I think for me 'Dirt in the Ground' is a special one. It takes me right back to my teens in a really vivid way. And the message is resonant, and for me, it's a hopeful one.

At the moment, I'm mainly getting inspired by nature and expansive, visually stunning landscapes. I'm writing the music as a direct connection to this and then thinking about how I can translate it back into a visual format.

‘Contrast is a powerful tool in music and I wanted to include music from across the spectrum of my own influences. These tracks represent my musical DNA from classical string music to the Kraut Rock legends of CAN’.

‘Collaborating is a crucial part of my musical endeavour. I see a significant meaning in finding soulmates to create music with. I have seen many amazing solo concerts, but the most beautiful magic happens when at least two souls understand each other and let their energies flow together on stage’.

Details come into focus, while others fade, ambience and atmosphere shift, the feeling comes trickling in. Kamaru’s's latest album 'Peel' taps into this sensation. An audio work of textural depth that weaves field and acoustic recordings together with subtle electronics to create an emotionally engaging tapestry. Sit still and listen carefully.

‘It's about us fleeing into his studio, locking the door and getting into a particular flow. There's not too much consideration. It's ideas, and then we execute them. And then we put the next idea on top and then the next one’.

'We knew we liked recording to tape. We knew we liked improvising, and we knew we liked to move fast. We'd already tried working with other producers and other engineers and other people, and we didn't like it because they always tried to make us go more commercial sounding, and that made us feel sick. We knew we had to do our own thing'.

‘I know that voice has a power of connecting with the listener like nothing else but also I am fascinated by the power of instrumental music, which can paint most abstract passages and move our imagination to unknown places. That's why I like to keep it balanced - a couple of songs, a couple of piano solo pieces and a couple of 'orchestrated' compositions. This is my 'Home’.

It's easy to draw parallels between this lively culture and Sam Gendel's new album, Satin Doll. A collection of iconic predominantly late '50s jazz tunes, reimagined, reconstructed and repurposed.

‘I've always wanted my singing voice to sound more or less like my speaking voice, but pitched, with as little artifice or affectation as possible. The voice should be sincere if we are to believe what it is speaking or singing about’.

‘I rarely have a set idea of what I want to create when I get in the studio. More an idea of what instrument I might want to explore at that time. If I do go in with a specific intention, it tends to have evolved into something else by the time it has finished anyway’.