Discover the innovative sound of Kavall, a groundbreaking solo artist and composer who redefines the boundaries of music and art. With a unique blend of film scores and multimedia art installations, Kavall has made his mark in the world of contemporary music. In 2018, he introduced the world to "As if the Air Was Grainy Substance," an album showcasing the mesmerizing tones of his self-developed instrument, Monolo. Kavall's talent extends beyond albums; his compositions have breathed life into award-winning documentaries and captivating art installations. In 2019, he launched the revolutionary Spatial Guitar format, captivating audiences with immersive performances at prestigious venues and festivals around the globe. Kavall's latest work takes listeners on a transformative journey where melody and movement converge. Imagine a composition that doesn't just play around you but envelops you-a physical space where you can exist within the very elements that momentarily become the music. This is the essence of "inmitten" (amidst), born from the desire to be physically inside the music, intuitively shaping this sonic environment with the instrument. At the heart of this experience is a new kind of instrument: a spatially playable guitar with independent voices. This innovation redefines what solo guitar can be, transforming every aspect of performing, recording, and experiencing music. For Kavall, this is more than just a new sound; it's a complete transformation as a composer and player. Spatial Guitar offers a multidimensional experience, where the listener becomes immersed in the music. The compositions are informed by embodied sensations-circulating textures, musical pulses, and a poetic minimalism that invites you to explore the intricate layers of spatially distributed chords and slowly unfolding melodies. From the live performances set within a hexagon of speakers and audio-reactive lights to the recorded form of this album, the instrument's sound evolves in close interaction with it's surroundings, creating a deep connection with the listener. Now that this vision has come to life, Kavall shares, "This is what I always imagined my instrument to sound like. I hope you enjoy exploring this musical space as much as I do." Experience the artistry of Kavall, where innovation meets emotion, and sound becomes a transformative journey. Don't miss the chance to explore the world of Kavall's music-where each note invites you into a new dimension of sonic exploration.

Henning Fuchs is a music composer and musician. He has scored over 40 short films and documentaries. He assisted renowned composers and worked on more than 20 internationally acclaimed movies and tv-series. His songs and instrumental compositions have been nominated and awarded many times. From 2012 to 2016 Henning worked closely with Max Richter on film, album and theatre related projects. He writes: "With the release of A New Beginning a dream has come true. When looking for inspiration I came across records from a trip to Finland I had taken after my studies in Liverpool. To get into the mood for composing, I projected slides of this journey onto the wall and listened to ideas from my old voice recorder, which I had sung, knocked and talked on during my trip. It was mainly places of solitude and silence that inspired me to compose... Silence became the main theme and stylistic element of the whole composition for this album. Silence as the moment from which something new emerges... "

Discover the innovative sound of Kavall, a groundbreaking solo artist and composer who redefines the boundaries of music and art. With a unique blend of film scores and multimedia art installations, Kavall has made his mark in the world of contemporary music. In 2018, he introduced the world to "As if the Air Was Grainy Substance," an album showcasing the mesmerizing tones of his self-developed instrument, Monolo. Kavall's talent extends beyond albums; his compositions have breathed life into award-winning documentaries and captivating art installations. In 2019, he launched the revolutionary Spatial Guitar format, captivating audiences with immersive performances at prestigious venues and festivals around the globe. Kavall's latest work takes listeners on a transformative journey where melody and movement converge. Imagine a composition that doesn't just play around you but envelops you-a physical space where you can exist within the very elements that momentarily become the music. This is the essence of "inmitten" (amidst), born from the desire to be physically inside the music, intuitively shaping this sonic environment with the instrument. At the heart of this experience is a new kind of instrument: a spatially playable guitar with independent voices. This innovation redefines what solo guitar can be, transforming every aspect of performing, recording, and experiencing music. For Kavall, this is more than just a new sound; it's a complete transformation as a composer and player. Spatial Guitar offers a multidimensional experience, where the listener becomes immersed in the music. The compositions are informed by embodied sensations-circulating textures, musical pulses, and a poetic minimalism that invites you to explore the intricate layers of spatially distributed chords and slowly unfolding melodies. From the live performances set within a hexagon of speakers and audio-reactive lights to the recorded form of this album, the instrument's sound evolves in close interaction with it's surroundings, creating a deep connection with the listener. Now that this vision has come to life, Kavall shares, "This is what I always imagined my instrument to sound like. I hope you enjoy exploring this musical space as much as I do." Experience the artistry of Kavall, where innovation meets emotion, and sound becomes a transformative journey. Don't miss the chance to explore the world of Kavall's music-where each note invites you into a new dimension of sonic exploration.

Experience the extraordinary musical journey of Bjarke Falgren and Sonke Meinen, a duo celebrated for their virtuosic playfulness and boundless creativity. Seamlessly blending their talents, they break stylistic boundaries between folk, jazz, world music, and classical music. Their compositions and arrangements, often crafted in serene, idyllic settings like an old schoolhouse in the Danish countryside, evoke a sense of peace and inspiration. Known for coaxing an unusually wide range of sounds from their instruments, they transition effortlessly from warm and mellow tones to powerful and percussive expressions. This remarkable ability showcases their depth and versatility, captivating audiences worldwide. Both artists bring a wealth of experience and recognition to their projects. Bjarke Falgren, a four-time Danish Grammy Award winner, and Sonke Meinen, acclaimed for his creativity and technical prowess on the guitar, have won numerous international competitions. Praised by guitar legend Tommy Emmanuel as one of the most creative guitarists of the current scene, Sonke's innovative approach complements Bjarke's masterful violin performances, making their collaboration truly exceptional. Don't miss the chance to witness the magic of Bjarke Falgren and Sonke Meinen as they redefine musical boundaries and create unforgettable performances.

American composer Trevor Kowalski's latest album, "The Twilight Glow," marks an eagerly anticipated addition to his diverse and intricate discography. Known for his serene and dreamy soundscapes as well as his sophisticated classical compositions, Kowalski continues to explore a range of themes and moods with his new collection. For the album's title track, "The Twilight Glow," Kowalski has taken the exceptional step of transcribing the sheet music himself, underscoring the significance of this piece within the collection. The album features a variety of arrangements, including solo piano, a full score for performance suites, and parts for horn and strings, showcasing a rich orchestration that suits various musical preferences. An EMMY-nominated composer, Kowalski's work remains a testament to his mastery of blending classical influences with contemporary soundscapes. "The Twilight Glow" is available now for listeners who appreciate finely crafted musical compositions.

On the album "Fantasy Worlds", Benyamin Nuss presents his interpretations of works by legendary video game composer Nobuo Uematsu, who was named one of the 100 musical innovators of our time by TIME magazine. The deep emotionality is what makes this solo piano album so unique. "The music in Final Fantasy tells stories, creates characters and scenes. This increases the immersion of the players, who are equally captivated by the music and the game and lose themselves in the digital world," says Benyamin Nuss. Benyamin Nuss began piano lessons at the age of six. He was inspired and encouraged by his father, trombonist Ludwig Nuss, and his brother Hubert, a pianist - both internationally renowned jazz musicians and composers. Thus Benyamin not only grows up with the music of different genres but makes classical music and jazz his passion. He studies at the Musikhochschule Cologne and lives his passion for music - in the conservatory, at piano concerts and on tour with jazz bands. At home and abroad Benyamin performs as a soloist with various top orchestras, from Berlin to Stockholm and London to Tokyo and Chicago."Today, thousands of people are captivated by the enchanting 'Final Fantasy' melodies in legendary concert halls such as the K�lner Philharmonie, the Royal Albert Hall or Carnegie Hall," says Nuss. "I have never experienced an audience like this in any other genre before. While the music is playing, it is quiet as a mouse and highly concentrated. Shortly after the final chord, thunderous applause sounds like in a rock concert".

What happens when three musicians take the music of Johann Sebastian Bach, and develop it in a bold and skilful way? The result is a number of new constellations. Vintage Moon, Electric Rain, Hiraeth and 999 are the four hybrid works on the debut album of the BachSpace ensemble, situated at the interface of Baroque music and electronica. They have to date played their boundary-breaking music at various Bach festivals and at the 2017 Montreux Jazz Festival. Pianist Tamar Halperin, who won the Hesse Arts Prize in 2016 and has accompanied Michael Wollny and Andreas Scholl, celebrated her debut with the Neue Meister label in 2016 with her acclaimed SATIE album, while violinist Etienne Abelin was for many years a member of the Lucerne Festival Orchestra. For this album, the pair recorded various works by Bach in the studio. Audio designer Tomek Kolczynski, who has made a name for himself through soundtracks for the theatre and cinema, then extracted characteristic fragments from the piano and violin tracks, and transformed them digitally. He then moulded the multilayered sound chains, loops and ostinato elements into new works with suspense curves. Together the three musicians have woven the Bach originals with the electronic compositions into new entities – a technique which was referred to as a “pasticcio” in the Renaissance and Baroque eras. These woven fabrics – these constellations – lend the density and emotionality of Bach’s music a new dimension.

Marina Baranova knows a thing or two about conjuring fantastical worlds. Since her childhood when she'd sit with her fairy tale books open in front of the piano translating the pictures she saw into sound worlds up to her last album, where she envisioned a darker side to Debussy, the Ukrainian composer and pianist's imagination has always played an active role in the music she plays. For her latest release, Atlas of Imaginary Places, she let's it run the show. For it, Baranova worked with the Danish visual artist Christian Gundtoft and Ukrainian writer Volodymyr Kompaniets to conceive more than just an album. They worked independently from each other, only having Baranova's untitled music as the starting point for their own creations. The 17 tracks on the album, however, contained enough material for the artists to delve into, Baranova's music is after all known for it's vivid imagery that immediately conveys intense pictures, emotions and storylines, and the pianist has said in the past she "sees" sounds as colors. Like glimpses of an unknown archipelago seen through layers of mist, Baranova's sound world is a spectacular setting that reveals itself slowly to listeners. Atlas of Imaginary Places is proof that our imagination is in fact a portal, and beyond it exist places that can be accessed and shared by all. The intimacy and synchronicity between the artists in creating Atlas of Imaginary Places made it seem like they "shared an island", a magical space Baranova is now inviting others to explore too. It isn't a linear journey, rather it delineates a space outside time that can be explored in an infinite number of ways. On a first listen, one might appreciate the vastness of the landscapes painted, and on another, ponder the depth of it's minute details.

Federico Albanese’s third album – the Italian composer’s most ambitious, and perhaps most serene – begins with a piece entitled ‘682 Steps’, inspired by a path that runs from his mother’s house to a rock by the sea, a place which holds a certain resonance for him. Why, he won’t say: just because a piece of music has no lyrics doesn’t mean it’s less personal, and this is as personal as it gets. “It’s pretty much me,” Albanese says, “translated into music.” But a clue to the composition’s significance lies in the album’s title: this rock, he says, “is also where I imagined Lord Byron writing his poem ‘The Sea’.” The poem is notable for its juxtaposition of concepts centered around ideas of society and solitude, and for acknowledging the pleasure of pursuing routes others have not. It’s a fitting source for the album’s title: these are themes familiar to ALBANESE, who wrote the music over “a year in which a lot happened, stuff that’s difficult to explain. These twelve songs are moments that needed to be described. Music is the vehicle I’ve chosen to express my deepest feelings, the ones that, even to me, are difficult to understand.”

In "HERMES", Burak has created a specific sonic architecture, in which he choreographed sound, using micro tonality and ancient Greek modalities as the foundation for this work. The nucleus of Burak's exhibition-like art-piece is supported by the Baroque ensemble "Musica Sequenza", performing structured improvisations on historical instruments. "HERMES" is orchestrated by voice, baroque bassoon, glass flute, gut strings, violon, theorbo, lyre, and Persian percussions as well as field recordings and 3D sound design: these all merged into one in this sensuous and disquieting masterpiece. "HERMES" has a religious ritual setting at it's core, using the Greek tragedy as the dramaturgical nexus for the piece. The choreographed sounds and the microtonal score transport the listener through various chapters of a spiritual ceremony. With the completion of the nine compositions, is according to Burak, finishing the cycle of the ceremony; the audience is brought back to the starting point with greater awareness to witness the epic finale, thus completing the cycle of the ceremony. "Hermes connects us to one modern tribe; it offers a seductive feeling of uniting ourselves to an ancient human being," explains Burak. Istanbul-born sound-artist & composer, Burak in unfolding the archaic structures of electronica and melodic techno and by putting them in an improvisational dialogue with ancient instruments, has created living sound sculptures. This juxtaposition, Burak's latest sound avant-garde "HERMES", has allowed techno to become more complex, elastic and even vulnerable.

Hybrid' is a word that has always been vital to Ceeys' vocabulary, but it's application is not limited to the manner in which cellist Sebastian Selke and his brother, pianist Daniel Selke, combine their two instruments so harmoniously. Instead, like the duo's very name - which merges the words 'violoncelle' and 'keys' - it is reflective of their overall aesthetic, one in which they integrate the many ingredients that have helped shape them as both musicians and people. Ceeys' idiosyncratic style is characterized by a rather reduced approach to composition and improvisation. In exploiting their knowledge of songwriting, textures and repetitive patterns, they create an experimental but accessible minimalism between avant-garde and pop that incorporates elements of jazz, ambient and classical chamber music. A product as much of the music with which they grew up as of that which now surrounds them, and as much indebted to their childhood environment as to that in which they now live, Concrete Fields is the first part of a planned trilogy and - certainly not by accident - it was released in the very year that marked the 100th anniversary of the Russian Revolution of 1917. Through this conscious process of coming to terms with the prefab estate in which they were raised - Europe's largest, located in the district of Marzahn-Hellersdorf - the brothers create music that at times feels familiar, but which remains refreshingly, invigoratingly unique, thereby mirroring the myriad sounds to which they have been exposed throughout their lives. Currently, Ceeys is presenting their third album W�NDE at the Berlin label Neue Meister. Here, they focus on the remembrance of 1989, a year which brought many changes.

Pianist Clemens Christian Poetzsch has always known what he wanted from music - freedom. Freedom to improvise, to create new musical worlds, and to follow his instincts wherever they take him. As a child in Dresden, Germany, Poetzsch received his first piano lessons from his opera singer grandfather, and was soon immersed in the world of Bach, Schubert, and Clementi. But aged ten, a birthday gift from his father - a sheet music book of Frank Sinatra standards - opened his ears to wider musical possibilities, and he was soon playing in the bar next door to his house, improvising and messing around with the structure of songs. Such formative experiences stayed with Poetzsch through his classical training at the Conservatory of Music in Dresden. While studying piano and composition, his spare time was spent playing in jazz and free improvisation bands with friends and colleagues. The result is Remember Tomorrow, an expansive collection of thirteen songs that stand as self-contained worlds; "a house with thirteen rooms, and every composition is a little room," says Poetzsch. Music stirs up memories and fragments of remembrance too, and Remember Tomorrow is an attempt to make sense of it all, of bridging that gap between the past and the present. To do so, he stepped out of his comfort zone, adding new elements and instruments to his compositional mix, and simply let his ideas bloom. His approach to experimentation, as with collaboration, is simply to dive in and see what works, to discover through trial and error. Ditto with electronics and his use of samples; despite admitting that he's no expert, the austere, monochromatic moods he captures are far more important than any technical proficiency or purity. It comes back to freedom - to create without restrictions, and to dissolve preconceived notions around genres and instruments. And so Remember Tomorrow is Poetzsch's first step away from the staid world of concert halls and a classically harmonic language towards something more contemporary, more individual. "My goal was just to take the next step as a composer, and to form a language out of electronics and piano. That's the best language I can speak."

Marina Baranova knows a thing or two about conjuring fantastical worlds. Since her childhood when she'd sit with her fairy tale books open in front of the piano translating the pictures she saw into sound worlds up to her last album, where she envisioned a darker side to Debussy, the Ukrainian composer and pianist's imagination has always played an active role in the music she plays. For her latest release, Atlas of Imaginary Places, she let's it run the show. For it, Baranova worked with the Danish visual artist Christian Gundtoft and Ukrainian writer Volodymyr Kompaniets to conceive more than just an album. They worked independently from each other, only having Baranova's untitled music as the starting point for their own creations. The 17 tracks on the album, however, contained enough material for the artists to delve into, Baranova's music is after all known for it's vivid imagery that immediately conveys intense pictures, emotions and storylines, and the pianist has said in the past she "sees" sounds as colors. Like glimpses of an unknown archipelago seen through layers of mist, Baranova's sound world is a spectacular setting that reveals itself slowly to listeners. Atlas of Imaginary Places is proof that our imagination is in fact a portal, and beyond it exist places that can be accessed and shared by all. The intimacy and synchronicity between the artists in creating Atlas of Imaginary Places made it seem like they "shared an island", a magical space Baranova is now inviting others to explore too. It isn't a linear journey, rather it delineates a space outside time that can be explored in an infinite number of ways. On a first listen, one might appreciate the vastness of the landscapes painted, and on another, ponder the depth of it's minute details.

In "HERMES", Burak has created a specific sonic architecture, in which he choreographed sound, using micro tonality and ancient Greek modalities as the foundation for this work. The nucleus of Burak's exhibition-like art-piece is supported by the Baroque ensemble "Musica Sequenza", performing structured improvisations on historical instruments. "HERMES" is orchestrated by voice, baroque bassoon, glass flute, gut strings, violon, theorbo, lyre, and Persian percussions as well as field recordings and 3D sound design: these all merged into one in this sensuous and disquieting masterpiece. "HERMES" has a religious ritual setting at it's core, using the Greek tragedy as the dramaturgical nexus for the piece. The choreographed sounds and the microtonal score transport the listener through various chapters of a spiritual ceremony. With the completion of the nine compositions, is according to Burak, finishing the cycle of the ceremony; the audience is brought back to the starting point with greater awareness to witness the epic finale, thus completing the cycle of the ceremony. "Hermes connects us to one modern tribe; it offers a seductive feeling of uniting ourselves to an ancient human being," explains Burak. Istanbul-born sound-artist & composer, Burak in unfolding the archaic structures of electronica and melodic techno and by putting them in an improvisational dialogue with ancient instruments, has created living sound sculptures. This juxtaposition, Burak's latest sound avant-garde "HERMES", has allowed techno to become more complex, elastic and even vulnerable.

Pianist Clemens Christian Poetzsch has always known what he wanted from music - freedom. Freedom to improvise, to create new musical worlds, and to follow his instincts wherever they take him. As a child in Dresden, Germany, Poetzsch received his first piano lessons from his opera singer grandfather, and was soon immersed in the world of Bach, Schubert, and Clementi. But aged ten, a birthday gift from his father - a sheet music book of Frank Sinatra standards - opened his ears to wider musical possibilities, and he was soon playing in the bar next door to his house, improvising and messing around with the structure of songs. Such formative experiences stayed with Poetzsch through his classical training at the Conservatory of Music in Dresden. While studying piano and composition, his spare time was spent playing in jazz and free improvisation bands with friends and colleagues. The result is Remember Tomorrow, an expansive collection of thirteen songs that stand as self-contained worlds; "a house with thirteen rooms, and every composition is a little room," says Poetzsch. Music stirs up memories and fragments of remembrance too, and Remember Tomorrow is an attempt to make sense of it all, of bridging that gap between the past and the present. To do so, he stepped out of his comfort zone, adding new elements and instruments to his compositional mix, and simply let his ideas bloom. His approach to experimentation, as with collaboration, is simply to dive in and see what works, to discover through trial and error. Ditto with electronics and his use of samples; despite admitting that he's no expert, the austere, monochromatic moods he captures are far more important than any technical proficiency or purity. It comes back to freedom - to create without restrictions, and to dissolve preconceived notions around genres and instruments. And so Remember Tomorrow is Poetzsch's first step away from the staid world of concert halls and a classically harmonic language towards something more contemporary, more individual. "My goal was just to take the next step as a composer, and to form a language out of electronics and piano. That's the best language I can speak."