Baltic Jazz Energy Meets British Guitar Brilliance: Rahel Talts Quartet Lights Up London with Ant Law

London’s jazz scene welcomed a compelling international collaboration this month as Estonian pianist and composer Rahel Talts brought her acclaimed quartet back to the capital, joined by one of the UK’s most inventive guitar voices, Ant Law.

Taking to the stage at Jazz Café POSK in Hammersmith, the ensemble delivered a performance that showcased exactly why Talts has become one of the most exciting emerging names on the European jazz circuit. Drawing heavily from the quartet’s latest album, Back and Forth, the evening blended contemporary jazz sophistication with the folk-inspired melodies and rhythmic vitality that have become a hallmark of Talts’ writing.

What immediately sets Talts apart is her ability to balance accessibility with musical depth. Her compositions often draw on Nordic and Baltic influences, weaving memorable themes through richly textured arrangements. That distinctive sound has helped the quartet build a growing reputation across Europe and Asia, while appearances at major festivals have steadily expanded their audience.

Adding another dimension to the London performance was the presence of guitarist Ant Law. Widely regarded as one of Britain’s most innovative jazz guitarists, Law has earned praise for his fearless approach to harmony, rhythm and composition. His playing brought an extra spark to Talts’ material, creating moments where intricate interplay gave way to soaring melodic exchanges and exhilarating improvisation.

The chemistry between the musicians was evident throughout the set. Saxophonist Donatas Petreikis, bassist Mariusz Praśniewski and drummer Jesper Lørup Christensen formed a highly responsive rhythm section, allowing Talts and Law the freedom to explore the music’s dynamic range. From delicate, folk-tinged passages to driving grooves and expansive solos, the group maintained a sense of momentum that kept the audience engaged from start to finish.

Talts’ rise has been rapid. In recent years, the Estonian pianist has performed extensively across Europe, led her large-scale Rahel Talts Ensemble project, represented Estonia in the Euroradio Jazz Orchestra, and released a series of well-received recordings. Back and Forth, the quartet’s latest release, continues that trajectory, capturing the melodic warmth and international outlook that define her work.

For London jazz fans, this concert offered more than a showcase of emerging talent. It was a reminder of how vibrant and interconnected the contemporary European jazz scene has become. By bringing together musicians from Estonia, Lithuania, Poland, Denmark and the United Kingdom, the Rahel Talts Quartet demonstrated how jazz continues to evolve through collaboration, cultural exchange and fearless creativity.

If this performance is any indication, Rahel Talts’ profile is only going to keep growing. And with collaborators of Ant Law’s calibre joining the journey, audiences can expect many more memorable nights ahead.

On New Album Like in the Movies: Svante Söderqvist’s THE ROCKET Turns Jazz Into Cinema

There are albums you listen to, and then there are albums you step inside. With Like in the Movies, Swedish bassist, cellist and composer Svante Söderqvist and his evolving ensemble THE ROCKET deliver the latter — a sweeping, cinematic journey that feels less like a traditional jazz record and more like the soundtrack to an unwritten film.

THE ROCKET has steadily grown into one of the most intriguing projects on the Nordic jazz scene. What began as Söderqvist’s acclaimed trio alongside pianist Adam Forkelid and drummer Calle Rasmusson has expanded into a richly textured quartet through the addition of Estonian-Swedish accordionist and sonic explorer Tuulikki Bartosik. The result is a band that moves effortlessly between chamber jazz, folk-inspired melodies and atmospheric soundscapes.

The title Like in the Movies proves remarkably fitting. Across the album’s eight tracks, the quartet creates vivid musical scenes that unfold with the pacing and emotional depth of a carefully crafted film. Delicate piano passages give way to soaring accordion melodies, while Söderqvist’s distinctive blend of double bass, cello and occasional wordless vocals provides a warm, human centre. The music never rushes; instead, it invites listeners to linger in its landscapes.

Critics have already picked up on the album’s cinematic quality. Swedish music publication Lira described the record as a “musical film you want to see again and again,” praising its dreamlike chamber-jazz atmosphere and evocative storytelling. The comparison feels entirely justified. Whether drifting through the reflective moods of “Another Autumn (In the Light of Madness)” or the expansive emotional arcs of tracks such as “One Week” and “Europa 2022,” the music constantly suggests images, memories and stories beyond the notes themselves.

What makes THE ROCKET especially compelling is the group's ability to balance sophistication with accessibility. There is plenty here for jazz aficionados to admire — intricate interplay, nuanced improvisation and exceptional musicianship — yet the melodies remain inviting and emotionally direct. Folk influences weave naturally through the compositions, while Bartosik’s accordion and subtle electronic textures add an extra dimension that broadens the ensemble’s sonic palette.

For Söderqvist, who has spent more than two decades building a reputation as one of Sweden’s most respected jazz bassists, Like in the Movies feels like a creative milestone. The album expands upon the musical language explored on the 2023 release The Rocket, pushing further into cinematic territory while maintaining the lyrical beauty and melodic strength that have become his trademarks.

In an era dominated by short attention spans and algorithm-driven playlists, Like in the Movies stands out as a work designed to be experienced from beginning to end. It's immersive, emotionally resonant and beautifully crafted — a reminder that instrumental music can still tell powerful stories without uttering a single word.

If the best films leave you thinking long after the credits roll, then Like in the Movies achieves the same effect. THE ROCKET has created a record that doesn't just accompany your imagination — it ignites it.

On the Mesmerising "Green Prism" Hilary Jeffery Refracts Keith Tippett’s Legacy

There are tribute albums, and then there are records that feel like conversations across time. On Green Prism, Berlin-based British trombonist and composer Hilary Jeffery achieves the latter, transforming the music of the late Keith Tippett into something that is both a heartfelt homage and a bold creative statement in its own right.

The origins of Green Prism stretch back several years. Tippett had originally composed a suite titled Winter's Welcome for Jeffery's brass ensemble Zinc & Copper, premiered in Berlin in 2019. Tragically, ill health prevented Tippett from fully participating in the project before his death in 2020. Rather than allowing the music to remain unfinished, Jeffery returned to the material with fresh perspective, rebuilding it through layers of multi-tracked brass, improvisation and adventurous arrangements.

Keith Tippett. Source: Wikimedia Commons.
Licenced under Creative Commons 2.0.
Courtesy of the original photographer and Wikimedia Commons.

The result is a record that feels expansive and cinematic. Jeffery's brass arrangements form the album's backbone, but the surrounding cast brings remarkable colour to the music. Saxophonists Paul Dunmall and Tobias Delius inject moments of urgency and exploration, while Eleni Poulou's synthesizers and electronics add an atmospheric glow that pushes the music beyond conventional jazz territory. At the emotional centre stands Julie Tippetts, whose voice and lyrics provide a direct human connection to Keith Tippett's legacy.

What makes Green Prism especially compelling is its refusal to become a museum piece. Rather than recreating Tippett's compositions note for note, Jeffery treats them like living organisms, allowing them to evolve through improvisation, texture and reinterpretation. The album moves between moments of quiet reflection and powerful brass-driven grandeur, creating a listening experience that feels simultaneously intimate and vast. Critics have highlighted its rich use of space, silence and texture, qualities that give the music an almost filmic quality.

For longtime followers of Keith Tippett's work, Green Prism offers a fresh lens through which to revisit a towering figure of British jazz. For newcomers, it serves as an accessible entry point into a musical world built on curiosity, collaboration and fearless experimentation. The remarkable achievement is that Jeffery manages to honour Tippett's spirit without being constrained by it.

Keith Tippett and Louis Moholo-Moholo performing.
Licenced under Creative Commons 2.0.
Courtesy of the original photographer and Wikimedia Commons.

Released through Discus Music in May 2026, Green Prism stands as one of the most thoughtful and imaginative jazz releases of the year—a record that doesn't simply remember Keith Tippett, but actively extends the reach of his musical imagination.

On Circadian Promise: An Epic, Crushing and Cathartic Release By Fires in the Distance

Connecticut's Fires in the Distance have never been a band afraid of staring into the abyss, but on Circadian Promise they do something even more impressive: they find beauty within it.

The New England melodic death/doom outfit's third full-length album arrives as the eagerly anticipated follow-up to 2023's acclaimed Air Not Meant For Us, a record that helped elevate the band from underground favourites to one of the most exciting names in modern melodic death metal. Now, with Circadian Promise, Fires in the Distance return with a release that feels bigger, bolder, and even more emotionally devastating.

Originally formed as guitarist and songwriter Yegor Savonin's solo project in 2016 before evolving into a full band, Fires in the Distance have steadily built a reputation for combining crushing heaviness with sweeping orchestration and deeply reflective songwriting. That formula remains intact here, but Circadian Promise pushes every element further.

The album also marks the arrival of vocalist and guitarist Brendan Hayter, whose addition ushers in a new chapter for the band. Rather than simply recreating the sound of previous releases, Hayter's performance helps shape an album that feels both familiar and refreshed. The result is a record that balances melancholy and aggression with remarkable confidence.

Opening track "Of Radiance and Levitation" immediately establishes the album's grand scale. Expansive orchestration, soaring melodies and towering riffs create a cinematic atmosphere that has become a hallmark of the band's sound. Elsewhere, "To You, Author of My Fade" explores darker and more confrontational territory, showcasing the band's ability to move seamlessly between crushing heaviness and moments of haunting beauty.

Photo: Matt Jackson / Courtesy of Prosthetic Records

What makes Circadian Promise so compelling is its sense of emotional authenticity. Fires in the Distance have spoken about creating music from raw feeling, and that sincerity resonates throughout the album. Themes of mortality, perseverance, ageing and acceptance are woven into compositions that feel less like individual songs and more like immersive journeys.

Across six expansive tracks spanning nearly fifty minutes, the band demonstrates an impressive command of pacing. Delicate passages of orchestral grandeur give way to waves of melodic death metal intensity before receding again into moments of introspection. It's a dynamic approach that rewards repeated listens and keeps the album feeling fresh despite its epic running time.

The early reaction from critics and fans alike has been overwhelmingly positive, with many praising the album's balance of doom-laden atmosphere, melodic sophistication and emotional depth. For a band already riding significant momentum after Air Not Meant For Us, Circadian Promise feels less like a continuation and more like a statement of intent.

In a genre often defined by extremes, Fires in the Distance have found a rare middle ground where darkness and beauty coexist. Circadian Promise doesn't merely embrace the shadows—it transforms them into something breathtaking.

For fans of Insomnium, Swallow the Sun, Amorphis and the ever-evolving landscape of melodic death/doom metal, this is essential listening and one of the standout heavy releases of the year.

Accelerating Into A New Era With "Ton Up": Gold Panda's Upcoming Album

Electronic music favourite Gold Panda is back on the road and heading full throttle into a brand-new chapter. The Essex-born producer, whose intricate blend of sample-heavy electronica and emotive dance music has earned him a devoted following over the past decade and a half, has announced his latest album, Ton Up.

Scheduled for release on 26 June via Studio Barnhus, the record marks Gold Panda’s first full-length project since 2023’s critically acclaimed The Work. According to the artist, Ton Up is built from “eight rough-hewn dance tracks and two cozy little service-station interludes” — a description that immediately suggests a record balancing raw club energy with the reflective atmosphere that has long defined his best work.

Gold Panda in Shinjuku, Tokyo (2010) by Masao Nakagami, via Wikimedia Commons. Licensed under CC BY-SA 2.0.

The announcement arrives alongside the release of the album’s first preview, “Ding the Motor,” a track that hints at the rhythmic, road-worn aesthetic suggested by the album’s title. Long-time listeners will recognise Gold Panda’s knack for transforming tiny fragments of sound into deeply immersive compositions, and early indications suggest Ton Upcontinues that tradition while leaning more heavily into dancefloor-focused territory.

The album’s title itself carries a sense of movement and momentum. In British motorcycling slang, “doing the ton” traditionally refers to hitting 100 miles per hour — an apt metaphor for a record that appears to be fuelled by motion, travel and restless energy. That theme is reflected throughout the tracklist, which includes titles such as “Loser Mentality,” “Wakō Heights,” “Life Is Hard Off,” “Double Arrows,” and the intriguingly self-referential closer, “Do You Know Gold Panda?”.

Gold Panda performing at Primavera Sound 2011 by Ferran (Amposta), via Wikimedia Commons. Licensed under Creative Commons Attribution (CC BY)

For an artist whose career has often thrived in the spaces between genres, Ton Up feels like a particularly exciting prospect. Since breakthrough releases such as Lucky Shiner and Half of Where You Live, Gold Panda has consistently evolved without losing the intimate, handcrafted quality that made his music stand out in the first place. His records have always felt personal, even when aimed squarely at the dancefloor.

With Ton Up now on the horizon and “Ding the Motor” providing a first glimpse of its direction, Gold Panda appears ready to remind listeners why he remains one of electronic music’s most distinctive voices. If the album delivers on the promise of its lead single and intriguing concept, summer 2026 could belong to one of the genre’s most quietly influential producers.