Embark on a transformative musical journey with "The Art of Dreaming," a visionary collaboration between Martin Herzberg and Felix Räuber. This captivating album unfolds across 11 phases, inviting listeners to explore themes of stillness, timelessness, and self-identity. Guided by Herzberg's intricate melodies and Räuber's evocative vocals, the album weaves a tapestry of emotions that resonates with the complexities of the human experience. From serene tranquility to crescendos of emotion, the progression mirrors the ebb and flow of introspection. Immerse yourself in this sanctuary of sound, where music becomes a pathway to self-discovery. "The Art of Dreaming" is an invitation to pause, reflect, and emerge with a renewed connection to your inner world and the world at large.

Experience Kai Schumacher's transcendent music as he defies boundaries and surpasses limitations. With his unique compositions, he merges heaven and earth, embracing the essence of nothingness. Each note intertwines harmoniously, inviting you to compose your own melodies. From captivating collaborations to mesmerizing rhythms, his music transcends genres. Let his hands guide you through a transformative journey, where techno, party, trance, and classical converge. Join Kai Schumacher on an extraordinary musical expedition.

Discover Tim Allhoff's musical tapestry, weaving classical elegance reminiscent of Bach and Edvard Grieg, soul-stirring Singer-Songwriter essence, soothing Jazz, and reimagined Pop covers. This album transcends genres to focus on evoking emotions. "Silence Is Something You Can Actually Hear" invites you to pause, breathe, and surrender to music that touches the heart. Collaborations with Vienna Morphing Soloists and SIGNUM Saxophone Quartet elevate the auditory journey. Tim Allhoff's original "KANON" composition resonates with enchanting saxophone harmonies. Inspired by Haruki Murakami, the album's title encapsulates its essence. Let melodies carry you to a realm where time slows, finding solace in unspoken notes. This isn't just an album; it's a 50-minute oasis of calm where music becomes whispers of the heart. Immerse in this auditory sanctuary and let the silence speak.

On the new album ZAS by pianist Ralf Schmid and his alter ego PYANOOK, two grand pianos and data gloves meet Nordic voices, analog synths, violin, beatbox, and percussion and form a musical landscape between jazz and contemporary classical music.

On the new album ZAS by pianist Ralf Schmid and his alter ego PYANOOK, two grand pianos and data gloves meet Nordic voices, analog synths, violin, beatbox, and percussion and form a musical landscape between jazz and contemporary classical music.

As a child in Dresden, Germany, the German pianist Clemens Christian Poetzsch received his first piano lessons from his opera singer grandfather and was soon immersed in Bach, Schubert, and Clementi. But aged ten, a sheet music book of Frank Sinatra standards gifted to him by his father opened his ears to broader musical possibilities, and he was soon playing sing-along classics in the bar next door to his house. It was at that establishment, sitting at a piano which stood next to the kitchen, that Poetzsch first started improvising and messing around with song structures. Now, Poetzsch releases “Chasing Heisenberg”, the third and final album of this trilogy, and a full embrace of the random sparks of beauty that inspire him.

The album title, “Chasing Heisenberg”, is an ode to the German physicist and Nobel laureate Werner Heisenberg, who in 1927 uncovered and formulated the uncertainty principle. The principle would state the impossibility of knowing both the location and velocity of an electron simultaneously and would become a fundamental quantum physics formula. Beyond its implications in the scientific realm, however, the uncertainty principle also touches on something far more existential - it mathematically proves that some things are simply beyond our reach - or unknowable. This incognito is, according to Poetzsch, at the heart of any artistic pursuit, not least his own. In “Chasing Heisenberg”, it seems as if the composer has stopped trying to solve the unsolvable; instead, he’s finally coming to terms with its mystery. While some degree of randomness and improvisation can be observed in all of Poetzsch’s work so far, Chasing Heisenberg is the composer’s most fluid expression of the themes. He turns to music where words fail, giving sound to the ineffable and unexplainable nature of his inspiration.

EAT THE SUN AND DRINK THE RAIN is a work for choir and live electronics. Sven Helbig has created a concept album in which he appears both as composer and as author of almost all the song texts. Over the course of ten pieces he weaves a loose narrative that addresses pressing questions of the present day. The powerfully resonant work suspends delicate choral passages above pulsating synthesizers. Sublime a cappella chords spread out above digitally created sounds, in perfect balance between choir and electronics. I EAT THE SUN AND DRINK THE RAIN builds upon the musical principles underlying POCKET SYMPHONIES and POCKET SYMPHONIES ELECTRONICA. Folk?influenced pieces (ABENDGLÜHEN / red sky at night) are set alongside subtle harmonic complexes in the manner of Arvo Pärt (KYRIE) and minimalistic drone music (GEDENKEN / remembrance)

John Metcalfe, who arranges songs for big names such as Coldplay, Simple Minds and The Pretenders, has produced albums with Peter Gabriel and has been touring for decades as a member of the Duke Quartet. Now he releases his debut album on the Neue Meister label. Metcalfe has always been surrounded by music. As a child, he would listen to his father sing opera, before a love of Kraftwerk and Joy Division led to a stint as a drummer in a high school band. But it was a move to Manchester that really accelerated his development as an artist, and led to him finding his true calling. Joining cult band The Durutti Column, then signed to legendary label Factory Records, brought him into the orbit of Tony Wilson and the Hacienda, formative events that would help foster his renegade spirit. Unimpressed with the strictures demanded by the classical recording industry, Metcalfe persuaded Wilson to launch the ground-breaking Factory Classical Label, aimed at unearthing exciting - and unconventional - new British talent. It was here that Metcalfe found a home, and the group that would come to define his musical career; the Duke Quartet. For nearly 30 years, they've existed at the vanguard of contemporary British music, innovating and delighting in equal measure. Working with world-renowned artists across the entire cultural spectrum, from pop, dance, film, TV, and theatre, Metcalfe honed his arranging and producing skills; he's now one of the UK's most sought after arrangers, regularly working with some of biggest names in music. As a solo artist, Metcalfe explores electro-classical soundscapes and the boundaries between genres. His finely tuned compositions are neat yet grand in scale, both in terms of sound and the conceptual ideas underpinning them. Absence, the fifth record to bear his own name, is something of a departure for Metcalfe, framing bold images and themes with some of the most conventional song structures he's ever employed. But it's also his most affecting, deconstructing a subject he's been interested in since his childhood in New Zealand: Dealing with loss.

Danish composer, pianist and producer Asger Baden has made a name for himself as a film and TV series composer with his atmospheric music featured in world-acclaimed productions such as “Breaking Bad” and “The Wolfpack”. After having worked on several collaborative projects and composing with the bands “The Crooked Spoke” and “Cours Lapin”, Baden now releases his debut album of solo material, “If the music stops, they’ll eat him up” via Berlin-based label Neue Meister. It invokes through its nine tracks a sense of mysterious and highly visual storytelling. As is expected of a composer who has worked with cinema extensively, the music unfolds much like a motion picture, conjuring images that are rich and textured. It’s as if Baden was painting a wide and vast musical room where the listener is invited to explore its every nook and cranny, from soft percussive footsteps in the background, to the whispering rumbles of synthesizers just in front or the frail conversation of strings happening to the side. There’s an overwhelming sense of openness and atmosphere to every sound, with a churchy echo delineating the space that surrounds them. There’s definitely a lot of space for fantasy within “If the music stops, they’ll eat him up”, and much is left to the imagination of the listener. The album’s title in itself begs a frightening question – “who’ll eat who up?”. The accompanying cover art imagery, by Danish illustrator John Kenn Mortensen, with depictions of creatures that – depending on the beholder – might be viewed as friendly or menacing, only amplifies the sense of reverie. Like all good pieces of art, it incites more questions than it formulates answers.

The Soul of Things - solo piano combined with compositions for harp, cello, piano and electronics - is about things that are of exceptional meaning to Dresden-based pianist Clemens Christian Poetzsch. The cover was designed by Lithuanian artist Jolita Vaitkutë, who assembled objects thematically related to the album in an installation, visually echoing Poetzsch's multilayered and delicate arrangements, in the style of neoclassical music. Deep inside, pianist Clemens Christian Poetzsch always knew what music meant to him: freedom. Freedom to improvise; freedom to create new worlds of sound; freedom to follow his instinct wherever it may lead him. His publications in collaboration with various musicians and his solo debut album (People & Places, 2016) already distinguished him as a special talent.

The Soul of Things - solo piano combined with compositions for harp, cello, piano and electronics - is about things that are of exceptional meaning to Dresden-based pianist Clemens Christian Poetzsch. The cover was designed by Lithuanian artist Jolita Vaitkutë, who assembled objects thematically related to the album in an installation, visually echoing Poetzsch's multilayered and delicate arrangements, in the style of neoclassical music. Deep inside, pianist Clemens Christian Poetzsch always knew what music meant to him: freedom. Freedom to improvise; freedom to create new worlds of sound; freedom to follow his instinct wherever it may lead him. His publications in collaboration with various musicians and his solo debut album (People & Places, 2016) already distinguished him as a special talent.

ARDEN creates sensual, spheric sound structures. With her instrument the harp, her ethereal vocals and minimalistic electronic sounds she explores a musical world between chamber pop, neoclassical music and ambient soundscapes. She uses loops, layers, works the harp with mallets, modifies it with paper, chains and all kinds of mufflers and spans a sky of elysian choirs above it. The result is a sound experience that feels like a gentle embrace - with maturity to the overall sound that manages to show dare without having to say too much. Sophisticated but still genuine and uncomplicated somehow.

With GAIA, Henning Fuchs acoustically captures the wild diversity and constant changes of the earth. Both stylistically and instrumentally, he manages to write "world music" in the truest sense of the word. Among others, the Chinese Erhu master Guo Gan (Erhu, Zhonghu), the renowned Icelandic violinist Elfa R�n Kristinsd�ttir, Boram Lie on cello, the Spaniard Juli�n Olivares (flamenco guitar, charango, cuatro, tres cubano), David Kuckhermann (handpans, udu, percussion), the Bulgarian Voices Berlin and many others perform on GAIA. In the titles of the album the history of the origin of the earth is retraced. Musically, Fuchs also ties in with his previous album, A New Beginning.

Natthall is the latest project from internationally acclaimed Swedish house and techno producer and live performer Sebastian Mullaert. He was one half of the duo Minilogue and founded the live concert series Circle of Live. With Natthall, Mullaert takes his global fan base on a sonic journey of lush, warm synth sounds and vast soundscapes. Cello and violin, played by musicians from the Tonhalle Orchestra Zurich, are accompanied by Mullaert's sounds, providing the soundtrack for fifty minutes of relaxation and sheer beauty - much like the namesake landscape and home of Sebastian. An exciting mix of neoclassical and ambient music.

Natthall is the latest project from internationally acclaimed Swedish house and techno producer and live performer Sebastian Mullaert. He was one half of the duo Minilogue and founded the live concert series Circle of Live. With Natthall, Mullaert takes his global fan base on a sonic journey of lush, warm synth sounds and vast soundscapes. Cello and violin, played by musicians from the Tonhalle Orchestra Zurich, are accompanied by Mullaert's sounds, providing the soundtrack for fifty minutes of relaxation and sheer beauty - much like the namesake landscape and home of Sebastian. An exciting mix of neoclassical and ambient music.