Our Recommendations for You - Last Updated 17/08/2026
// Jazz & Improv //
Jay Matharu:
The fusion guitarist's debut is called “Disillusion,” but lends a positive spin to that word. Complex time signatures, twilit chords, psychedelic melodies and unexpected power chords shatter the walls of expectation – hidden behind them is something infinitely more rewarding.
Read the full interview here.
Kjetil Mulelid:
Mulelid's new release “Piano, Unfolding” suggests a fascinating thought: That playing is not just about expressing, but about uncovering; less a case of invention than discovery. Of course, the same goes for the act of listening: Wherever this journey is leading, you're taking it together.
Read the full interview here.
Omasta:
Imitation is a form of flattery, but inspiration is transcendence. Polish quintet Omasta weld together spiritual jazz and the rhythmical finesse of hip-hop so ingeniously that it makes you forget about their influences. Their upcoming full-length is called "Hits Different" – and it really does.
Read the full interview here.
// Electronic Music, Hip Hop //
Marconi Union:
Many artists have felt a kinship with the work of Mark Rothko. Marconi Union, however, managed to pull off something quite unique in creating music based on Rothko's multiforms which feels like weightlessly drifting through his paintings – navigating a world of dark colours and emotional resonance.
Read the full interview here.
LaFontaine (IS):
“I've actually become less minimalistic over the years. Now I’m more interested in exploring a sound as far as it can go.”
Read the full interview here.
Balaphonic:
For his Balaphonic project, jazz drummer Danny Ward maps electronic styles like downbeat and house onto an acoustic band framework. Intriguingly, the more “hand-made” and “real” the music gets, the more dreamlike it feels, enveloping the listener in warm waves of diaphanous vibrations.
Read the full interview here.
// Sound Art, Experimental Music //
Heli Hartikainen:
On the “Interbody EP,” the sound artist engages with a self-programmed software organism, Hartikainen responding intuitively to unpredictable transformations of her gorgeously recorded sax lines. The machine is a distorted mirror here, leading her to places between chaos and control.
Read the full interview here.
Patrick Belaga:
“A film takes you from A to B while an open world video game just says, "Here's the world. Go figure it out."
Read the full interview here.
Jesus Is The Path To Heaven:
All art is artifice. But what, if the music shatters the third wall and the performance is no longer an act? That is what the dark folk threepiece are aiming for in songs that unfold like documentary-style horror movies: You can pretend this isn't real, but that won't make the pain go away.
Read the full interview here.
// Rock, Indie, Folk //
Marnie Weber:
Some might see the mysteriously romantic songs of Marnie Weber as the soundtrack to an unmade David Lynch movie, where no place is stranger than home. But then, Weber is a filmmaker herself, her music's a stage and her lyrics visually evocative enough to paint pictures by themselves.
Read the full interview here.
Jenny Gillespie Mason:
After her project Sis and the Lower Wisdom expanded towards quirky electronica and experimental pop, Jenny Gillespie Mason's new solo album marks a return to folk simplicity. Has the Californian songwriter and poet arrived full circle?
Read the full interview here.
BLUAI:
Sometimes, the most moving form of poetry is to simply say what you feel. For Catherine Smet of Belgian trio BLUAI, each of her three-to-four-chord song begins with that realisation. The simplicity of the music is deceptive: When they feeling's deep enough, that's all you need.
Read the full interview here.
// Classical, Neoclassical, and Contemporary Composition //
Sarah Rothenberg:
“Daring” is not a word you hear often in classical music. To pianist Sarah Rothenberg it is pivotal for picking the pieces for her programs: Repertoire too daring for its time, so daring it questions your ideas about music, so daring it still sets your pulse racing 200 years after it was written.
Read the full interview here.
Simone Dinnerstein:
For pianist Simone Dinnerstein, playing a piece is always personal, a process of mental digestion and physical performance which yields an emotionally complex result. In the end, however, neither composer nor performer ought to over-rate their importance: “The music has a much greater life.”
Read the full interview here.
Johanna Summer:
In the studio, Johanna Summers asked three of her pianist colleagues to play her a classical or contemporary composition as a starting point. Her instant responses fall in between continuation, transformation and composition, liquifying the dividing line between original and variation.
Read the full interview here.
