Valencia: Clarinet, Alto Sax, Analog synth
Mauricio Ramírez Echeverri: Drums, Percussion
Santiago Botero: Acoustic and electric bass

Recorded at Sama Estudios June 23rd and 24th, 2023. La Calera, Cundinamarca, Colombia

Recording Engineers: Juan and Daniel Ordoñez
Mix & Master: Alejandro Araújo Larrahondo
Production and Arrangements: Hurakán Orkán
Art and Design: Alma Sarmiento
Collage: Huecos en el tiempo (Alma Sarmiento)

Co-Production: Sonic Transmissions Records and Música Corriente
© SONIC TRANSMISSIONS RECORDS 2025

“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.

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

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.

Don’t Feed the Sun is a trio that has emerged from the thriving jazz community in Trondheim. The trio consists of Anna Ueland on synth, vocals, and fiddle; Hermann Hestbek on tuba, OP-1, and electronics; and Selma Edwards Granly on cello, electronics, bass drum, and vocals. They make their debut with the EP Farewell, Sun, which was created by inviting producer Elling Svee to join them for a week in a traditional Scandinavian cabin in picturesque Fosen. The self-composed music also includes improvised passages and is clearly inspired by the stunning surrounding nature. With references to folk music, Nordic jazz, electronica, and the singer-songwriter tradition, the trio aims to depict nature and music in beautiful harmony. The subtle lyrics explore themes of closeness, optimism, love, longing and self-awareness. Written both collaboratively and individually, the lyrics echo the contrasts between the direct and the abstract.

Anna Ueland: Korg Poly-800, OP-1, mellotron, fele, vokal
Selma Edwards Granly: cello, gitar, basstromme, vokal, perk
Hermann Arntzen Hestbek: tuba, elektronikk, OP-1, feltopptak, perk
Elling Svee: gitar, synth, feltopptak

Dear fellow travelers!
We find ourselves in a rapidly transforming world. Times are uncertain and alarming in many ways: from global warming and Zlatan’s retirement to the voiceless feelings we face in life’s relentless competition—the challenges seem endless! Thus, many people spiral into a state of apathy and despair! However, this also creates space and opportunity for heroes to step forward – Greta Thunberg, Burna Boy, the Scandinavian Unemployment Insurance Act, Noam Chomsky – just to mention a few. This, my friend, is where Dubbeltrion comes into the picture!

You probably wonder: where does Dubbeltrion find its place on this spectrum of good and bad in the world? With their debut album, “Bringing Scandi-Baltic Powerhouse Jazz to the People” released fall of ’24, Dubbeltrion strives to make the world a better place for me, you and the entire human race! With a deep respect for the spiritual jazz of 1960s African American culture, Dubbeltrion offers a contemporary take on this genre, blending it with their shared Nordic culture and modern influences. The double trio format with two double basses, two saxes and two drummers creates the “powerhouse” feeling and the massive sound that has become signature of the Scandi-Baltic ensemble.

With a fresh and modern approach to jazz combined with inspiration from folk music of their home regions in Tornedalen and Skåne in Sweden, Zealand in Denmark and rural Estonia, the sextet transcends borders to create a sound so powerful that it will heal divisions and serve as a divine inspiration of love and understanding for generations to come.

Kertu Aer – bass
Hilda Nordkvist – bass
Isidor Abdelkader – drums & perc
Gustav Tornberg – drums & perc
Vidar Hansteen-Jörgensen – tenorsaxophone, clarinet, cows horn & perc
Isak Schiødt – Tenor- og sopranosaxophone, clarinet, flute, moog matriarch & guitar

Albert Von Bulöw – sound tech, moog matriarch, mix & good vibes
John Fomsgaard – Master
Cover photos – Vidar Hansteen-Jörgensen
Cover graphic – Iben Munch

Thanks to Stranden and Koda Kultur for financial support.

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

Redshifts marks the debut collaboration between artists Zeena Parkins and Cecilia Lopez. Recorded in January 2025, the album features a striking interplay between two singular instruments: Parkins’ self-invented electric harp and Lopez’s RED—a large-scale, handwoven electronic instrument made from speaker wire. This collection of pieces captures a vivid sonic dialogue between Parkins’ masterful, expressive performance and López’s sculptural approach to sound and instrument design. These are one-of-a-kind instruments performed by their creators

Zeena Parkins: electric harp, acoustic harp, ebow piano
Cecilia Lopez: RED, electronics, synthesizers

Recorded at Roulette Intermedium in January 2025 by Andrea Schiavelli
Mixed by Owen Mulholland at 35st Studio in NYC
Mastered by Tom Hamilton

Artwork by Ian Kornfeld
Session photos by Jeff Preiss

With support from: The NYC Women’s Fund for Media, Music and Theatre by the City of New York Mayor’s Office of Media and Entertainment in association with The New York Foundation for the Arts.

“In 2022, with the closing of Mills College imminent and my bicoastal life coming to an end along with it, I requested of my colleagues works I could perform to mark this loss, honor the school’s great legacy, and conclude the thirteen years I spent teaching there. They all graciously agreed. Lament for the Maker is the title of a Jack Spicer poem originally published in San Francisco, in 1963.”

There are three recently commissioned works for solo harp and the final piece, berlin bedroom, an ongoing acoustic harp solo by Parkins which began in 2014. This CD serves as an homage to the Bay Area and is dedicated to students, colleagues and a collective devotion to experimental art making.

1_Laetitia Sonami, She is a Butcher in my Dreams (2024) The title of the composition echoes my fascination with Zeena’s unabashed physicality as she deftly splits, slices, rubs and strikes her instrument. We explored a tactile language where acoustics and electronic sounds are in dialog and invite the listener’s ear to travel “inside” the instrument.

2_John Bischoff, pluck (2022) is a duo piece for harp and electronics composed for Zeena Parkins. The electronic part runs automatically and variably in response to Zeena’s playing in each performance. Zeena can influence the activity and momentum of the electronics from beginning to end. Zeena’s pitch choices as she improvises in dialog with the electronics are one of the more remarkable features of her performance. Her innumerable ways of articulating the harp create a complex unity in parallel with the diverse voicings of the electronics. Such animated symbiosis is characteristic of her brilliant musicality throughout.

3_James Fei, In Such Circumstances of Miscalculations (2023) isn’t so much a piece for harp as it’s a piece for Zeena. I wanted to make something that engaged with her unique voice as a composer and improvisor, and I also hoped that the open aspects of the piece might pose musical problems that she would find interesting—it felt like a continuation of the exchange of ideas we’ve had in the over a decade of teaching together at Mills College.

4_Zeena Parkins berlin bedroom (2014-ongoing) is structured around the harp’s sonic limits: a challenging of its fixed pitches that are impossible to bend by design (without utilizing metal bolts, slides, harp tuners, etc.). These impossibilities are tackled by commandeering and repurposing the instrument’s inner mechanics. The version on this CD was the last piece from my final performance at Mills College, in beautiful Littlefield Concert Hall, on February 10, 2024. A fitting end to it all. The audience applauds, marking the moment, the place, and the community.

Zeena Parkins – acoustic harp, electronics, bass bows, wooden bows, bolts, metallic paper, corks, alligator clips, metal slide, felt, handheld mic, friction mallets, lighting filter sheet

Recorded Littlefield Concert Hall at Mills College by James Fei,
berlin bedroom Littlefield Concert Hall by Aaron Oppenheim,
Mixed and Mastered James Fei

Artwork Amy Sillman
Graphic Design Cynthia Madansky
Executive Producer Kevin Reilly

There are super groups, and then there are SUPERGROUPS. This trio, comprised of three prolific journeymen improvisers whose work has been recognized across the globe, is neither. This is a band of down-to-earth, hard-working musicians, whose focus and dedication to the music is exceptional. That’s not to say that these three don’t have a combined CV that straddles a who’s who list of contemporary music across multiple scenes. But their ethos is one that emanates from their midwestern locale – a heads down approach to collaborative work.

The trio first came together at Chicago’s Hungry Brain during a month-long Thursday residency that Rempis organized in September 2024. Corsano’s recent relocation to Chicago was an overdue opportunity for them to collaborate again, after regular work with the quartet From Wolves to Whales alongside Nate Wooley and Pascal Niggenkemper in the mid-teens. And Adasiewicz’s recent return to the music following a multi-year hiatus has meant he’s at the top of the list for any new groups Rempis puts together, after many years of work together earlier in their careers.

That first Hungry Brain concert proved too compelling to leave as a one-off. So they organized several more hits in Chicago and Milwaukee in the winter of 2025, out of which sprang this recorded debut.

On Dial Up, you get instantly wrapped into the sinews of the band’s shared aesthetic. There’s no ego here, simply a collaborative ethos that powers the music forward. While that’s a noted feature of the Chicago improvised music scene historically, it’s also one that Corsano has embraced in his own work for decades. And that’s key to what makes his transition to being a resident of the city and the scene there so natural. These three breathe together with a sensitivity that’s rare, whether they’re riding high through the anthemic bluster of “Past and Present Hallucinations,” or delving into the pointillistic explorations of “Third Person.” And while all three command broad and unique palettes on their instruments, there’s never a feeling that technical dazzle takes the place of musicality. Every motion is in service to the evolution and development of the spontaneous sound they bring forth.

Dave Rempis – soprano/alto/tenor/baritone saxophone
Jason Adasiewicz – vibes
Chris Corsano – drums

Tracks 1, 2, 3 recorded at Constellation in Chicago by Cooper Crain on January 10th, 2025
Tracks 4, 5 recorded at The Sugar Maple in Milwaukee by Dave Zuchowski on February 2nd, 2025

Mixed and mastered by Chris Corsano and Dave Zuchowski

Artwork and cover design by Lasse Marhaug
Produced by Dave Rempis

Special thanks to Mike Reed, Nolan Chin, and all the staff at Constellation, and Adrienne Pierluissi, Robert Szocik, and all the staff at the Sugar Maple

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

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.