“Don’t expect different results from doing the same thing.” This phrase is particularly popular at the new year, which is about transformation and trying new things. Experimental artists embrace change, and are seldom happy to stay in the same sonic space for too long. If you’re also looking for a new type of music, or a new approach to a timeworn genre, look no further. These artists expand the horizons of what is possible, offering original sounds that make us think differently about the world. In a time when much of our society seems stagnant, or when we are afraid that humanity is moving backward, such music allows us to shift our perspective, and breathe a sigh of relief. The future, and all of its possibilities, are still wide open. Ring out the old, ring in the new!
Electroacoustic and more
Fresh from winning our album of the year award, Okkyung Lee has completely changed genre and approach. Signals is purely electro-acoustic, a showcase for the artist’s improvisational cello, in conjunction with the six-strong Explore Ensemble. In many ways, the set is the polar opposite of just like any other day, and yet the two seem strangely complementary (Flung, March 6).
It’s nearly impossible to fathom, but Mai Mai Mai‘s Karakoz was mostly recorded in Palestine during the (still) ongoing genocide. The guest vocalists and local musicians wail their grief over stark soundscapes, as ominous beats approach like falling bombs and disintegrating buildings (Hands in the Dark, January 9). eavesdrop festival 2025 is a benefit compilation that includes Jasmine Guffond, Rashad Becker and more; recorded live (plus two mixes), the album benefits Medical Aid For Palestinians & Thamra (Karlrecords, February 27). Efrim Manuel Menuck, Use Knife, Humu Utku, Joni Void and more appear on Beacon Sound‘s Gaza Is the Moral Compass, a powerful benefit cassette and the first of an enticing series; the standout track, Holland Andrews and Methods Body‘s “Breathe,” brings a chill to the soul (January 8).
Phew and Danielle de Picciotto join forces on Paper Masks, the combination of electronics and fractured, spoken word poetry reminiscent of AGF. The stark atmospheres lend extra depth to an already dramatic set (Mute, February 20). “Ride to the venue” starts with the sound of a needle in a groove, followed by footsteps and echoes. Nevers-Berlin is already an unusual album, a collaboration between Clare Cooper & Jean-Philippe Gross that yields intriguing aural combinations (EICH, January 23). Amplified snare meets modular synthesis on Pushovers, whose every hard copy boasts a hand-painted cover. The technique matches the description of Jordan Topiel Paul & Bryan Eubanks‘ music as “over-painted photographs” (Sacred Realism, January 23).
Bradford Reed plays pencilina, drums and electronics on PETAL TONES, and is occasionally joined by sweet saxophone and saw. The result is like a turntablist’s fever dream, rife with repetition and shifting textures. The artist writes of “footholds” that serve as points of access (March 9). The microplastique ensemble recorded Many Roads on a 15-stop tour, mingling genres and influences while introducing surprising instruments: shepherd’s bells, penny whistle, toy tape recorder. The results seem spontaneous and carefree (Irritable Mystic, January 22). Tongue-in-cheek titles are the mark of Conan the Accountant‘s Hail Satan, which is far less satanic than one might first imagine ~ unless, of course, one thinks experimental music is the work of the devil! (January 11). We love the walking fish on the cover of Erdfisch‘s self-titled debut, a clear sign that something strange is unfolding. The music is packed with modular synth, wet beats and field recordings of animals – some real, and some invented (tier.debut, January 26).
Jazz and Improvisation
577 Records has already announced a number of releases for 2026, beginning with Leo Genovese‘s Solo Brooklyn, an abstract love letter recorded live at the New York Forward Festival (January 9). Next to arrive is Haeun Joo‘s Just Gravity, an improvised piano set in which the artist sometimes expands to a trio (January 16). Max Ridley, Eleanor Elektra and Nat Mugavero unite for Playing, Praying, a live set recorded at The Lilypad in Cambridge, Massachusetts; their drummer Mugavero is 89 and still going strong (January 30). British duo David / David switches it up with an often raucous set; Blame Hero is a heavy dose of drums and electronics (February 20). And Matthieu Mazué leads a trio of trumpet, piano and drums on Turn of Events, eschewing the bass (March 13).
Guitarist Kenny Reichert is Live in Chicago, leading a quartet of instinctive players. The album is out January 18 on Shifting Paradigm, who follows this release with bassist Stephen Parisi Jr.‘s Buddy!, a tribute to those who have shaped his voice (February 20). Pianist Olly Chalk leads a quintet on in these remote stars, relaying “tales of cowboys, mystics and sherpas.” Call them short stories without words (Resonant Postcards, January 30).
Jazz, folk and experimental textures merge on Harry Christelis‘ Preserving Fictions, where the guitarist leads a quartet while asking questions about history, memory and preservation (February 13). Piano samples meet electronic synthesis on Piano système, the result of a collaboration between Pur Pasteur & Nicholas Bernier. Gentle enough to fall into our ambient category, the album lands here due to its improvisational qualities (January 1). Merengue x Fantasy is the first single from the unusual The Longest Way Round, which draws not only from merengue, but from anime and J-Pop for inspiration. Ben Rosenblum‘s album is out February 27 on One Trick Dog.
Triple Blind began as a trio, but is now a quartet (Quadruple Blind?). Cold Walk seems a fitting title for the season; one can imagine strolling the chilly streets to these much warmer grooves (February 27). dance! skip! hop! says Tomeka Reid Quartet, producing the sort of music that would inspire activities like these. There’s some nice green vinyl to match the cover (Out Of Your Head, February 13). Chicago cellist Ishmael Ali merges disciplines on Burn the Plastic, Sell the Copper, folding rhythm and groove, poetry and song into a (partially) improvised format. The album teems with life, reflecting the Chicago streets (Amalgam, February 13).
A tribute to “transformation, family and freedom,” Corcoran Holt‘s Freedom of Art looks forward and backward in time, embracing multiple generations. Transition Blues is the first single (Holthouse Music, February 20). South African drummer Asher Gamedze presents A Semblance of Return, a soulful tribute to Black consciousness. This collaborative effort includes multiple readings from the work of Steve Biko (Northern Spy, January 1). Maria Schneider offers “listening, connection and courage” as an alternative approach to divisiveness; American Crow is her treatise of unity (ArtistShare, February 3).
Richard Allen
a closer listen 
That’s a strong selection of experimental and jazz music. Thank you. And thank you for everything in 2025. Here’s to a new year with new discoveries in all areas!