"A long desire of extraordinaire saxophone player Peter Brötzmann was a studio recording of some of his favorite jazz tunes and his own music -- a grand bridge over the music important for his life and his musical career in the past and present. Trost invited him to Martin Siewert's studio in Vienna to do so in summer 2018. The result is intense, beautiful and touching. Features compositions by Harry Barris/Gordon Clifford, Sigmund Romberg/Oscar Hammerstein II, Herbie Nichols, Dizzy Gillespie, George Gershwin/Ira Gershwin, and Sonny Rollins. Personnel: Peter Brötzmann - tenor saxophone. Recorded, mixed, and mastered by Martin Siewert. Liner notes and artwork by Peter Brötzmann."

Recorded live at Wirr, Open Loose Festival , 2015, Vienna --- Katharina Ernst / drums Martin Siewert / guitar ---

"It was of Peter Brötzmann‘s great concern to pay his tribute to many years of comraderie and much music together - from GLOBE UNITY times in the 70s, the PB Group, untill the CHICAGO TENTET. In one of Brötzmann’s boxes this beautiful tape – live in Osaka 1997 - was sitting and waiting for a release!" "The way Bauer and Brötzmann collaborate on this album is really moving. There’s a mutual respect and obvious camaraderie. It’s clear that they both are enjoying their performance most when allowing themselves to let it all out there with extended improvised bursts of notes. There’s this extreme sense of having so much to say as they push through the twenty-five-minute mark without any sign of wanting to stop." -Free Jazz Blog --- Peter Brötzmann / tenor & alto saxophone, tarogato, b-flat clarinet Johannes Bauer / trombone --- Masered by Martin Siewert. Artwork by Peter Brötzmann.

A 1987 performance between legendary German free-jazz saxophonist/clarinetist Peter Brotzmann and the late legendary American free-jazz guitarist Sonny Sharrock performing live at Jamkulturfabrik in Esch/Alzette, Luxembourg. "Both players engage, respond, bluster, and resolve these eleven pieces with a mutual purpose and a reciprocity of sound. Raw and beautiful like a Paul Gauguin painting." - All About Jazz  "A surprising trademark of this album is the contrast between quiet, meditative, almost mellow passages which are confronted with brutal, distorted and wild parts like in Track 10, it’s an emotional back and forth that structures the music but also affords the listener’s permanent concentration. Another very unusual and exciting characteristic – especially of the first four tracks – is the fact that Brötzmann and Sharrock play harsh, minimalistic – almost hard-rock- like – repetitive breaks (sometimes in unison) which float either into real tunes (for Brötzmann standards) or angry outbreaks." - Free Jazz Collective --- Peter Brötzmann / alto/tenor/bass-saxophone, tarogato Sonny Sharrock / electric guitar --- There is only one prior release existing of Brötzmann and Sharrock as a duo (vinyl-only on Okka Disc 2003). This live recording from the archives of Peter Brötzmann was mixed by Lou Malozzi in Chicago, mastered by Martin Siewert in Vienna.

"Found in the archives of FMP!
 The very first – never released – recordings of the Schlippenbach Trio." "Pianist Alexander von Schlippenbach along with Evan Parker on tenor and soprano saxophone and Paul Lovens on drums are one of the longest lasting and most well respected groups in free jazz improvisation. Apparently it all began here on April 2, 1972 during the Workshop Freie Musik at the Acadamy of the Arts, Berlin. It hardly sounds like a first recording, because they come out of the gate with almost telepathic unity on "Deals" which is a continuous collective improvisation lasting over thirty eight minutes. The musicians show an amazing degree of stamina considering that the music is played with a very exciting degree of high energy. While each of these musicians were well on their way to developing their own unique original sounds, Schlippenbach displays a fascinating degree of classical technique filtered through the funhouse fractals of Thelonious Monk's music and Evan Parker's love of John Coltrane is evident. A comparison for Paul Lovens escapes me, but perhaps the fast fleet form of Andrew Cryille or Sunny Murray would be apt. "Deals" is a wonderful roller coaster, most exciting for me when they are barreling ahead full blast with Parker's caustic tone leading the charge over percussive piano and drums. There is quite a bit of dynamism at play as well, the musicians throttle through different speeds and dissolve into solos and duos as the joyride plows onward. Far from exhausted, there are three more shorter improvisations: "Village", "With Forks and Hopes" and then appropriately "Then, Silence." These shorter tracks point to a sharper juxtaposition than the lengthy leading track and show that the group has a wide range and diverse manner of approaches at their command. This was a very enjoyable album, quite exiting in the rough and tumble way that I enjoy, since I often lose my way listening to very quiet and abstract music. This is a must for fans of European free improvisation and is quite interesting in that it shows where the heralded trio got its start." (Music and More) --- Alexander von Schlippenbach / piano 
Evan Parker / tenor and soprano saxophone Paul Lovens / drums --- Recorded by an unknown engineer april 2nd 1972 during the Workshop Freie Musik at the Acadamy of the Arts, Berlin.
All music by Parker/Von Schlippenbach/Lovens
Mastering by Olaf Rupp & Martin Siewert. Produced by Jost Gebers. Cover by Lasse Marhaug. Photos Dagmar Gebers

French guitar player Boni teamed up with legendary US jazz-musician McPhee in the early 80s for some intense cooperations and albums (as a duo and as a trio with Andre Jaume). The complete concert inspired by the words of Eric Dolphy:  "When you hear music, After it's over, It's gone, In the air, You can never capture it again." --- Joe McPhee / soprano saxophone, electronics and voice Raymond Boni / Electric guitar and electronics --- Recorded at Hulsey Recital Hall on the University of Alabama at Birmingham (UAB) campus. April 20,1985

A solo for drums and metal objects in five states. With "Extrametric" I show what I am capeable of, with "le temps" I show who I am -Katharina Ernst With LE TEMPS, Katharina Ernst delivers a personal and subtle recording. Classical styles of playing the drums are accompanied by the by use of sticks and instruments from traditional Korean music - those are rooted in old rituals of shamanism and animism, praising the weather and the harvest. In times of heavy climate change, it is becoming clear, in a completely different way tho, how much and in what way human behaviour influences the weather. --- Recording: Adam AsnanProduction: Katharina ErnstMastering: Adam Asnan, Martin SiewertArtwork: Katharina ErnstPublisher: Cien FuegosPhotos: Michael Breyer

the title is inspired from the poem « Nachtlied » by Georg Trakl dedicated to Takayuki Hashimoto (1969 - 2021) --- Makoto Kawashima - alto sax on 1 and 3Harutaka Mochizuki - alto sax on 1 and 2Michel Henritzi - lapsteel on 1 and 3, guitar feedback on 2 Kawashima tracks recorded by himself in TokyoMochizuki tracks recorded by himself in ShizuokaHenritzi tracks recorded by Kevin Le Quellec in Metzmixed by Kevin Le Quellec, Metz, December 2021mastered by Martin Siewert, Vienna, September 2022

Recorded live at Photobastei Club Zurich/Switzerland during five-day residency by Giuliano Sulzberger, September 22-26 2020. Dominik Blum - hammond organ, voiceMarino Pliakas - e-bassLucas Niggli - drums Mixed and Mastered in March 2021 by Martin Siewertartwork by Albert Oehlen

The Fool unfolds as a collection of precisely written, produced and arranged songs, but also as a revue of pop’s archetypes. In virtually manic manner, Bruch pulls all styles of music that are suitable for his purposes into an irresistible vortex of grim opalescent emotions and uses them to turn his deep and haunting thoughts into music. While some of Bruch’s songs keep oscillating between cheerful pop/ rhythm & blues and murky hip hop/ industrial, others take the fast lane to the ogre end of the spectrum. A romantic ride in a ferris wheel, as much as being jiggled by a breakneck rollercoaster. The lowest point becomes the climax, bile turns into an elixir of life, a curse into a blessing. The Fool’s mission is striving forwards and disarming: existential intimacy as a strategy and weapon. --- All Music & Lyrics by Bruch.Additional Vocals by Anna Pü.Layout & Design by Kathi Reidelshöfer.Mastered by Dino Spiluttini.

Recorded live at Artacts, Alte Gerberei, St.Johann, March 7th 2020Mastering by Martin Siewert --- Isabelle Duthoit / clarinet, voiceFranz Hautzinger / quarter-tone trumpetHamid Drake / percussion, frame drum, voiceMichael Zerang / percussion, frame drum

Recorded by Martin Siewert, in June 16-18, 2020 in Vienna. --- Georg Graewe /  organMartin Siewert / guitars, electronicsDidi Kern / drums --- Mixed & Mastered by Martin Siewert.Artwork by Georg Graewe.

Recorded at Trost Waldviertel Studios 2020-2021 dedicated to Giacinto Scelsi --- Chra/Christina Nemec / electronics, field recordings, effectsChristian Schachinger / guitar, effects

recorded 17.11.2019 at Roze Tanker, Amsterdam, Netherlandsrecorded by Hayden Michael Zappa Hookmastering by Martin Siewertartwork by Jaimie Branch --- Jaimie Branch / trumpetJohn Dikeman / tenor saxophoneLuke Stewart / bassAleksandar Skoric / drums

"There are rare bands that succeed in materializing a sonic and poetic vision at the right time and at the right location as Disquiet does. Disquiet is a quartet formed and lead by Kurzmann for the 2018 edition of the Konfrontationen festival and featuring vocalist Sofia Jernberg (of Mats Gustafsson’s Fire! Orchestra), drummer Martin Brandlmayr (of Radian) and double bass player Joe Williamson. Disquiet, obviously, refers to the power of art to move us - emotionally and politically, but the title of the band and the album addresses the selfish and unhumanitarian policies of the reactionary leaders in Austria, Hungary and Italy towards the refugee movements to Europe. The location of the performance, in the far East of Austria and close to the Austrian-Hungarian border, and in festivals where there are no boundaries between musicians and the audience and where people from all Europe pilgrimage every year, deepens Disquiet humane vision.Kurzmann created an unsettling and deeply emotional work that weaves a speech by Belgian Member of the European Parliament, Guy Verhofstadt, reprimanding the European Council President Donald Tusk and Austrian Chancellor Sebastian Kurz for their opportunistic “not in my backyard” policy; an inspired borrowing of ABBA’s pop hit “S.O.S.” and the obscure “Think Small” of the New Zealand rock band Tall Dwarves. These quotes and songs are delivered by Kurzmann’s fragile but touching voice, devoid of pathos, but a voice that frames brilliantly the current, selfish political climate, and later concluded with a cover of Joe McPhee’s sober “Song for Beggars” (“this song won't feed the starving, / nor will conferences of hunger / with a fortune spent on TALKING / nor will it house the homeless, / or quench the thirst of millions / who will die of lack of water, / while the vampires drink THEIR blood…”), which Kurzmann, Jernberg, and Brandlmayr already covered before (Trost Jukebox Series #2, Trost, 2014). The wordless, moaning vocals of Jernberg, the imaginative drumming of Brandlmayr, and the deep-tones of Williamson intensify the disquieting, tense but poetic atmosphere of this 47-minutes piece. Guy Peters, who wrote the liner notes, observed that this fantastic work offers a “receptive attitude” for a much-needed change. “Each worthwhile collaborative endeavor - whether it is political, musical or anything else - starts with a simple but crucial act: listening”. Disquiet may be one of the most important, impressive and rewarding listenings you may experience in 2021." - Eyal Hareuveni, Free Jazz Blog —  Recorded live at Konfrontationen, Nickelsdorf on 22 july, 2018 --- Artwork By – Jimmy DrahtDouble Bass – Joe WilliamsonDrums – Martin BrandlmayrLiner Notes – Guy PetersMastered By – Martin SiewertMixed By – Martin BrandlmayrRecorded By – Hans HollerVocals – Sofia JernbergVocals, Electronics – Christof Kurzmann

New York based producer Marc Urselli had the idea to bring people together who had never met before and let that meeting of minds create beautiful soundscapes. Film director and musician Jim Jarmusch, Sonic Youth co-founder and guitarist Lee Ranaldo shared space with versatile drummer Balázs Pándi for a night session at Urselli's EastSide Sound studio in downtown NY. These are the unfiltered results. Absorbing instrumental patterns of cinematic sounds and improvised rhythms. No overdubs, no editing. All was recorded live and analog, produced and mixed by Marc Urselli. The front/back coverfotos were taken by photographer William Semeraro in Norway. That is why Marc Urselli gave all the songs titles inspired by Norwegian mythology. --- Lee Ranaldo / guitar, pedals, bellsJim Jarmusch / guitar, pedals, midi-synthesizerMarc Urselli / bass, laptopBalazs Pandi / drums

"Their 5th album finds the band in a studio again, in their label Trost Records hometown Vienna, with time and the desire to try something new. Seven compositions in the disctinctive strong FULL BLAST nature get an exciting electronic treatment by Michael Wertmüller (sounds/electronics by Gerd Rische- head of Berlin Acadamy of Electro-acoustic Music 1995-2014) during and after the recording." "With all the projects Peter Brötzmann is currently working on, Full Blast -- with the precise and dynamic Swiss rhythm section of Marino Pliakas and Michael Wertmüller -- is the most consistent and the longest-running. Their fifth album finds the band in a studio again, with time and the desire to try something new. Seven compositions in the distinctive, strong Full Blast nature get an exciting electronic treatment by Michael Wertmüller (with electronics by Gerd Rische, recorded months before his death in October 2015) during and after the recording. For mixing the band decided to work with Gareth Jones (well-known for his work with Einstürzende Neubauten and Depeche Mode), whom they have used with Pliakas's band Steamboat Switzerland before. Full Blast have created an album that in its nonconformity and richness in variety stands on his own in contemporary jazz."  --- Peter Brötzmann / reeds Marino Pliakas / e-bass Michael Wertmüller / drums Gerd Rische / electronics --- CREDITS:Recording: Martin SiewertProduction: Konstantin DrobilMix: Martin SiewertMastering: Martin SiewertArtwork: Peter Brötzmann

"Zu has always been a mercurial and ever-changing entity: unafraid of cross-genre explorations, eager to break down barriers between musical styles. Despite playing traditional instruments, major influences on Zu's music have always been sonic explorers like Coil, Throbbing Gristle, or early Neubauten. The sound of The Left Hand Path is the somewhat hidden side of Zu, though latent in all of its previous music. It's like digging out a box from the earth, containing everything the band had wished to highlight in previous works: ambient and droney landscapes; acoustic explorations in obscurity. The album starts programmatically with the sound of a shovel digging the earth -- a soundtrack for a descent into the underworld. It's moon musick. All of the members played electronics and Massimo focused mostly on guitars. The recordings were then sent to Eugene S. Robinson of Oxbowfame. Zu knew he was the right person to add vocals to it, and to transform the music again, into a sort of contemporary post-everything voodoo blues." --- Jacopo Battaglia / electronics Massimo Pupillo / electronics, guitar Luca Tommaso Mai / saxophone, electronics Eugene S. Robinson / vocals ---