'The New Atomic' by Ferg's Imaginary Big Band

"Undermine the pompous authority, reject their moral standards, make anarchy and disorder your trademarks.  Cause as much chaos and disruption as possible but don't let them take you alive."

The above words may famously be credited to punk's Sid Vicious but they no less apply to Leeds-based musician Fergus Quill.

If it wasn't already known, let us confirm it now... Fergus Quill is a disruptor.

Thankfully, not in a bad way though.  Not in the way the detonated atomic bomb from the cover of his latest project would suggest.  In a good way.  A great way really.

Whether it be via Ferg's Imaginary Big Band, the Fergus Quill Trio or through Fergus Quill's Electric Noise Ensemble, if there is a rule book, he'll tear it up, if there's instructions, he'll ignore them.  And what more could we want from any of our modern-day luminaries!?

As pertains 'The New Atomic' - the latest project from Ferg's Imaginary Big Band - the album continues in the band's lineage of improv-heavy composition and large-scale collaboration.  While openly committed to carrying on the legacy of big band projects, Quill is just as committed to steering his collective into previously unexplored territories.  Even going as far as to stretching the capabilities of what people could even expect from a big band.

With rotating members throughout the project's inception, and featuring tracks with up to thirty performers at any one time, Ferg's Imaginary Big Band joyously recontextualises their sound with each go-round.

Stemming from recording sessions that initially took place in late-2024 and that generated more than five hours of recorded music, 'The New Atomic' offers up the first glimpse of those three-day sessions... Much like Japan's Soil & "Pimp" Sessions referred to their high-octane levels of jazz as "death jazz", for Quill, his myriad of experiences, styles and passions seem to organically spawn a style of jazz matching the energy of Tokyo’s finest but still having cultivated punk levels of outright rebellion.  A concept perfectly captured through the album's opening number 'J Surfing on the Saturn' which, at nine minutes in length, navigates a mind-blowing narrative with explosive twists and turns and captivates immediately.

While 'The New Atomic' will undoubtedly be defined by its insatiable energy and explosion of meticulous yet free-flowing chaos, it's also an album that further boasts a quaint level of sensitivity, namely through songs like 'Same Sky' and 'I Shall Not Be Moved'.

Incredibly engaging and beaming with creativity and imagination, Fergus Quill's quest to reinvent the big band aesthetic has taken a considerably large step forward.

'Sowden House' by Freyja Garbett

In one of the most ambitious and imaginative projects we've uncovered for some time, Freyja Garbett unveils her fairly sensational sophomore album, 'Sowden House'.

Released through the fairly apt hub of creative brilliance that is Earshift Music, the Sydney-based pianist, band leader and composer presents an album that immerses itself within orchestral arrangements, cinematic scope and vibrant mesmeric storytelling as it seeks to unpack the long-standing history - any mystery - attached to John Sowden House.

A graduate of the Berklee College of Music, Garbett's debut release came in the form of the electro-acoustic wonder that was 'MAYA' in 2019.  As driven by the works of contemporary jazz luminaries, hip-hop influences and a passion for improvisation, the captivating project presented Garbett's kaleidoscope of sound beautifully packaging a stellar introduction across a ten track debut.

The concept behind 'Sowden House' initially found life following Garbett's invitation to helm the score for a virtual reality experience that would have placed players inside the notorious abode.  While the game never did find an official release, Garbett's compositions have since evolved into the formation of her own full-length work created with the same intention of unpacking the house's mysteries through memories attached to various rooms.

To bring the uninitiated up-to-speed, John Sowden House is located in Los Feliz, Los Angeles, and is said to have its exterior modelled on either a Mayan temple or the open mouth of a shark.  Designed by Lloyd Wright and built in 1926, the house was indeed noted for its elaborate architecture, its predilection in hosting soirees within Hollywood's artistic circles and, perhaps most famously, its perceived connection to the murder of Elizabeth Short.  George Hodel, a physician who owned the house from 1945 to 1950, was named by his son as having tortured and murdered Short in the house's basement.  Although a murder that was never solved, the notion of the Black Dahlia killing (as it would become known) has ascended to its own level of urban mythology.

Where Garbett soars is within the album's nuance.  The entire project lives within the understanding of the intricate complexity that the John Sowden House is steeped in.  While the mystery elements that surround the house are understandably played up the most, Garbett also affords the house and its architecture its due reverence as well.

As defined by its decadence just as much as its mystery, for a long time the house catered for the Hollywood elite as it played host to a number of closed door soirees.  Of course, there's the opulence of the house itself - details adeptly captured through compositions including 'Trophy Room' and 'Dream Hall'... And that brings us right back to the uneasy and disconcerting mystique that surrounds the house in the shadow of the Black Dahlia killing.

'Tomb Entrance' and 'Echo Chamber' remind us of the spirit of Elizabeth Short that looms heavily over the entire album and it's a thread that is treated with sensitivity throughout.

Freyja Garbett has created an exquisite piece of work that balances these various fragile elements and paints as vivid a depiction of John Sowden House as the VR project could ever have hoped to achieve.  Striking a remarkable balance between more orchestral laden pieces which work beautifully alongside the more groove driven numbers, Garbett confidently delivers a project that invites listeners to walk the John Sowden House halls, confront its ghosts and revel within its lingering unease for themselves. 

'Nomad Sessions Vol.1' by EYM Trio

 

 "Jazz without borders."

That's the mantra that adorns the banner of the EYM Trio's website serving as an apt introduction to the group's ideals and intentions.

While - in this contemporary day and age - the natural assumption might be that the words refer to a musical gumbo style of jazz fusion, EYM seem notably drawn specifically to the notion of geographical borders.

With hundreds of globe-trotting performances under their belt, the Lyon-based trio have proven themselves committed to taking their music to as many far-ranging and wonderful places that they possibly can.  In fact, their ongoing project - now the subject of their latest release, 'Nomad Sessions' - brilliantly brings together performances and recordings over several years that have taken our adventure-bound trio from the streets of Manhattan, New York, to a beach in Pantai Ngrenehan, Indonesia, a hotel rooftop in Cartagena, Columbia, and a street in Old Bangalore, India.

And while the presentation of these recordings now as a full-length album is an unbridled treat, the videos are just as compulsory to the project to get a sense and flavour of the varying environments and cultures the EYM Trio inhabit through each performance - the transition into night while the trio perform in the middle of the Agafay Desert in Morocco is a surreal and extraordinary sight.

Filmed guerrilla-style with loaned and borrowed equipment and instruments where needed, or whatever they could get their hands on at the time, the EYM Trio have offered up some beautiful performances, elegantly filmed and recorded and all demonstrative of their passion towards each other and their music.

Comprised of pianist Elie Dufour, double-bassist Yann Phayphet and drummer Marc Michel, the Trio have clocked up a series of albums since their debut release in 2014 indicative of their inspirations, influences and travels.

With past releases having cultivated the trio's affections for global soundscapes with an impressive list of collaborators pulled together across their albums to date including Egyptian oud player Mohamed Abozekry, accordion player Marian Badoï from Romania, vocalists Mirande Shah and Varijashree Venugopal from India and Israeli guitarist Gilad Hekselman, 'Nomad Sessions' proves to be the result of a long gestating mythos for EYM.

And it all comes together so perfectly - steeped in sincerity, rooted in curiosity and realised through an admirable determination, the acoustic and adaptable nature of their music means that Dufour, Phayphet and Michel consistently create compelling and nuanced projects that display the impassioned and spirited nature of 'No Madness' or the sensitivity of 'Song for Anilou' featuring frequent collaborator Venugopal. 

'Nomad Sessions' proves an inspired project and one that helps reinforce the universal language that music speaks as it transcends language, geography and borders.  An enthralling and intimate piece of work that is as much about the shared human experience as it is about jazz.

'Watch Out For The Horse Behind You' by Lisathe

It's probably still too soon in the year to talk about what an exceptional 2025 La Sape Records are having.  With Standing Circle's release on the imminent horizon, the progressive and imaginative Melbourne-based label have bestowed sensational projects on listeners in the last twelve months including single releases from Iwuda and David Versace as well as the synth-heavy 'Action Reaction' by Horatio Luna and the sublime GODTET alongside The Sydney Symphony Orchestra for the full-length collaboration.

Now championing the sophomore album release from Lasathe, 'Watch Out For The Horse Behind You' continues the instrumental trio's penchant for musical soundscapes that have become their signature make-up.

Comprised of a powerhouse trio of Sydney-based artists, the Lisathe three feature guitarist Ollie Thorpe (Ray Beadle, The Whitlams Black Stump, Peter Garrett), bassist Brendan Clark (Hayley Mary, Aaron Blakey, John Harkins Trio) and drummer Miles Thomas (Lisa Caruso, Freyja Garbett, We Will Intersect).

There's something about the scope that Lisathe aim for that is particularly captivating about their music.  Not scope as in expansive multi-person ensembles - although their ability to interweave an exquisite tapestry of intricate sound is an absolute pleasure to hear unfold across a full album - but it's scope as in landscape.  While it's not uncommon for jazz acts to use their music as a way of conveying intriguing narrative aspects into their compositions, for Lisathe, the joy of music isn't in the stories they're able to tell but within the imagery they're able to conjure for listeners.

Initially offering up their formal introductions courtesy of the band's self-titled debut in 2019, Lisathe sought inspiration from the works of Icelandic composers including Björk, Jófríður Ákadóttir and Skúli Sverrisson presenting a series of inspired reimaginings.

Seven years later, however, Lisathe trade the stark and austere beauty of Iceland for the sun-drenched familiarity of their Australian homeland.  And in that regard, 'Watch Out For The Horse Behind You' serves as an affectionate and loving homage to the country's vast natural splendour.  Guitarist Ollie Thorpe's affections for blues-tinged Americana translates beautifully through the understated twang of 'Scam Daddy' and 'Hood' or the more transcendent numbers like 'Dream' and 'Light Lowers'.  'Hay' may very well deliver as the album's centrepiece however as it's a track that teams with elegant vibrancy and showcases the trio on outstanding form.

Rather than present a literal portrait of Australia, Lisathe instead capture the feeling of it.  Displaying a confidence and poise throughout the album, 'Watch Out For The Horse Behind You' revels in the tiny detail - the subtle shifts of textures from one song to the next, the immersive quality of the project and its ability to resonate as a project that is as evocative as it is deeply personal.

'Secret Garden' by Secret Garden

Whilst serving as a natural hub for centre-stage Italian and European talent, A.MA Records have also been responsible for putting together some projects of super group proportions.

Projects like 'OOPARTS' by Egidio Rondinone and 'Hammonday' by DIL Trio saw exciting roll calls of A.MA artists and affiliates delivering standout releases while donning their collective team cowl.

A.MA's latest presentation comes from the well-versed trio of Enrico Bracco, Francesco Poeti and Armando Sciommeri under the unifying - and compelling - guise of Secret Garden.

Initially delivering his inaugural release for the Italian label through his 'Flying in a Box' full-length in 2022, guitarist Enrico Bracco has long displayed a meticulous approach of presenting the concept of narrative and storytelling as an integral make-up of his music.  Through his range of past album releases and the scores and compositions he has helmed for his extensive film and theatre work, Bracco instinctively detects the long-form narrative that runs in conjunction between imagery and sound displaying a profound perception to his craft.  

Similarly, guitarist and bassist Francesco Poeti regards his music through a similar lens.  Through his custom-made instruments, his affection for improvisation and contemporary jazz and his extensive list of collaborations and ensembles - including his own Francesco Poeti Trio and work alongside Elena Paparusso, Fabio Accardi and Gabriele Coen Sextet - Poeti's progressive vision asserts his inclusion amongst the Secret Garden trio, which is rounded out by the contribution of drummer Armando Sciommeri.   

Another highly experienced and prominent name in Italian jazz, Sciommeri's credentials also run deep with work as part of Gererdo Bartoccini Quartet, Carlo Conti Trio and Silvia Bolognesi Living Quartet.  The trio's ties together run considerably further back than just the Secret Garden project with all three of its members having crossed musical pathways for years - both Sciommeri and Poeti having served as members of Orchestra Mediterranea while Bracco, guitar in hand, served as a member of Sciommeri's ensemble for his full-length 'You and the Night and the Music'.

For their first foray under the Secret Garden moniker, Bracco, Poeti and Sciommeri strike a wonderful balance throughout the album with gentle nudges at times towards elements more associated with each artist.  It's an album that is beautifully paced and elegantly performed with the scintillating 'Blue' serving as the album's definite highlight.  Displaying a wonderful slow-build, the six-minute wonder captures the essence of the trio's intention perfectly delivering a real gem for the project.

The album boasts a further treat with the inclusion of US saxophonist Matt Renzi on pieces that once again really help to accentuate those elements of a glorious New York aesthetic that is also so prevalent to the project.

What Enrico Bracco, Francesco Poeti and Armando Sciommeri have created in Secret Garden proves distinctly special.  For listeners, the more time spent wondering around the trio's carefully cultivated and affectionately maintained soundscape, the rewards will inevitably follow.  The album proves remarkably adept at slowly revealing elements of itself through repeated visits uncovering more of its nuanced beauty each time.

'Rise & Shine' by Veda & The String Machine

Marking the formal introduction of her new and expansive musical project - Veda & The String Machine - Veda Bartringer presents her scintillating new release in 'Rise & Shine'. 

Displaying her vast scope and musical vision through different projects and ensembles must now come as second nature for the Luxembourg guitarist, composer and band leader.  As a highly decorated artist in her own right - accolades which include having earned a Master's Degree from the Royal Conservatory of Brussels, being selected as a laureate of the Propulsion program in 2024 and being nominated for Best Newcomer at the Luxembourg Music Awards - Bartringer has long continued her fascination with jazz and the guitar beyond her studies and excitingly has managed to carve a captivating career across Luxembourg and Belgium.

From the Veda Bartringer Trio to the Veda Bartringer Quartet to Ensemble à Plectre municipal d’Esch-sur-Alzette, the progressive guitarist thrives upon the notion of collaboration and the multitude of possibilities afforded to her as a result.  Aside from the larger scale ensembles, Veda has further embraced a selection of more intimate duo projects pairing her guitar alongside fellow guitarist Joël Rabesolo and another alongside vocalist Anna Winkin.  Each new venture affords Bartringer the chance to excitingly hit 'reset', if you will; the idea that she treats subsequent pairings as a way to completely recontextualise her approach to everything including the connection she has to not just her collaborators but also to her very own instrument proves an inspired perspective and vision for her own music.

Which brings us to the release of 'Rise & Shine', officially by Veda & The String Machine.  Comprised of up to nine musicians, there's a tantalising ambition on display here that still finds the guitarist embracing the new challenge with poise and confidence.  

While naturally displaying an affection for a classical aesthetic within 'Rise & Shine', Bartringer's playing elegantly ushers in an understated hint of blues which works beautifully as part of a song like 'Butterfly Tree'.  Amidst the broad and sweeping string-laden backdrop, Bartringer's solemn guitar resonates as a quaint moment of introspection.  

'Rise & Shine' proves very much an album that soars from a similar dichotomy of styles - while songs like 'Lost in a Toy Box' and 'Too Much Coffee' cater to the guitarist's more playful side, pieces like 'Rue de l'Etuve' and 'Farewell' find their respective sweet spot within poignant tones of nostalgia.  It's a characteristic that Bartringer captures so effortlessly well and a compelling way to weave the notion of storytelling into the project as a whole.

While undoubtedly a beautiful and nuanced piece of work, 'Rise & Shine' proves another success within Veda Bartringer's continually expanding catalogue.  As an artist, her ability to continually challenge and reinvent her music remains one of her greatest strengths.

'Two Minds' by Shadowlands

Initially coming together under the Shadowlands moniker for their formal introduction by way of 'Ombres' in 2024, the powerhouse trio of saxophonist Robin Fincker, pianist Kit Downes and vocalist Lauren Kinsella don the collective cowl one more time for their follow-up release in 'Two Minds'.

Through their recontextualising of centuries old Irish folk songs, Fincker, Downes and Kinsella present inspired new perspectives that revel within minimalist - yet deliciously haunting - soundscapes which accentuate a stunning vocal.  While many of the songs tackled across the two Shadowlands albums to date can boast their own litany of reinterpretations over the years, there's an ambition put forward across these albums that offers up an unparalleled distinction.  With a propensity for improvisation alongside folk traditions and jazz aesthetics, the results have generated musically dynamic compositions with Kinsella's vocal immersed within an exquisite mystique.

While the very concept of "Shadowlands" may point to fantasy realms of ghosts, spirits and phantoms, both 'Ombres' and 'Two Minds' prove very much projects about giving new life:  songs that are kept alive and repackaged for new audiences and generations, many of which will be experiencing them for the first time through these releases.  

And in the hands of Fincker, Downes and Kinsella, these prove to be songs treated with the incredible level of sensitivity that each artist's auspicious careers would suggest.  For Robin Fincker, his extensive catalogue of releases has been steeped in versatility - able to showcase work across a litany of projects and ensembles including the Loop Collective, the Charles Mingus-inspired Whahay project or the Deep Ford trio, the French saxophonist has embraced projects that afford the freedom of improvisation, the joy of collaboration and an unhindered approach to music-making.

Similarly, the highly-decorated British pianist Kit Downes has embraced those same challenges when it has come to his own projects.  Through his own collection of ensembles which include ENEMY, Elt, Troyka and Vyamanikal, Downes' dynamic and progressive perspectives have cemented him as one of the UK's most prominent jazz musicians.  And then of course to round out the trio, there's the incomparable Lauren Kinsella who - with releases on Edition Records, WideEarRecords, Diatribe and Two Rivers Records, Kinsella's remarkable and award-winning vocal has graced prestigious stages across the UK, festivals across Europe and projects including the Chris Hyson collaboration as Snowpoet.

Even on paper, the Fincker-Downes-Kinsella pairing is a tantalising prospect but for the Shadowlands project to take on the imagination that both 'Ombres' and 'Two Minds' captures is an unexpected delight.  'Two Minds' proves very much a continuation of its predecessor's ideals and an album that is more about discovery than remembrance.  A spellbinding release.

'Ghosts from the Past' by Sarife

Fresh from her scene-stealing appearances on the Angel of Libra's 'Road to Mandalay' released earlier this year, Sarife Afonso unveils her long-in-the-works debut album in 'Ghosts from the Past' through Waterfall Records.

The transition from the Angel of Libra's brand of 60's-inspired, dusty analogue-tinged explosive soul to the smoother R&B and neo-soul aesthetic of her new solo offering is indicative of Sarife's over-arching versatility.

Based in Hamburg, Germany, Sarife's initial forays into music took shape through musical theatre training that found her gracing international stages to significant acclaim.  As a finalist at Los Angeles' World Championship of Performing Arts, Sarife's indelible gifts clearly pointed to a bright future early within her career despite ultimately leading to a transition away from the theatre stages and more towards the singer-songwriter realm.

While undoubtedly adept at tackling any role she would so choose, the allure of Sarife as a solo artist absolutely proved to be the path of greater significance.  Even delving into just a few of the tracks from 'Ghosts from the Past', the honesty and sincerity that Afonso pours into her music - certainly as a vocalist but also as a writer - is definitively evident.  And in many ways, that's what 'Ghosts from the Past' is - an open letter to past feelings, emotions and dynamics that have all helped to shape the young vocalist into the budding artist that Afonso has now become.  It's a sentiment elegantly captured in the album's opening number 'Ghosts' which expertly balances a haunting undertone with an infectious vocal; while a song that exudes optimism, in many ways it's a song that begins with its revelatory conclusion: "I'm no longer haunted by my ghosts".

It's particularly exciting to see the Angels of Libra connection impact the album in positive ways as well - with production throughout by Libra guitarist Dennis Rux (alongside Tobias Held and Laura Hofer), the band score a co-credit when appearing on the album's Latin-tinged closing number, 'Una Última Vez'.  An excellent number that slightly recontextualises the music listeners tend to normally expect from the German soul collective. 

And similarly, 'Ghosts from the Past' achieves that same accomplishment for Afonso herself.  While sounding effortlessly at home on songs that showcase her powerhouse vocal for northern soul stompers, Sarife's debut full-length demonstrates an entirely new perspective for her music that finds her just as comfortable on songs that pay loving homage to artists like Jill Scott and Lalah Hathaway who prove as pivotal to her musical make-up as say Aretha Franklin.  

As a deeply personal project, 'Ghosts from the Past' finds Sarife tackling themes of identity, heartbreak and self doubt with earnestness, emerging with renewed confidence and poise.

:n-the-m:x | June 2026

Welcome to our monthly mix series with each episode spotlighting 10 tracks that we were particularly excited about across various shows on Blue-in-Green:RADIO. This month showcases a selection providing a near 40-minute excursion from psychedelic soul to hip-hop boom-bap to sublime electronica to round out the mix.

Music this month comes courtesy of...

'I Want You, Say You're Mine' by The 7:45s featuring Nicole Battick (LRK Records)

'Love Online' by Acid Slop (Mandarin Dreams)

'Eternal Flow' by BALTHVS (Mixto Records)

'Light Lowers' by Lisathe (La Sape)

'Fly Away' by Lanu featuring Melanie Pain of Nouvelle Vague (Pacific Theatre)

'Problem An Nou' [Dusty from Jazz Liberatorz Remix] by As Valet (Oioji)

'Black Hand Side' [Mama Remix] A Cat Called Fritz & Queen Latifah

'Again' by The Night Service Commute featuring Merel Van Der Meer

'Your Heart Knows Something That Your Brain Does Not' by Arms & Sleepers (Future Archive Recordings)

'Running' by Danny Keane (MVKA)

:n-the-m:x is exclusive to our Mixcloud channel so be sure to check back at the end of every month for future round-ups.

'Bounds' by Keysuna

Bounds.  It's an incredibly evocative title and theme to explore through music.  

As a concept, the album could be referencing a range of meanings from the varying constructs of our daily lives, routines and responsibilities to the invisible limits that prevent us from venturing beyond what's immediately in front of us.

Throughout the debut album by singer, bassist and producer Keysuna, bounds is a theme tackled with poise and sophistication.  A staggeringly warm and intimate full-length that presents the French artist's distinct stance on contemporary R&B and neo-soul - as an artist who lovingly wears her influences on her sleeve, Keysuna openly expresses affections for the genre's icons like Erykah Badu and Jill Scott while still presenting compelling insight into her own takes and perspectives.

While 'Bounds' may serve as her debut full-length, Keysuna has been ingratiating herself amidst France's thriving landscape for some time now - with songs from the album having been drip-fed as standalone singles previously, Keysuna can also boast a definitively scene-stealing performance alongside French jazz trio, Namas, for their collaborative track, 'Don't Rush'.  Featured as part of Namas' sophomore album release 'Tonight', Keysuna displays the deft versatility through jazz as she does alongside the more hip-hop inspired sonic palettes of Deheb.  The current track, 'Let That S##t Go', from their upcoming joint EP offers up yet another enthralling facet to Keysuna's music that thrives off her charisma and dynamic approach to music-making.

'Bounds' delivers as a fantastic - and somewhat formal - introduction to the artist as a fully-realised ideal.  Across the album's nine tracks, we're treated to songs that address notions of social constructs, intimacy, rejection and honesty.  And 'honesty' does prove to be a key factor throughout 'Bounds' - as much as it proves to be a quality important for our protagonist to identify in others, it's equally important that it be a quality that she exudes in her own writing which she does to notable effect.  

Backed by sublime vocals, lush production and intimate soundscapes, 'Bounds' ingeniously finds freedom through its vulnerabilities and sincerity.  A brilliantly accomplished project from start to finish, Keysuna's remarkable debut offers listeners the chance to consider the theme within their contexts - which bounds are best left behind and which have we imposed upon ourselves?

'DISCIPLINE SE7ENTY 9' by A Cat Called Fritz

After a brief - and wholly welcome - detour as one-half of the neo-soul outfit Jatoba, A Cat Called Fritz returns to the hip-hop aesthetic cthat has become most synonymous with his musical output.

Through past mixtape projects, Fritz has brilliantly managed to cater to slightly more experienced hip-hop fans that grew up with mixtapes as a crucial part of their fandom.  Presented here as two separate 45-minute mixes, 'DISCIPLINE SE7ENTY 9' finds the French DJ and producer presenting a selection of tracks and previously unheard gems including his own originals and exclusives that carry the torch for the golden era boom-bap of the 1990s.

Fritz furthers his affections for the genre by releasing 'DISCIPLINE SE7ENTY 9' through a selection of physical cassettes via his Bandcamp page that adds to the air of nostalgia around the project.

Hip-hop has long served as the core of Fritz's now extensive catalogue.  Through a varied selection of standalone singles, EPs and full-lengths, Fritz has managed to tailor projects around his vast talents taking every opportunity to weave new narratives and recontextualise his affections for hip-hop and music.

From providing incredible sonic backdrops for his collaborators to ingratiate themselves to, to the range of soulful instrumental projects or the aforementioned Jatoba full-length of last year alongside vocalist Regine Lanoir, Fritz's deep-seated affections for creating consistently will always continue to help further establish a sensational catalogue.

Boasting exclusive A Cat Called Fritz reinterpretations on Queen Latifah's 'Black Hand Side', Black Moon's 'How Many MCs', A Tribe Called Quest's 'Mind Power' and D'Angelo's 'Me & Those Dreamin Eyes of Mine', 'DISCIPLINE SE7ENTY 9' proves a fantastic showcase for Fritz's talents.  As a complete mixtape, the joy of the project rests in the indelible imprint of Fritz's mixes, sequences and transitions - an incredible showcase of his all-round skill that makes this version of 'DISCIPLINE SE7ENTY 9' a distinctly inspired release aided by the DJ's incredible personal touches.  

Conversely, the project also has the distinction of being split into two further releases that divide the mixtape's selections into the standalone versions of the aforementioned remixed tracks, and a second release that focuses on the instrumentals.  Proving to be something of a lost artform in today's streaming and digital age of music consumption, 'DISCIPLINE SE7ENTY 9' works best when taken as a complete musical experience, digested and appreciated as a fully-realised full-length.  More than a nostalgic exercise, the mixtape stands as a celebration of hip-hop's enduring culture, reaffirming A Cat Called Fritz as both a gifted producer and an exceptional curator.

Blue-in-Green:PODCAST #151: The Night Service Commute

Welcome to Episode #151 of the Blue-in-Green:PODCAST which this week sees Imran connect with Netherlands-based producer, musician and DJ, Tommy Willetts.

Under the guise of the illusive Night Service Commute, Willetts has cultivated a sensational middle ground where jazz compositions intertwine themselves with hip-hop sensibilities to create a genuinely enthralling and imaginative series of releases.  While recent single releases - including his 'Certain Sevens' double-header in 'Downfall' and 'Halfspeed' - have leant further into more haunting and even trippier productions, 'Dust' and 'Again' see Willetts return to the style of his esteemed 'In Transit' full-length which served as a flawless introduction to his indelible talents.  With a litany of standalone singles and remixes already available this year - including a new full-length due in 2026 - Willetts proves near unmatchable when donning his Night Service Commute cowl so another album is sure to be an absolute treat!

The conversation delves into the creation of The Night Service Commute's sublime productions, life as an independent artist, collaborations and where the Night Service moniker actually came from.

For more info and to explore Tommy Willetts' music further, please visit Bandcamp:

https://thenightservicecommute.bandcamp.com/music

Blue-in-Green Sessions · Blue-in-Green:PODCAST_#151_The Night Service Commute

'Downtempo 1' by The Tony Soprano Band

Capturing a deliciously vibrant and inspired set of eclectic and varied soundscapes, The Tony Soprano Band make their riveting debut for Dune Castle Records with 'Downtempo 1'.

As an album composed and created very much in line with the Dune Castle aesthetic, the Tony Soprano ensemble is comprised of friends and Dune Castle label-mates that each revel within the constructs of live performance, improvisation and instrumental collaboration.  As a label now into its sixth year, the Patrick "Cantrips" Ryan-helmed studio and recording home has championed the free-thinking and diverse musical projects of a host of artists and bands, all keen to express their distinctively unique musical vision:  from the left-of-centre electronica and nu-jazz scope of Evening News, the cinematic funk of Blademasters or the 60s folky soul of Robbie Belchamber, Dune Castle has consistently represented innovative perspectives on predominately Melbourne-based artists and perspectives.

The Tony Soprano band adds its name to the eclectic lineage of the label delivering a fantastic and compelling project at the same time.  Made up of bassist Daniel Rock, drummer Lucky Pereira, Robert Downie on sampler and drum machine and Winton Findlay on synthesizers, 'Downtempo 1' found its life from a series of improvised jam sessions that were later repackaged and recontextualised by Patrick Ryan himself and presented in the phenomenal end-product that we now have.

Across the album's seven compositions, the quartet lovingly wear their influences on their collective sleeve - from the boom-bap of golden era hip-hop to the more immersive and darker aspects of the production that at times call to mind traces of 90s trip-hop.  Conversely, the band's use of synths has a fascinating ability to both usher in warmer and more intimate dimensions to the music while still retaining the freedom to create even more trippy sonic backdrops at the same time.  

'Downtempo 1' is an ingenious album that doesn't find itself trying to overly force itself into different categories or characterisation; as an album, it is never trying to make itself anything other than what it is: a free-flowing and visionary project born of profound imagination.

It may not be really understood at this time whether the adoption of the "Tony Soprano" name serves as an affectionate nod or whether there is a stronger parallel being drawn - perhaps though it has to do with the notion of contradiction, the idea of an entity retaining the benefits of strength and tenderness, rigidity and impulse, curiosity and confidence.  Either way, in the words of Uncle Junior, "You steer the ship the best way you know".

'Øyeblikk' by Maria Dybbroe (Caktus x OJKOS)

Consistently pushing boundaries and finding innovative ways to recontextualise her music, Maria Dybbroe delivers a sensational third full-length offering alongside her Caktus quintet that represents some of her most inspired work to date.

And that's an incredibly bold statement in of itself!  

For an artist that has presented her music across a variety of ensembles including Bloomers, JUMP, Køs and the aforementioned Caktus - or even as part of duo projects with cellist Jakob Kullberg or accordionist Artemis Vavatsika - the Danish saxophonist and composer relishes the boundless possibilities that lay within a blank canvas.  With an affection for the freedom of improvisation as well as the meticulousness of chamber composition, Dybbroe's highly decorated and esteemed presence amidst the Scandinavian landscape of contemporary jazz continues to position her as a compulsory voice working today.

For 'Øyeblikk', Dybbroe further expands the Caktus ensemble by incorporating the Orchestra for Jazz Composers in Oslo - OJKOS.  A fourteen piece collective that represents leading names amidst Oslo's burgeoning talent, 'Øyeblikk' is treated to an incredible perspective with Dybbroe at the helm who navigates a scintillating narrative across the album's five compositions.

With the album's title translating to "moment", the intimately personal project finds Dybbroe using each composition to revisit a moment, a place, a time in her life of notable significance.  There's a delicious ambiguity about many of the stories being told here but, ultimately, 'Øyeblikk' is defined by its sublime presentation and elegant performances that find Dybrroe expertly able to convey moments of joy, lament and deep-seated moments of tenderness and affection.  A definitively immersive listening experience, the music is bolstered with orchestral soundscapes and ambitious production with 'Øyeblikk' running the gamut of doting and warmth all the way to a track like 'Kalvøya' that revels in an intricate erraticism that captivates.

'Øyeblikk' is a genuinely inspired piece of art - inspired in musical scope and inspired through its very essence and motivational themes.  Projects that find themselves created from such personal subject matter often become fascinating journeys for the artist to undertake just as much as it is for the listener.  

While Maria Dybbroe's intention may very well be to revisit past moments, such journeys can easily become more about revisiting the person that experienced them rather than the time period itself.  And in that way, 'Øyeblikk' transcends from a document of selected moments to memories that endure.

'Dare to Love Free' by Eki Shola

'Dare to Love Free' serves as an incredibly bold, innovative and artistic statement from the indelibly talented Eki Shola.  

In its fully realised form, the 'Dare to Love' project boasts a whopping forty original songs and compositions that wander freely in between the realms of jazz, R&B, electronica, experimental and ambient.  Never trying to make music that adheres to rules or principles of preordained genres and styles, Shola's boundless talents have just proven to be unhindered in their perception of music and how to communicate it to its audience.

But the project's overarching scope extends significantly further than just the amount of songs included on the expansive release.  Shola's music has consistently been demonstrative of her evolution as an artist as well as a person.  Born in London before moving to California at a young age, Shola's experiences seem to have blessed her with an insatiable appetite for learning - as a qualified physician, that learning never stops and that's an ideology that has permeated through to her perspectives on music and composition.

Proudly wearing the tags of singer, songwriter, multi-instrumentalist and composer, it's a mind-blowing roll-call of talents befitting the passion Shola exudes and the dedication each project is approached with.  A definitive milestone release within the Eki Shola catalogue came in the form of 2023's '還 (Kaeru)' - a project recorded and conceived in Japan, the album sought to document Eki's affections towards a place that has since gone on to bear tremendous significance to her on a personal and musical level.  

An adopted home of sorts, Japan's impact on '還 (Kaeru)' has also proved significant for 'Dare to Love Free', which is where the album's true brilliance lies.  For long-term fans of Eki Shola, her music has proved a living testament to her life, experiences and of course travels.  New instruments, new techniques, new skills are picked up on the way to each release and 'Dare to Love Free' is Shola at her most realised.  

An album that embraces each aspect of her personal make-up from her formative years in London, her adult life in California and her spiritual reawakening in Japan.  'Dare to Love Free' holds the weight of it all on its shoulders and it invites us to regard her with openness and sincerity.  The concept of home and identity seemed prevalent within Shola's music for some time now - sometimes addressing the questions about who we are can come with struggle and sometimes they can be the simplest questions to answer.  If '還 (Kaeru)' was asking where home was, 'Dare to Love Free' is Eki Shola's response.

International Jazz Day 2026

Our celebrations for International Jazz Day took place Sunday 3rd May this year and we were incredibly proud to present an extra special series of shows to celebrate our unwavering affections for the genre with the team showcasing new and innovative global jazz music and artists while paying homage to the genre's icons, architects and labels.

You can now catch-up on every show we aired for the day via the following links and re-live the celebrations at your leisure.  We'd like to extend a massive thank you to the phenomenal Blue-in-Green:RADIO team who went above and beyond, delivering some spectacular shows!

With Chicago as this year's host city, we start the day with an I-N-F-(((o)))-C-U-S episode celebrating the dynamic and progressive jazz of the city's own #InternationalAnthemRecordings.  Founded in 2014, the revered Chicago-based record label has gone on to achieve phenomenal success since its inception.  while presenting an incredible front-line roster of innovative jazz talent, International Anthem has gifted listeners with some inspired, impassioned and spirited jazz releases, initially with a devoted lens on Chicago-based artists but has since gone on to champion burgeoning talent from the UK and South Africa.

Celebrate IJD with UK Vibe's Steve Williams who gifts us a special mix drawn from 4 decades of dedicated record collecting. This carefully curated selection journeys through the rich landscape of jazz, featuring vocal masters #CarmenLundy, #MarkMurphy & #DeeDeeBridgewater alongside instrumental greats including #WoodyShaw, #KennyBarron and #LouDonaldson. From Mose Allison's bluesy storytelling and Astrud Gilberto's Brazilian warmth to contemporary voices like the Mabon Dawud Quintet and Yes! Trio, the mix weaves together classic and modern, soulful and spiritual, familiar favourites and hidden gems. A heartfelt tribute to the music that's soundtracked a lifetime of listening.

The incredibly prolific DJ/producer and founder of Oioji Records, As Valet gifts us a sensational episode of Cosmic Radio that explores Caribbean jazz.  With Oioji Records consistently paying homage to its Caribbean roots, As Valet's indelible perspectives and far-ranging musical tastes provide fascinating insight for today's show.  Featuring music from #MariusCultier #RolandBrival #LucHubertSejor #MichelSardaby #JoweeOmicil + more...

Twistedsoul with Colin Smith.  Typically presenting selections through a broad sonic palette including cosmic soul, jazz fusion, ambient folk and left-field hip-hop, Colin's incredible selections tonight showcase some of his personal treasures through selections by emanative, Awen Ensemble, Ancient Infinity Orchestra, #Emanative #BenLaMarGay #CarlosNino #DonCherry + more.

In conversation with Tim "Chiminyo" Doyle.  As a key component to leading ensembles including Maisha, Cykada, Your Brother's Keeper and Uniri, Tim leads the charge for progressive and club-centric jazz and electronic fusion most aptly through his NRG series.  With NRG #5 now available through Bandcamp, Tim joins us from his current tour to discuss the NRG series, the ideals of improvisation, life as an independent musician plus the upcoming Your Brother's Keeper project with Gary Bartz. 

Futuristica Radio with Simon S.  Founded by Simon S in 2006 and swiftly launching their inaugural project - 'Strangers to the Ordinary' by Low Budget Soul - Futuristica Music would go on to release a slew of genre-defining and genre-defying projects from world class names in jazz, neo-soul and hip-hop.  With the label now reaching the milestone of its 20th year in 2026, DJ, producer and label founder Simon Skolfield explores the jazzier side of the future soul label's catalogue with some phenomenal music from #DeborahJordan #Stark #Rise #PeterFranks #JazzChronicles #GeorgieSweet + more...

Sounds of Gravity with a Cat Called FRITZ.  This episode is dedicated to record labels ECM (Edition of Contemporary Music) et JAPO (Jazz by Post). German independent labels co-founded by producer Manfred Eicher, Manfred Scheffner and Karl Egger in Munich in 1969.  The respective catalogues each possess a very distinctive identity, ranging from jazz to Western classical music, including contemporary world music.  A very European jazz bias, but rich in contemplative atmosphere and some gems that truly stand out.  This mix mainly covers their releases from the 70s with artists like #RobinKenyatta #JanGarbarek #JohnAbercrombie #JackDeJohnette #RalphTowner #TetjeRypdal #MiroslavVitous #ManfredSchoofQuintet #KeithJarrett #GaryBurton #ArtEnsembleOfChicago… and many more.

'Circadia' by Mammal Hands

'Circadia' - the sixth album from the Norwich-based Mammal Hands - serves as a milestone release for the trio as they usher in their own new era of monumental change.

And it's very much a monumental change that finds its very concept aptly echoed within the album's title: suggesting movement through cycles as opposed to straight lines, the natural cycles of rest, renewal and awakening - a depiction of our own internal clock over a 24 hour period - prove a stark metaphor for where Mammal Hands currently find themselves within their own circadian rhythm...

Pianist Nick Smart and saxophonist Jordan Smart seek to steer the Mammal Hands brand into compelling new directions by inducting former GoGo Penguin drummer, Rob Turner, within the trio's fold.  The move gifts listeners nothing short of a super group pitting minds across two of the UK's most esteemed jazz ensembles with so much shared philosophies and ideals resulting in, needless to say, mouth-watering musical possibilities...

But the cycles of change continue as, following five albums through Matthew Halsall's Gondwana Records, the newly-formed Mammal Hands trio further take the leap towards a new recording home in German label, ACT Music.  Boasting a broad showcase of contemporary jazz luminaries, ACT's prominence continues to build to increasing heights thanks to helming projects by revered names including Bill Laurance, Theo Croker, Emma Rawicz and Shalosh. 

For Mammal Hands, 'Circadia' is a definitive step towards a new stage in the band's evolutionary process and it's a step taken with poise and confidence.  

Six albums over a twelve year period is an exceptional feat by anyone's standards.  And with a touring schedule this year that takes Smart, Turner & Smart to Poland, Germany, Romania, Italy, France, Portugal and across the UK, it's fair to cite Mammal Hands for their inspired and tireless work ethic that continues to appease listeners through each release.

Their insatiable energy naturally finds itself translating across to their music as well – their distinct perspectives on jazz continues to find inspiration across a range of genres and styles as diverse as the unbridled nature of electronica and broken beat to the cinematic scope of classical-inspired composition.

From the dawn of 'Helios' to the dusk of 'Submerge', 'Circadia' navigates an elegant and nuanced narrative that ultimately provides a distinctive jewel amongst the Mammal Hands treasure chest.  'Alia's Abandon' teams with infectious intensity while 'A Thread in the Dark' captures with its warmth and gentle lament. 

Through ACT and the inclusion of Rob Turner, 'Circadia' marks both an ending and a beginning for the newly-realised Mammal Hands trio - an album that contains a deep affection for everything they have achieved up to this point but a project that also lays a definitive mission statement for their next and deeply rich cycle.

'Di Hotel Malibu' by Thee Marloes

The sophomore album release from Thee Marloes finds its way to audiences two years after their sensational debut offering through Big Crown Records.

'Di Hotel Malibu' finds the Indonesian trio offering up a thrilling extension to the sublime soundscapes presented in their 2024 debut, 'Perak'.  Displaying an affection for 60s and 70s soul through a progressive and contemporary lens, Thee Marloes have cultivated a sound that lovingly nods to their Indonesian heritage while also boasting something of a now signature dusty analog texture that is so emphatically rich in quality. 

Hailing from Surabaya, Indonesia, Thee Marloes actually began life as a passion project for guitarist Sinatrya Dharaka and drummer Tommy Satwick who would record their early demos in Dharaka's bedroom during the global pandemic.  The duo's need for a vocalist led them to Natassya Sianturi, who they had previously crossed paths with on the circuit.  Through their palpable chemistry and soon discovering their shared love for soul revival bands, classic soul-funk for the 70s as well as quintessential soul music as pioneered by Motown, Stax and Atlantic Records, Sianturi was swiftly inducted as a part of the trio as vocalist and keyboardist.

An organic formation born of a shared passion for music that would ultimately garner the attention of Big Crown.  And it seems only fitting to take a moment and discuss the phenomenal slew of releases that Big Crown Records themselves are having - with projects over the last year alone from El Michels Affair, Les Imprimés and Marco Benevento, the New York-based label continues to serve as a beacon for contemporary soul music, even going as far as plundering the four corners of the planet in a bid to unearth the treasures they seem to continually showcase amongst their ever-expanding catalogue.  

And Thee Marloes are absolutely indicative of that.  

Through both intimate and articulate song-writing, exquisite musicianship and sublime vocals, Thee Marloes frankly make it all look too easy.  With songs that delve into a range of joyous and reflective subject matter from love, death, self-doubt, the music finds its life through affectionate and warm production that offers up inspired soundscapes for Sianturi's captivating vocal. 

Confirming the promise of the group's debut, The Marloes may openly declare their adoration for various styles of soul music but their ability to imbue those inspirations with a uniquely personal identity is what continues to endear them to listeners the world over.  Shaped by cultural heritage and a commitment to authenticity, 'Di Hotel Malibu' reaffirms the trio as a compulsory voice for contemporary soul.

'One or Two Things' by Dalia Valančiūtė

Jazz standards have long displayed a notably magical quality within the genre: compositions that ultimately become self-contained gifts, passed from one generation to the next and subsequently documenting an esteemed lineage as part of its own journey.  In this way, standards become a bridge of sorts between eras but also an enduring lexicon that has the ability to document everything from the continual ills of society to the purest joy of finding a divine love.

For the artist though, it's the strength of the performance that determines whether their interpretation can stand the test of time and do justice to songs that are intertwined within jazz's history.

Through the release of her second full-length album, 'One or Two Things', Dalia Valančiūtė presents an inspired perspective over the course of the project's twelve tracks that treat standards as living bodies of work connecting its revered past with progressive takes for the songs' future.

Born in Lithuania and now residing in Copenhagen, Valančiūtė has become a staple on the Danish live music circuit - the brief selection of videos available through her YouTube channel really demonstrates her charm, poise and charisma through studio renditions of 'My One and Only Love' and 'If I Had You' that are indicative of a deeply impassioned performer.

The release of 'Open the Door' in 2023, again, was demonstrative of Valančiūtė's affections for the genre presented through a warmly-received debut album.  'One or Two Things' finds the vocalist in more self-assured footing as she displays the confidence of an artist now able to decidedly hone in on the best version of herself; a version that finds the balance between honouring tradition while fearlessly conveying enough personality to interpret the songs within her own vision.  

And helping to bring these exquisite renditions into life is Valančiūtė's long-standing core unit which includes pianist Laurits Høgel, bassist Mariusz Praśniewski and drummer Jesper Lørup, with additional support from saxophonist Christian Holm-Svendsen and Malthe Kaptain on trumpet.  Boasting undeniably scintillating chemistry, the players are able to paint sublime musical backdrops for Valančiūtė's vocal whether it be for the joyous swing of 'Nobody Else But Me' or the delectable noir jazz of album closer 'Too Late Now'.

This is music that stands the test of time because - as compositions, as written words - the impact that standards have on artists and audiences alike reveal continual (re)discovery through each iteration or interpretation.  But 'One or Two Things' doesn't just carry the weight of audience expectations with it, it is also indicative of Valančiūtė wearing the pride of her Lithuanian roots which in many ways proves just as integral to the album's story.

'One or Two Things' is Dalia Valančiūtė picking up the mantle - like those before her - and valiantly bestowing these treasures onto a new generation.

:n-the-m:x | May 2026

Welcome to our monthly mix series with each episode spotlighting 10 tracks that we were particularly excited about across various shows on Blue-in-Green:RADIO. This month showcases a selection providing a 40-minute excursion from acoustic soul to dusty funk and sublime electronica to round out the mix.

Music this month comes courtesy of...

'Animal' by ISQ

'Say Yes' by Deaddream featuring Honeyy Luvv

'Truth About Love' by Sofia Rubina (LRK Records)

'Silent Stream' by Neil Jones & Nick Corbin (Big AC Records)

'Dream' by Lisathe (La Sape)

'Shivers' by Kerbside Collection (Legere Recordings)

'Problem An Nou' by As Valet featuring Sonny Troupe & Rodolphe Lauretta (Oioji Records)

'Highlife' [Goss One & Cali Remix] by Alpacas Collective

'When Things Were Good' by Asta Hiroki (Folded Music)

'Old Times, Same Places' by The Soul Sound Collective

:n-the-m:x is exclusive to our Mixcloud channel so be sure to check back at the end of every month for future round-ups.

'Action Reaction' by Horatio Luna

'Action Reaction' marks the latest full-length release from Melbourne's Horatio Luna whose musical adventures continue to unfold courtesy of the incredible La Sape Records.

Always touting an enticing vision for his music - Henry "Horatio Luna" Hicks thrives within the playground he generates through his music for varying genres and styles to come together and work within the same space.  An advocate for nu-jazz and house music, much of Luna's aesthetic is as much devoted to club culture as it is to the iconic jazz works of the genre's forefathers.  With Luna in the director's chair, the visionary musician has become adept at creating and nurturing inspired sonic soundscapes that effortlessly straddle each musical realm.

And for Horatio Luna, it is effortless.

Dating back to his debut full-length, 'Yes Doctor' in 2020, the bassist and producer laid the early foundation for these said explorations and whether it was through his solo releases, the litany of standalone singles, remixes or "out-takes", nothing about how Luna presents his music appears like it's trying to achieve an ambitious or even unattainable sound.  In fact, Luna's music, amongst its many facets and ambitions, is consistently presented as natural an extension of his self as an artist can strive to achieve.  

With his indelible imprint present across a vast array of projects and artists, Luna skilfully finds ways to cater to his own dynamic musical palette: from the trippy funk fusion of The Psychedelic Freaks, the hip-hop sensibilities of his work with KJDBRD or, even more notably, his efforts as a founding member of the Melbourne ensemble 30/70 Collective - a supergroup further comprised of Allysha Joy and Finn Rees amongst others that finds its sweet spot within a lush nu-jazz meets neo-soul framework.

'Action Reaction' offers up a nineteen-track opus that picks up where 'Yes Doctor' left off.  Dancefloor-friendly spaced-out synths and thumping bass neatly interwoven around a series of in-studio exchanges and voicemail recordings offer up an ingeniously realised project.  Regarding the expansive catalogue of Horatio Luna projects, particularly evident via his Bandcamp page, 'Action Reaction' ultimately brings the visionary artist another step closer towards realising his own sonic pursuits.

In his own words, much of Luna's music to date has served as explorations into dualities within music; almost like opposing forces that are ultimately forced to find a harmony and cohesion together.  Taking this concept to his current release, the ideals behind 'Action Reaction' could similarly be broken down to explain the notion that Luna's music isn't about combining seemingly disparate elements of music - like house and jazz, composition and improvisation, control and freedom - but creating landscapes where the styles are granted space to create an exchange between each other: each style inspiring, recontextualising and reacting to the other.

'Apeiron' by Jacopo Ferrazza and Sebastian Marino

Serving as the duo's debut full-length project together, Jacopo Ferrazza and Sebastian Marino unveil their collaborative effort in 'Apeiron', released through Teal Dreamers Factory. 

'Apeiron' delivers as a fascinating change of pace for Italian bassist, composer and band-leader Ferrazza - with his past two full-length albums released through his quintet project, Ferrazza has relished the expansive and highly imaginative element of storytelling that has become intertwined into his music.  While 'Fantàsia' (2022) depicted a sequence of nine separate dream-like experiences revolving around themes of life, death, love and time, 'Prometheus' (2025) sought inspiration from the Greek mythological Titan of the same name who was heralded for stealing fire from the Gods and bestowing it unto man.

Expansive concept albums like 'Fantàsia' and 'Prometheus' have become something of a signature for Ferrazza and whilst joyous experiences to consume as listeners, a mild reinvention - as in the case of 'Apeiron' - proves as fascinating a creative endeavour as its predecessors.

And joining Ferrazza for this bold two-hander is pianist and musician, Sebastian Marino.  Himself a noted artist within Italy's contemporary jazz landscape, Marino continues to be defined by his versatility.  An artist equally adept at everything from jazz to Latin music stylings and pop sensibilities, whether Marino's efforts be steered towards his many collaborations, his own projects and standalone singles or his musical work in television, the pianist has featured heavily across a multitude of projects making the union with Ferrazza in this context a real standout.

With Ferrazza tackling the double bass, synths and electronics and Marino credited for piano, Hammond and Mellotron, 'Apeiron' represents a significantly bold undertaking for each artist as they create a project that redefines listeners' expectations of their musical efforts to date.

Across the album's twenty-one tracks, 'Apeiron' finds the duo embracing live electronics as a significant part of the project's make-up and subsequently finding joy in the abstract.  Having found inspiration once again from the Greek word that translates to "unlimited" or "boundless", 'Apeiron' wholly embraces the term as an ideology for each of the album's compositions and in turn unpredictability of the album's over-arching direction.  

Album opener 'Close Your Eyes' serves as a great example of a track that initially presents itself through a deliberate and measured pace before transforming to a high-energy and frenetic piece.  It sets the tone perfectly for the tracks that follow as 'Apeiron' strives to disrupt any sense of comfort for the listener - that moment where you think you know a track is going in one direction, Ferrazza & Marino revel in changing course almost immediately.

'Apeiron' thrives on tension and spontaneity and ultimately displays the same levels of curiosity and imagination that has defined both Jacopo Ferrazza and Sebastian Marino's work to date.