Free Jazz Music

Sleeping Monuments

Sleeping Monuments is an experimental solo drum set recording by Greg Miles Lewis released on August 7, 2026, through the Los Angeles-based experimental music label Symbol Group Records. The project began in the summer of 2024 as an inquiry into the possibilities of the solo drum set as a compositional and narrative medium. After more than a decade performing as an improviser and collaborator across a wide range of musical settings, Greg Miles Lewis turns inward to present a solo work that reflects his artistic journey and lived experience thus far. Structured in four interconnected movements, Sleeping Monuments unfolds as a series of distinct yet related sonic environments, each examining different dimensions of memory, place, and personal history. Throughout the work, Lewis juxtaposes freely improvised performance with through-composed rhythmic and groove-based structures. Episodes of density give way to moments of restraint and contemplation, creating an evolving dialogue between instability and resolution. Lewis’s artistic perspective - particularly within the medium of solo performance, is informed by a broad constellation of influences, including Randy Gloss, Susie Ibarra, Tyshawn Sorey, Abe Rounds, Nate Smith, and Pandit Swapan Chaudhuri. The album’s title reflects its central theme: a gesture of gratitude to the teachers, collaborators, and mentors, past and present, whose influence continues to shape his artistic voice. The realization of Sleeping Monuments was made possible through the contributions of recording engineer Nathaniel Sellin, production/mixing engineer Miles Knight, and mastering engineer Anthony Beville, whose technical expertise helped translate the project’s conceptual ambitions into its recorded form.

Das Zeit

A marvelous concept album built around the themes of time, relativity and quantum physics. Free improvisations of saxophone, noisy guitar/bass drones, effects and drums accompanied by eerie vocals to create an unique, organic sound. If you liked this record, be sure to check upon the rest of rich discography of this incredible Russian duo.

New Time

Utilizing analog synths, banjo, keyboard, bells, found sound, collage, "New Time" blends ambient, electro-acoustic, folk, musique concrete, noise, both free jazz and smooth jazz, and drone into...something different. Music for a new, different paradigm

TGAAZ at AZZ

The Geese at Astra Zeneca, abbreviated as "TGAAZ" for apparent copyright reasons, is a collaboration between Rodney Carpenter (of The OT X-TET) and Henry (of Mahatma X/MADDOGG/SCRAN), as well as frequent collaborator Darian Smith. The name might seem odd, but it references a literal gaggle of geese that live, work, and play on the grounds of the AstraZeneca pharmaceutical campus situated just outside the proverbial bastion of boredom that is Wilmington, Delaware. Visible from I-95, Henry would travel weekly between the group's Sweet Chunk HQ in Philadelphia, Pennsylvania, and his hometown of Baltimore, Maryland, looking outside his car window to see this regular cast of characters. Rain or shine, they would be there, always seeming to live without a care in the world, completely oblivious to the looming logo of corporate misery they've chosen as their home. Their first album, "TGAAZ at AZZ," is the product of a single, 3-hour improvised session recorded with one microphone in the living area of their Philadelphia warehouse in the summer of 2022. Afterwards, MALK took this recording and isolated, reworked, and expanded it to create 13 off-kilter experiments. Sitting somewhere between free jazz, instrumental hip-hop, and perhaps some punk, "TGAAZ at AZZ" is a frantic, challenging approach to the intersection of jazz and beat tapes - yet it's spoken with a playful, familiar lexicon. HONK HONK

IHN016 // Rootless - Things We Can't Say About Ourselves

"Funny and Cerebral" - Beckton Alps IHNs debut of Rootless aka Jeremy Hurewitz! Featuring guest spots from members of Sunwatchers and Swirlies.

Rootless - Things Unsaid

Acoustic sounds for meandering on dirt roads - Listening Habit 4 track EP from Rootless aka Jeremy Hurewitz! Acoustic, psychedelic, trippy, jazz - all at once and more

Unquiet Hearing

It does not seek traditional harmony, nor rely on abstract imagination, it presents the existence of sound itself. Sounds are constantly interrupted and reorganized between silence and eruption. Each track of the album reflects the absurdity of reality, order and chaos intertwine, meaning is temporarily stripped away, leaving only direct perception and space. This is not a pursuit of beauty, but an observation of existence and absurdity, attempting to render the fragmentation and disorder of everyday life. -Solstice D’hive

Croûtes de sentiments

"Le carnaval des cul-de-jattes couverts de tisons." Poésie noire des fêtes foraines incandescentes. Le sol est jalonné de membres humains gluants et disparates, d’ampoules électriques éclatées, de confettis de toutes les couleurs possibles (et impossibles), d’excréments fumants, de crucifix couverts de glaires inconnues, de sang chaud et de foutre. Les caravanes hurlent des chiens de prairie. Puis elles vomissent des clowns ambidextres munis de hachoirs écarlates. ANTI-JAZZ À LA SAUCE DE GLOBE OCULAIRE (N'est-ce pas mesdames?!?) J’aime ce bruit. Surtout quand il est insidieux. J’aime le verbe quand il remonte l’échine avec un coutelas. Froid. Glacial. Ravissant. J’aime. J’aime. J’aime. MÉLANCOLIE MYSTÉRIEUSE DES MIROIRS CORROMPUS. Il fait bon festoyer pendant que le Soleil devient supernova et fait fondre les forains dans une grande danse païenne finale. Wicker Man terminal. Les yeux fondent en dernier. Ils font !POP! en éclatant. Et moi j’ai éjaculé un slinky roux. -Sir Kuliktavikt

Quarter-life Crisis

Quarter-life Crisis is an eruption in slow motion, a free-improvised descent where intensity doesn’t build, it gnaws. The music claws at the edges of coherence, surging in waves that feel less like expression and more like something breaking through. Every sound arrives sharp, volatile, uninvited, as if torn from a mind refusing to stay intact. Textures grind against each other: distorted drones swallowing frantic gestures, violent bursts of rhythm dissolving and bouncing off one another. Nothing here is gentle. Nothing seeks catharsis. The intensity doesn’t guide you; it dismantles you, stripping away the illusion that any kind of meaning. These pieces flicker between agony and emptiness — a storm with no center, a scream with no message. All that remains is motion, pressure, force: the raw physics of a self collapsing under its own weight. This is not music about crisis. It is the crisis, recorded in real time, burning itself out in the dark

Stations

BFSC

Wurst of the Worst