Stubborn Heart’s Luca Santucci and Ben Fitzgerald return with 'Made Of Static,' blending heartbreak, soul, and experimental noise while reflecting on vinyl’s tactile allure and modern music industry challenges.

Jack Wyllie explores mbalax rhythms and optimistic vibes in his latest work, balancing fast tempos with a sense of melancholy and a desire for film scoring opportunities.

The Twilite Tone’s 'The Clearing' is about letting go and renewal, rejecting social media validation, and staying true to hip hop’s original principles amidst societal changes.

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.

‘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’.

Polish composer Hania Rani connects deeply with listeners through a balanced mix of vocal and instrumental pieces, exploring the power of music to move the imagination.

Sam Gendel reinvents '50s jazz classics in 'Satin Doll,' infusing them with contemporary edge and personal artistic vision, reflecting on his career growth and creative process.

‘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’.