Searing contemporary classical violin and poly-rhythmic electronics is the name of the game for Barcelona duo Los Sara Fontán. Since last month, the pair have been revealing the layers of their second album, Consuelo, which lands on February 20th. The latest glimpse is Megalodón 2. The track is inspired by a 17/8 rhythm (Ika’ Khosh Rang) from Arabic classical music, which originated in medieval Southern Spain. Here it is!

Dive into this new gem by Isa Gordon, who first caught our attention with her debut album ‘For You Only‘ in 2022. One play of ‘Wheely Down’, and you’ll find yourself engrossed in the mournful, synth-heavy reworking of Richard Thompson’s traditional folk song. Released as a double A-side as part of January’s PostMap Club, it’s paired with the equally brilliant ‘I Wish, I Wish’. The two tracks will feature on Gordon’s upcoming 8Men album. We can’t wait to hear the rest of the album because these two tracks are absolutely stunning!

Deeply affecting new single from Estonian-born, London-based composer and pianist Hanakiv. Sunbeams is the first taste of her upcoming second album, Interlude. Framed as “a therapeutic way to process unprocessed grief,” it blends prepared piano, plucked strings, and hushed vocals into a light, airy sound world, drifting between acoustic and electronic textures with a dreamlike ease. Listen below, it’s lovely.

WAAN’s We Want WAAN feels like a confident widening of the lens. Where Echo Echo introduced their jazz‑meets‑electronics vocabulary, this follow‑up pushes everything outward: the grooves hit harder, the textures feel wilder, and the interplay between Bart Wirtz and Emiel van Rijthoven gains new bite. The duo also invite collaborators to stretch their hybrid world even further. The title reads like both a wink and a mission statement, capturing the album’s restless drive. Highly recommended.

We love a bit of trombone action, whether that be Rosie Turton, Pete Zummo, Gustav Davidsson, Raph Clarkson, or Richie Seivewright, among others. Step forward, Belgian trombonist and composer Nabou Claerhout, whose skills on the big brass instrument are wholly infectious. Claerhout’s trombone remains the guiding force, shaped by subtle effects and ghost-like solo interludes that thread fragility, weight, and release into the music. The album delves into change, renewal, and evolving human connections, showcasing N∆BOU’s foundation in Belgium and the Netherlands while highlighting Claerhout’s expanding international influence. I’ve only listened to the album once, but I can already tell there’s a wealth of beautiful sound to dive into.