Our Recommendations for You - Last Updated 30/04/2026
// Jazz & Improv //
Jonny Wartel:
In the spirit of “being prepared for anything”, Jonny Wartel's latest quartet album takes listeners on a continuous 46-minute journey. Poetic melodies soar only to crumble into atomic noise; structures form, then fade, irresistibly swept away by a mesmerising stream of subconsciousness.
Read the full interview here.
Matthias van den Brande:
To pay homage to Mark Rothko, the Belgian saxophonist went to Paris for a major retrospective of the painter's work. Inspired, he wrote a collection of softly intense, gorgeous pieces. However, this was not about translating colour to sound – but about the infinite space behind the canvas.
Read the full interview here.
Elina Duni:
Elina Duni has a dual citizenship, lives in a multilingual country and is singing in 5 different languages on her new ECM album with guitarist Rob Luft. Listening to her dreamy songs, gently pushed forward by frame drumming, is possibly the best proof for music as a universal form of communication.
Read the full interview here.
// Electronic Music, Hip Hop //
Eoin DJ:
Only five tracks short, the latest Eoin DJ EP feels like a showcase of his production approach: A laser-sharp focus on groove and hypnotic sequences, pantonal frictions and unexpected sounds, as well as a sense of transportation – all grounded in human interaction and friendship.
Read the full interview here.
Peter Mergener:
When Software's Chip Meditation was released in 1985, it sounded like a future beyond our imagination, somewhere between sequencer magic and man-machine utopia. 40 years on, the duo's Peter Mergener returns with a follow-up – equally beautiful and strangely moving.
Read the full interview here.
Markus Guentner & Joachim Spieth:
On paper, Joachim Spieth seems to be running AFFIN, while Markus Guentner designs the label's covers. In practise, their interaction is a continuous collaboration, extending into visual art and music. At its heart is a shared creative philosophy – and a love for long walks.
Read the full interview here.
// Sound Art, Experimental Music //
Hannah Peel:
“I prefer scores that don’t tell us how to feel, that support the narrative and characters and allows us viewers to escape without thinking about it. The composer is there and magically they are not, without anyone noticing!”
Read the full interview here.
Yui Onodera:
To Yui Onodera, sound is “material as an event.” Perhaps that's why his work, juxtaposing dynamic drones with abstracted and yet somehow highly specific field recordings, has found such resonance in the house community: It's the same sense of movement, just on an infinitely more subtle scale.
Read the full interview here.
Christina Kubisch:
Christina Kubisch's work is akin to alchemy, turning “non-music” into “music” and elevating “non-sounds” to the audible realm. Materials and specific sites influence her compositions - to the point where they grow into their full state only at the place they're performed at.
Read the full interview here.
// Rock, Indie, Folk //
Fauna:
A core duo expanded to an 8-headed hydra on stage, Fauna practise music as a psychedelic ritual. There is a destination but no arrival - a maelstrom of cosmic kraut-trance incantations daring the listener to let go off everything that still holds them to physical reality.
Read the full interview here.
FRIKO:
For Niko Kapetan of FRIKO, the goal of music is to peel away all conscious thought. If lyrics are to serve the song, in the act of creation, they, too, transcend their literal meaning. The band's new album is based on this mystery: Why can something to simply feel so profound?
Read the full interview here.
Cheikh Ibra Fam:
“You only need to look at the world today: all these wars, this hatred, this racism that keeps growing. You just need the courage to write.”
Read the full interview here.
// Classical, Neoclassical, and Contemporary Composition //
Akira Kosemura:
Akira Kosemura's quiet classic Polaroid Piano is re-issued with bonus tracks and a careful remastering by Lawrence English. Fifteen years have passed, but the music - an oasis of tender, breathing, deliberately anti-glossy fantasies - is still as captivating as it was upon its first release.
Read the full interview here.
Juli Deák:
When playing the flute, Juli Deák doesn't just use breath – she becomes it. Even her tailor-made dress is an expression of sound, as it moves from an inner place into the outside world. On her solo album Brisk, that stream mimics the ebb and flow of waves. It may retreat, but it never ends.
Read the full interview here.
Ilan Eshkeri:
Eshkeri's latest project began with a singularity: The desire to translate the indescribable nature of the soundless cosmos into music. His audiovisual live performance Space Station Earth may well be the most ambitious composition he's ever written – and possibly the most personal one as well.
Read the full interview here.
