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Please direct yourselves to www.touchingextremes.wordpress.com and bookmark it. All the reviews that were published here have been transfer...

Tzadik “What I’m seeking to discover”, writes composer and violist John King, “is the unity of, rather than the distinction between, determi...

Release The Bats Two sides (yes, it is a vinyl) of chiming-and-droning grace, a modicum of found sounds and voices from the street – a matte...

Black Truffle In this concert, recorded at the Kitakyushu Performing Arts Centre in 2009, three distinct and very strong personalities const...

Aural Terrains By disregarding any potential concern for manifestations that might be loosely associated to a notion of “tonality” (or just ...

Nonvisualobjects Asher’s “Selected Passages” is fashioned after the ultimate residues of a research on acoustic materials gathered in 2008 (...

Hot Cup If “smooth” jazz (by the way, what the hell does that mean?) is comparable to a classic seduction in lingerie frequently ending in a...

Killer Penguin After four years from the great Attack Of The Killer Penguins , Welsh trombonist Gareth Roberts and his comrades – trumpeter ...

Monotype Turbulently logical as always, Ferran Fages and Alfredo Costa Monteiro organize a palette of noises generated by “feedback mixing b...

Siren In keeping with the unlimited consistency that has characterized his craft over the decades (regretfully overlooked by certain special...

Moonjune Iron Kim Style is a quintet consisting of a couple of guitars (Dennis Rea and Thaddaeus Brophy, the latter on 12 strings), plus tru...

Emanem The title (Italian for “stellar droplets”) comes from Orion Nebula’s newborn stars, generated by the nuclear fusion of huge globules ...

Emanem The pathos of intemperate resonance that transpires from a ruined piano is nearly visible in the work of Ross Bolleter, who makes of ...

Clean Feed Bassist Lisa Mezzacappa is a liberal participant in lots of different situations gravitating around new jazz, her recognized “hon...

Elevator Bath The fallibility of a human mechanism is inversely proportional to the illusions from which it absorbs nourishment. Confidence ...

Cuneiform This CD/DVD double whammy reclaims important documents by my favourite embodiment of Curlew (George Cartwright, Davey Williams, An...

Fungal Tate goes a little backwards in his own era, presenting a new work that closely recalls some of the earliest outings on Fungal, the o...

Creative Sources A crepuscular cooperative of alto sax, viola, cello and electronics with some concession to throaty droning and a clear ten...

Siren Except for the persistently enticing title track, opening the CD at about 20 minutes of duration, Ghost Of Nakhodka is a collection o...

Clean Feed Is writing that a music can’t be retained in the memory a compliment or a reprimand? The crow keepers of official criticism might...

Leo What is immediately noticed after listening to this double CD, marking a rare duo encounter between two masters, is that Léandre doesn’t...

Tzadik Difficult to find a composer today whose music evolves with the same rapidity of Noah Creshevsky’s. With each new record, his painsta...

New World David Mahler is not the kind of musician interested in belonging to an elite or appearing as an icon, preferring to mix with regul...

Fario Firstly released on compact disc in 2009, La Barca (also an audiovisual performance) was reissued in a limited 2-LP edition comprisin...

Bedroom Community Being a reviewer becomes an unenviable situation when a record like Sam Amidon’s I See The Sign appears, completely chang...