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Camelot, the legendary seat of King Arthur's court in Early Middle Ages Britain, was probably not a real place. A corruption of the name of a real Romano-Briton city, the word "Camelot" accumulated symbolic, mythic resonances over centuries, until achieving its present usage as a near-synonym of "utopia." In the mid-20th century alone, Camelot inspired an explosion of representations and appropriations, among them the violent, affectless Arthurian court of Robert Bresson's 1974 film Lancelot du Lac and the absurdist iteration of Monty Python's 1975 Holy Grail, both of which feature armored knights erupting into fountains of blood; the mystical Welsh world of novelist John Cowper Powys's profoundly weird 1951 novel Porius, with its Roman cults, wizards and witches, and wanton giants; and the nationalist nostalgia of President John F. Kennedy's White House. Unsurprisingly there are fewer Camelots in more recent memory. Camelot, Canadian songwriter Jennifer Castle's extraordinary, moving 2024 chronicle of the artist in early middle age, charts a realer, more rooted, and more metaphorical place than the fabled Camelot of the Early Middle Ages (or its myriad depictions), but it too is a space more psychic than physical. In Castle's Camelot, the fantastic interpenetrates the mundane, and the Grail, if there is one, distills everyday experience into art and art into faith, subliming terrestrial concerns into sublime celestial prayers to Mother Nature, and to the unfolding process of perfecting imperfection in one's own nature. Co-produced by Jennifer and longtime collaborator Jeff McMurrich, her seventh record is at once her most monumental and unguarded to date, demonstrating a mastery of rendering her verse and melodies alike with crisply poignant economy. For all their pointedly plainspoken lyrical detail and exhilarating full-band musical flourishes, these songs sound inevitable, eternal as morning devotions. "Back in Camelot," she sings on the lilting, vulnerable title track, "I really learned a lot / circles in the crops and / sky-high geometry." The album opens with a candid admission of sleeping "in the unfinished basement," an embarrassing joke that comes true. But the dreamer is redeemed by dreaming, setting sail in her airborne bed above "sirens and desert deities." If she questions her own agency_whether she is "wishing stones were standing" or just "pissing in the wind"_it does not diminish the ineffable existential jolt of such signs and wonders. This abiding tension between belief and doubt, magic and pragmatism, self and other, sacred and profane, and even, arguably, paganism and monotheism, suffuses these ten songs, which limn an interior landscape shot through with sunstriped shadows of "multi-felt dimensions" both mystical and quotidian. The epic scale and transport of "Camelot," with its swooning strings, gives way dramatically to "Some Friends," an acoustic-guitar-and-vocals meditation in miniature on Janus-faced friends and the lunar and solar temperatures of their promises_"bright and beaming verses" versus hot curses_which recalls her minimalist last album, 2020's achingly intimate Monarch Season. (In a symmetrical sequencing gesture, the penultimate track, the incantatory "Earthsong," bookends the central six with a similarly spare solo performance and coiled chord progression, this time an ambiguous appeal to _ a wounded lover? a wounded saint? our wounded planet?) Those whom "Trust" accuses of treacherous oaths spit through "gilded and golden tooth"_cynics, critics, hypocrites, gurus, scientists, doctors, lovers, government, the so-called entertainment industry_sow uncertainty that can infect the artist, as in "Louis": "What's that dance / and can it be done? What's that song / and can it be sung?" Answering affirmatively are "Lucky #8," an irrepressible ode to dancing as a bulwark against the "tidal pools of pain" and the "theory of collapse," and "Full Moon in Leo," which finds the narrator dancing around the house with a broom, wearing nothing but her underwear and "big hair." But the central question remains: who can we trust, and at what cost faith, in art or angels or otherwise? Castle's confidence in her collaborators is the cornerstone of Camelot. Carl Didur (piano and keys), Evan Cartwright (drums and percussion), and steadfast sideman Mike Smith (bass) comprise a rhythm section of exquisite delicacy and depth. This fundamental trio anchors the airiness of regular backing vocalists Victoria Cheong and Isla Craig and frames the guitars of Castle, McMurrich, and Paul Mortimer (and on "Lucky #8," special guest Cass McCombs). Reprising his decennial role on Castle's beloved 2014 Pink City, Owen Pallett arranged the strings for Estonia's FAMES Skopje Studio Orchestra. On the ravishing country-soul ballad "Blowing Kisses"_Pallett's crowning achievement here, which can be heard in its entirety in the penultimate episode of the third season of FX's The Bear_Jennifer contemplates time and presence, love and prayer_and how songwriting and poetry both manifest and limit all four dimensions: "No words to fumble with / I'm not a beggar to language any longer." Such rare moments of speechlessness_"I'm so fucking honoured," she bluntly proclaims_suggest a state "only a god could come up with." (If Camelot affirms Castle as one of the great song-poets of her generation, she is not immune to the despairing linguistic beggary that plagues all writers.) Camelot evinces a thoroughgoing faith not only in the natural world_including human bodies, which can, miraculously, dance and swim and bleed and embrace and birth_but also in our interpretations of and interventions in it: the "charts and diagrams" of "Lucky #8," a daydreamt billboard on Fairfax Ave. in LA in "Full Moon in Leo," the bloody invocations of the organ-stained "Mary Miracle," and all manner of water worship, rivers in particular. (Notably, Jennifer has worked as a farmer and a doula.) The album ends with "Fractal Canyon"'s repeated, exalted insistence that she's "not alone here." But where is here? The word "utopia" itself constitutes a pun, indicating in its ambiguous first syllable both the Greek "eutopia," or "good-place"_the facet most remembered today_and "outopia," or "no-place," a negative, impossible geography of the mind. Utopia, like its metonym Camelot, is imaginary. Or as fellow Canadian songwriter Neil Young once sang, "Everyone knows this is nowhere." "Can you see how I'd be tempted," Castle asks out of nowhere, held in the mystery, "to pretend I'm not alone and let the memory bend?"

Wer die turbulente Karriere von Blake Judd und seiner bahnbrechenden Band verfolgt hat, dürfte von harschem Gegenwind kaum überrascht sein. Davon unbeirrt legen NACHTMYSTIUM mit ihrem neunten Studioalbum "Blight Privilege" erneut ein Meisterwerk vor. "Blight Privilege" kann es sogar mit der großen Trilogie von Alben aufnehmen, die Kritiker und Anhänger der amerikanischen Black Metal (USBM) Vorreiter nach wie vor als den Höhepunkt der frühen Karriere betrachten: "Instinct: Decay" (2006), "Assassins: Black Meddle Pt. I" (2008), und "Addicts: Black Meddle Pt. II" (2010). Wie ein infernalischer Scharfschütze trifft jeder Song auf "Blight Privilege" voll ins Schwarze. Die ersehnten und unentbehrlichen finsteren Elemente sind vollzählig vorhanden: Kehlig-raue Gesänge, das aggressive Surren der Gitarren, die in einem eiskalten Feuer brennen, und jene Momente ebenso ekstatischer wie erhabener Schönheit in den ansonsten höllischen Klangwelten. Doch auch jene feinen, aber großartigen Details, die der musikalisch äußerst versierte Judd stets geschickt in seinen schwarzen Klanggewittern versteckt hat, wie etwa Elemente aus Post-Punk und Wave finden sich auf "Blight Privilege". Sogar eine Messerspitze Outlaw Country ist neu hinzugekommen. Auch wenn "Blight Privilege" an die glorreichen Zeiten von NACHTMYSTIUM anknüpft - ist es dennoch kein Schwelgen in Nostalgie, sondern eine zukunftsweisende Fortsetzung und die nächste musikalische Evolutionsstufe der Band. Dieses neunte Album des Amerikaners ist von einer Reife geprägt, die aus harten Erfahrungen und einem brutalen Lernprozess resultiert. Judds ebenso charakteristische wie diabolisch eingängige Melodien sind scharfkantiger als je zuvor und haben nichts von ihrem Biss verloren. Das mag auch damit zu tun haben, dass es das erste Album der USBM-Speerspitze ist, das von Judd in einem rauschfreien Zustand komponiert wurde. "Blight Privilege" ist eine Kampfansage, mit der NACHTMYSTIUM den USBM-Thron vehement einfordern. Dieses Album hat wieder die musikalische Kraft und lyrische Kühnheit, um diesem Anspruch gerecht zu werden. Liebt oder hasst das Album, aber NACHTMYSTIUM errichten mit "Blight Privilege" zweifellos einen massiven Meilenstein!

Wer die turbulente Karriere von Blake Judd und seiner bahnbrechenden Band verfolgt hat, dürfte von harschem Gegenwind kaum überrascht sein. Davon unbeirrt legen NACHTMYSTIUM mit ihrem neunten Studioalbum "Blight Privilege" erneut ein Meisterwerk vor. "Blight Privilege" kann es sogar mit der großen Trilogie von Alben aufnehmen, die Kritiker und Anhänger der amerikanischen Black Metal (USBM) Vorreiter nach wie vor als den Höhepunkt der frühen Karriere betrachten: "Instinct: Decay" (2006), "Assassins: Black Meddle Pt. I" (2008), und "Addicts: Black Meddle Pt. II" (2010). Wie ein infernalischer Scharfschütze trifft jeder Song auf "Blight Privilege" voll ins Schwarze. Die ersehnten und unentbehrlichen finsteren Elemente sind vollzählig vorhanden: Kehlig-raue Gesänge, das aggressive Surren der Gitarren, die in einem eiskalten Feuer brennen, und jene Momente ebenso ekstatischer wie erhabener Schönheit in den ansonsten höllischen Klangwelten. Doch auch jene feinen, aber großartigen Details, die der musikalisch äußerst versierte Judd stets geschickt in seinen schwarzen Klanggewittern versteckt hat, wie etwa Elemente aus Post-Punk und Wave finden sich auf "Blight Privilege". Sogar eine Messerspitze Outlaw Country ist neu hinzugekommen. Auch wenn "Blight Privilege" an die glorreichen Zeiten von NACHTMYSTIUM anknüpft - ist es dennoch kein Schwelgen in Nostalgie, sondern eine zukunftsweisende Fortsetzung und die nächste musikalische Evolutionsstufe der Band. Dieses neunte Album des Amerikaners ist von einer Reife geprägt, die aus harten Erfahrungen und einem brutalen Lernprozess resultiert. Judds ebenso charakteristische wie diabolisch eingängige Melodien sind scharfkantiger als je zuvor und haben nichts von ihrem Biss verloren. Das mag auch damit zu tun haben, dass es das erste Album der USBM-Speerspitze ist, das von Judd in einem rauschfreien Zustand komponiert wurde. "Blight Privilege" ist eine Kampfansage, mit der NACHTMYSTIUM den USBM-Thron vehement einfordern. Dieses Album hat wieder die musikalische Kraft und lyrische Kühnheit, um diesem Anspruch gerecht zu werden. Liebt oder hasst das Album, aber NACHTMYSTIUM errichten mit "Blight Privilege" zweifellos einen massiven Meilenstein!

Body Meπa is the New York-based quartet of Greg Fox (drums), Sasha Frere-Jones (guitar), Melvin Gibbs (bass), and Grey McMurray (guitar). As luminaries in the intersecting traditions of improvised music, rock, jazz, fusion, and contemporary classical music, the four artists have each spent decades building diverse practices that extend beyond sound into multiple disciplines. Prayer in Dub, their second release on Hausu Mountain, follows the band’s 2020 album The Work Is Slow.

The album presents a band whose collective intuition as instrumentalists and live-in-the-room songwriters has deepened with each take that they put to tape. Prayer in Dub finds Body Meπa taking up new experiments with song structure and atmosphere, fanning out into a wide menu of both longer and more concise pieces that suggest deliberate shifts in energy and emotional resonance. The album presents a thrilling contrast between storms of precise rhythmic interplay and slowly expanding fields of multi-guitar and bass texture, alternately pushing the narrative toward explosive peaks of intensity and dipping into ambient expanses. Contemplative guitar lines, both bone dry and effected into total abstraction, ripple together over dub-indebted rhythm section grooves before shifting the dial towards beatific twang. Knotty distorted solos surge out of the fray over networks of arpeggios and drum fills.

On Prayer in Dub, Body Meπa pursues a strain of euphoria charged with elegiac grandeur and the looming potential to crumble at any moment under the psychic weight of confusion. It speaks to the band’s goals and general outlook that chaos never completely consumes their sessions. The band channels the kinetic energy of a “supergroup” of veteran musicians into communal works that evolve beyond their creators’ extensive pedigrees into new forms both intimate in sentiment and majestic in scope.

Body Meπa is the New York-based quartet of Greg Fox (drums), Sasha Frere-Jones (guitar), Melvin Gibbs (bass), and Grey McMurray (guitar). As luminaries in the intersecting traditions of improvised music, rock, jazz, fusion, and contemporary classical music, the four artists have each spent decades building diverse practices that extend beyond sound into multiple disciplines. Prayer in Dub, their second release on Hausu Mountain, follows the band’s 2020 album The Work Is Slow.

The album presents a band whose collective intuition as instrumentalists and live-in-the-room songwriters has deepened with each take that they put to tape. Prayer in Dub finds Body Meπa taking up new experiments with song structure and atmosphere, fanning out into a wide menu of both longer and more concise pieces that suggest deliberate shifts in energy and emotional resonance. The album presents a thrilling contrast between storms of precise rhythmic interplay and slowly expanding fields of multi-guitar and bass texture, alternately pushing the narrative toward explosive peaks of intensity and dipping into ambient expanses. Contemplative guitar lines, both bone dry and effected into total abstraction, ripple together over dub-indebted rhythm section grooves before shifting the dial towards beatific twang. Knotty distorted solos surge out of the fray over networks of arpeggios and drum fills.

On Prayer in Dub, Body Meπa pursues a strain of euphoria charged with elegiac grandeur and the looming potential to crumble at any moment under the psychic weight of confusion. It speaks to the band’s goals and general outlook that chaos never completely consumes their sessions. The band channels the kinetic energy of a “supergroup” of veteran musicians into communal works that evolve beyond their creators’ extensive pedigrees into new forms both intimate in sentiment and majestic in scope.

"In a world where there are no more heroes, the Fleshtones walk the earth like Roman gods. Since their inception in 1976 in Queens, New York, and their sweaty, boozy gestation at legendary venues such as CBGB, Max’s Kansas City, and the storied Club 57— recently feted at the Museum of Modern Art, where their proto-video underground film “Soul City” was unspooled for art stars, glitterati, and a raft of punk rockers who managed to get past the front gate — they have perpetrated their proprietary brand of SUPER ROCK, a frenetic amalgam of garage punk and soul, punctuated by the big beat and unleashed with the spectacular show business majesty which has kept them on the road for over forty years, adored by audiences whose love for them borders on religious fervor.

It’s Getting Late (…and More Songs About Werewolves) is a smash that could have dropped at any point in their epic career — it is an outburst, and a celebration of the SUPER ROCK sound. Unlike their contemporaries, they have not dialed down the tempos to compensate for osteoporosis, they have not lost anything on their fastball, and continue to throw it for strikes. The hardest working band in garage rock has never sounded better, and now you see why they've been your favorite band's favorite band for decades."

"Deep inside my mouth is where dark treasures can be found / Would you like to find out?" Die Wiener Gruppe GARDENS präsentiert sich mit ihrem Debüt-Album in einer Vogelperspektive und besticht mit unheimlicher Klarheit, Wärme und Selbstbewusstsein, zusammen mit einigen dunkleren Tönen. Das Quartett, bestehend aus Luca Celine Müller, Peter Benedikt Mathis, Patrick Stieger und Laura Keiblinger, erlangte Bekanntheit durch ihre ersten beiden Singles ,Talk" und ,Waves" - wurde von Radio FM4 gleich mal in die Jahrescharts gehievt - und etablierte ihre üppige Mischung aus Indie-Pop, 60er Jahre Psych-Folk und Dream-Pop. Unter den elementaren, aber täuschend komplizierten Arrangements erzählt das Album mit viel Songwriting-Gespür von Herausforderungen im Bereich der psychischen Gesundheit, von Übergangsriten der Jugend und den schwindelerregenden Nebeln des Herzschmerzes. Der Name des Debütalbums ,FLAWS" - das am 1. November 2024 bei Siluh Records erscheint - ist ein offenes Eingeständnis frischer Narben, die sich noch im Heilungsprozess befinden, direkt unter einer diamantenen Oberfläche. Die ersten beiden Singles von GARDENS, ,Talk" und ,Waves" - letztere wurde von Österreichs populärem Radiosender FM4 in deren Jahrescharts gehievt - etablierten ihre üppige Mischung aus Indie-Pop, Psych-Folk der 60er Jahre und Dream-Pop. Auf ,Flaws" gelingt es GARDENS auf einzigartige Weise, das Erhabene aus der Unordnung herauszufiltern.

"Deep inside my mouth is where dark treasures can be found / Would you like to find out?" Die Wiener Gruppe GARDENS präsentiert sich mit ihrem Debüt-Album in einer Vogelperspektive und besticht mit unheimlicher Klarheit, Wärme und Selbstbewusstsein, zusammen mit einigen dunkleren Tönen. Das Quartett, bestehend aus Luca Celine Müller, Peter Benedikt Mathis, Patrick Stieger und Laura Keiblinger, erlangte Bekanntheit durch ihre ersten beiden Singles ,Talk" und ,Waves" - wurde von Radio FM4 gleich mal in die Jahrescharts gehievt - und etablierte ihre üppige Mischung aus Indie-Pop, 60er Jahre Psych-Folk und Dream-Pop. Unter den elementaren, aber täuschend komplizierten Arrangements erzählt das Album mit viel Songwriting-Gespür von Herausforderungen im Bereich der psychischen Gesundheit, von Übergangsriten der Jugend und den schwindelerregenden Nebeln des Herzschmerzes. Der Name des Debütalbums ,FLAWS" - das am 1. November 2024 bei Siluh Records erscheint - ist ein offenes Eingeständnis frischer Narben, die sich noch im Heilungsprozess befinden, direkt unter einer diamantenen Oberfläche. Die ersten beiden Singles von GARDENS, ,Talk" und ,Waves" - letztere wurde von Österreichs populärem Radiosender FM4 in deren Jahrescharts gehievt - etablierten ihre üppige Mischung aus Indie-Pop, Psych-Folk der 60er Jahre und Dream-Pop. Auf ,Flaws" gelingt es GARDENS auf einzigartige Weise, das Erhabene aus der Unordnung herauszufiltern.

For Patricia Kaas' her sixth album Dans Ma Chair, she went to New York to work together with the successful producer Phil Ramone (Ray Charles, Billy Joel, Paul Simon), Lyle Lovett and, for the second time, James Taylor. With Taylor, she recorded the duet ""Don't Let Me Be Lonely Tonight"". Two singles from the album received silver status, ""Je voudrais la connaître"" and ""Quand j'ai peur de tout"". The latter was written by Diane Warren and later succesfully translated and covered by Sugababes as ""Too Lost in You"". The album went to #1 in Belgium and reached the Top 10 in Finland, French, Germany, and Switzerland. Dans Ma Chair is available as a limited edition of 1000(?) individually numbered copies on red coloured vinyl and includes an insert.

The 1990 album Scène De Vie was the big follow-up album to her debut Mademoiselle Chante and it confirmed the singer's talent and potential. The album went straight to the top of the French charts and featured several successful singles, including ""Les Hommes Qui Passent"", ""Les Mannequins d'Osier"", and ""Kennedy Rose"". The album eventually reached 2 million sales worldwide and received a diamond status. The album also had great success in Germany, Switzerland, Belgium, Canada, and Russia. Scène De Vie is available as a limited edition of (1000?) individually numbered copies on crystal clear vinyl and includes an insert.

~~~From Mississippi and Olvido Records~~~~~~ Steel-string guitar and vocals by the great Giorgos Katsaros, a mythic figure of Greek rembetiko. Our obsession with underground Greek music continues with 10 ultra-rare recordings of heartbreak and vice from rembetiko legend Giorgos Katsaros. Katsaros, who by some accounts lived to be over 100 years old, carried the old songs of Greece to the Diaspora in the United States, bridging centuries of music in one storied lifetime. Born in 1901 on the Greek island of Amorgos, Katsaros' was enchanted with the songs he picked up as a kid in the streets of Piraeus and Athens. Encouraged by his grandfather, an amateur singer, Katsaros developed a style that mirrored his upbringing - centuries-old Asia Minor songs, island rhythms of his homeland, well-known Athenian songs of the time, and anonymous `rebetiko' songs. Katsaros' songbook was vast, but he was most drawn to the street life and music of the manges of early 20th-century Greece: outcasts who dealt with the indignities of an unstable economy and an inauspicious future with the old standbys: wine, hash, and dancing. These ten tracks are remastered from Katsaros's 64 surviving early recordings, many rarely heard since their original release. Hypnotic melodies plucked over repeating thumbed basslines back his deep, mournful voice. Katsaros brought this nostalgic late-night music to smoke-filled rooms of Greek exiles in Chicago, Philly, and New York, where he emigrated in 1917. He continued to travel the country and play until his music was supplanted by more modern styles in the 1950s. He retired to the town of Tarpon Springs, FL, famous for its Greek sponge fishers, til a late-in-life revival brought him back to Greece for a few massive concerts and national accolades in the 1990s. Like many great artists, Katsaros carefully curated his own mythic backstory over the decades. He sometimes claimed he was born in 1888, making him 109 on his passing, and conflicting accounts of his birth and travels circulate to this day. Greek researchers Stavros Kourousis and Konstantinos Kopanitsanos, who also compiled these tracks, contribute groundbreaking new historical research on Katsaros' life. Lyrics, poetically translated by Tony Klein, further fill in the picture. Clean and rare 78s were remastered by Stereophonic. Katsaros has never sounded better than on this LP, pressed on red vinyl, with extensive notes and lyrics.

Die in der Schweiz geborene Halb-Britin Kings Elliot ist ein offenes Buch für ihre Fans.
Bei ihr wurden eine Borderline-Persönlichkeitsstörung und Angstzustände diagnostiziert.
Mentale Gesundheit ist das Kernthema ihrer Musik, ihre Songs sprechen offen über ihren Kampf mit sich
selbst und ihre Social Media Profile sind ein sicherer Hafen und Ort für tiefen Austausch für ihre Fans
geworden.
Kings Elliot spielte bereits weltweit Festivals wie z.B. Barn on the farm oder das Montreux Jazz Festival, wurde unter anderem von Online- und Presseoutlets wie der Deutschen Vogue, Teen Vogue, Billboard,
Clash, Wonderland und zuletzt der Sunday Times gelobt und erhielt social Media Unterstützung von Reese
Witherspoon, Dixie D’Amelio, Lewis Capaldi, Milky Chance und Macklemore.
Sie tourte mit Imagine Dragons durch die größten US Stadien und supportete Sam Ryder (”Space Man”,
bekannt vom Eurovision Song Contest) auf dessen letzer EU Herbsttour, auch Stephen Sanchez nahm sie
als Support mit auf große US Tour.
Im Sommer 2023 supportete sie auch Lana Del Rey bei ihrer großen Hyde Park Show in London.
Mit ihrer EP ”I’m Not Always Sad, Sometimes I’m Angry” erscheint zum zweiten Mal ein physisches
Produkt in Form einer 10” Vinyl.

Rund zwei Jahre nahm Brenk sich Zeit, an "Midnite Ride III" zu feilen und die richtigen Soundbilder für seine musikalische Vision zu finden. Dabei legte er viel Wert auf verspielte Details und einen zeitlosen Sound, der sowohl den Late Night Vibe der ersten beiden Vorgänger fortsetzt als auch Brenks aktuellen Mindset in puncto Soundästhetik widerspiegelt. Auf "Midnite Ride III" fusionieren analoge Synthesizer aus Brenks berüchtigter Vintage-Sammlung mit perfekt platzierten Voice-Samples, die zur Trademark des Midnite Ride Sounds gehören. Als einer der Urväter der Phonk-Bewegung reichert Brenk seine Beats auch diesmal mit der richtigen Dosis aus Phonk-Elementen an und kreiert aus alten und neuen musikalischen Einflüssen ein weiteres Mal einen moody Soundcocktail, der ab der ersten Sekunde in seinen Bann zieht.
Begleitend zum Album-Release wird eine Dokumentation erscheinen, die die Entstehung und die Hintergründe von Brenk Sinatras Midnite Ride Universums beleuchten wird.

The acclaimed trio of Mikkel Ploug, Sissel Vera Pettersen, and Joachim Badenhorst is set to release their fourth studio album, Lento, on November 1, 2024, through the Klein label. Following their celebrated albums 'Equilibrium', 'Walking Voices', and 'Liquid Light', this new release further cements the group’s position as an innovative voice in contemporary music.

Lento offers an evocative blend of jazz, folk/world, classical, minimalism, and avant-garde influences, crafted through a dynamic mixture of free improvisation and original compositions. The trio’s unique synergy is evident in every track, pushing the boundaries of genre while maintaining an intimate and expressive core.

The trio comprises of the Norwegian vocalist and saxophonist Sissel Vera Pettersen, a multifaceted artist known for her collaborations with Chick Corea and Marilyn Mazur, Her contributions to Lento showcase her versatility, moving seamlessly between voice and saxophone with a fluidity that anchors the group’s explorative sound.
On guitar is Danish virtuoso Mikkel Ploug, who is renowned for his work with saxophonist Mark Turner and composer Bent Sørensen, Ploug's playing on Lento is both intricate and expansive. Completing the trio is the Belgian reed player Joachim Badenhorst, whose talents on the clarinet have earned him a spot in Downbeat Magazine’s "Rising Star" polls. Badenhorst is known for his work with Han Bennink Tony Malaby’s, Kris Davis and his own projects Carate Urio Orchestra and Zero Years Kid.
Having garnered praise from critics and fans alike for their previous albums, the trio continues to evolve and captivate. Lento is a testament to their ability to fuse disparate musical elements into a coherent, deeply moving whole. Expect meditative passages, explosive bursts of improvisation, and moments of pure musical dialogue that transcend traditional boundaries.