With Draw Out Your World, Manchester singer-songwriter Caoilfhionn Rose continues to explore the delicate space between contemporary folk, jazz, dream pop, and subtle electronic experimentation. Her warm, intimate vocals drift through gently layered arrangements of acoustic instruments, soft synthesizers, and understated rhythms, creating a sound that feels both organic and quietly adventurous. There is a pastoral, almost cinematic quality to

Exploding In Slow Motion looks back at the formative years of The Comet Is Coming, bringing together the complete recordings surrounding their Mercury Prize-nominated debut Channel The Spirits. The collection combines the original album with the Prophecy and Death To The Planet EPs, rarities, early material, and four previously unreleased recordings from 2013–2017. Across 28 tracks, Shabaka Hutchings, Danalogue, and

With Dawning, Chicago artist and composer Damon Locks joins forces with D-Composed, a Black chamber music collective dedicated to music by Black composers. The collaboration brings Locks’ sample-based practice, electronics, and archival voices into dialogue with strings, creating music that sits somewhere between contemporary classical composition, experimental jazz, and sound collage. Rather than treating the ensemble as a conventional string

The nineteenth volume of Jazzman’s long-running Spiritual Jazz series turns its attention to the lesser-known spiritual, modal, and Afrocentric sounds that emerged on the American West Coast. Part 2 concentrates on the 1970s and ’80s, tracing how counterculture, Black political consciousness, alternative spirituality, and independent labels helped shape a jazz scene far removed from California’s familiar “cool jazz” image. Across

With Eight Ring Revival, Los Angeles pianist and producer Telemakus turns a period of physical limitation into an expansive exploration of jazz, hip-hop, fusion, and electronic music. Much of the project emerged while he was recovering from complications related to Ehlers-Danlos syndrome, forcing him to rethink his approach to composing and, at times, create music without using his hands. The

On In This Desert, New York trumpeter Michael Sarian and his long-standing quartet stretch electric jazz into expansive, psychedelic territory. Alongside Santiago Leibson on keyboards and Mini Moog, Marty Kenney on electric bass, and Nathan Ellman-Bell on drums, Sarian builds seven extended pieces around collective improvisation, atmosphere, and patient rhythmic development. The music moves between spacious trumpet lines, analogue keyboards,

Recorded at Copenhagen’s SMK – Statens Museum for Kunst during the Surreal on Paper exhibition, Live At SMK Fridays captures Shatter Hands in an unusually spacious setting. Joined by Viktoria Søndergaard on vibraphone, Flavia Huarachi on flute and vocals, and Sofie Birch on tape recorder, percussion, zither, and sampler, the quartet transforms material from A Show of Hands Vol. 1

With Requiem for a Dragon, Fabio de Almeida creates an evocative world between contemporary jazz, ambient music, and cinematic composition. The album unfolds patiently, favoring atmosphere, texture, and emotional weight over conventional structures, with acoustic instrumentation moving through spacious and often dreamlike arrangements. There is a quiet sense of mystery throughout, shifting between delicate, introspective passages and darker, more dramatic

With What It’s Like To Be A Bat, Dutch composer and multi-instrumentalist Finn Streuper creates an intriguing world between contemporary jazz, experimental composition, ambient music, and electronics. The music feels both carefully constructed and wonderfully unpredictable, moving through unusual rhythmic patterns, delicate melodies, and richly detailed acoustic textures. There is a playful curiosity running through the record, but also a

With Music for Existing, Martyn steps away from the club-focused framework often associated with his work, creating a more spacious and introspective record shaped by ambient music, jazz, dub, and understated electronics. Rhythm remains important, but here it often feels suspended, surrounded by warm synths, drifting melodies, and carefully placed fragments of sound. There is a distinctly human quality beneath

With Additions, pianist and composer Steve Okonski continues his exploration of intimate, groove-centered instrumental music, drawing from jazz, soul, and the warmth of classic piano trio recordings. The music feels deliberately unhurried, allowing melody, rhythm, and the natural character of the instruments to remain at the forefront. Okonski’s understated piano playing is surrounded by supple bass and restrained percussion, creating

Marking the centenary of John Coltrane’s birth, Miguel Atwood-Ferguson approaches his music not as something to preserve, but as a living spiritual language. Leading a 21-piece ensemble, the Los Angeles composer and multi-instrumentalist reimagines pieces including “Naima,” “Giant Steps,” “My Favorite Things,” and “A Love Supreme, Pt. II – Resolution,” opening them toward contemporary jazz, orchestral music, and more exploratory

With Everything to Remember, Blue Earth Sound creates a quietly immersive world shaped by ambient textures, gentle electronics, and organic instrumentation. The music unfolds patiently, favoring atmosphere and emotional resonance over conventional song structures, with small melodic details emerging and disappearing like fragments of memory. Warm tones, spacious arrangements, and subtle rhythmic movement give the record a contemplative, almost cinematic

With Future Sounds of Jazz Vol. 16, Compost Records continues its long-running exploration of the spaces where jazz meets electronic music, broken beat, house, and experimental production. Rather than defining a single “future” for jazz, the compilation brings together different approaches to rhythm, improvisation, and sound design, reflecting how fluid those boundaries have become. Across the collection, organic instrumentation sits