Tbilisi's East Duo arrive at this reworking with the confidence of a band who already know the tune works — their original "Chubina" did the improbable trick of colonising algorithmic feeds the world over, racking up streams in the hundreds of millions and prompting a frankly absurd quantity of strangers to film themselves dancing badly to it. The temptation, having stumbled into that kind of ubiquity, would be to chase the same rush twice. Instead, the duo have done something rather more interesting: they've taken the chassis of a viral hit and stripped it for parts, rebuilding it as something hushed, patient, almost devotional.

Some records announce themselves. Others simply happen to you, the way weather happens to you, and "RIFF" belongs squarely to the latter camp. Released on 17 June, this single takes its cue from Bob Gramsma's land art monument of the same name — a hollow scooped out of the Flevoland polder, a wound in reclaimed earth that has spent years quietly arguing with the North Sea about who owns the ground beneath it. Vanschothorst, harpist and evidently something of a quiet excavator herself, has gone looking for the sound that hollow might make if it could speak, and the result is less a song than a séance.

There is a particular kind of music that does not so much play as *arrive* — that settles into the room like late afternoon light through old glass, diffuse and irreversible. Hanan Townshend's new single, *What We Lost II*, is precisely that kind of music. It does not announce itself. It does not demand. It simply appears, and once it does, you find yourself rearranged by it in ways you cannot entirely account for.

Certain songs arrive in the world already armoured in sentiment, draped in the heavy brocade of theatrical tradition, and dare you to do anything at all interesting with them. Stephen Schwartz's *For Good*, that sweeping farewell duet from *Wicked*, is precisely such a song — the kind of composition that has been belted across a thousand West End and Broadway stages by voices of seismic proportions, accompanied by orchestras the size of small armies. The melody has been wrung, polished, and performed into a state of near-mythological familiarity. To approach it with a single piano and nothing else requires either extraordinary nerve or extraordinary trust — ideally both.

Some music arrives like a knock at the door. Other music simply appears — as if it had always been present, waiting just beneath the threshold of your awareness, patient as dust settling on a windowsill. Matthias Lindner's *Nenya* belongs emphatically to the latter category. The German guitarist and composer, working out of a studio near Brunswick in Lower Saxony, has fashioned three pieces for two guitars that feel less like compositions and more like weather — something you find yourself inside before you quite realised you stepped out.

The story behind *Gloria Pegasus* reads like a particularly vivid fever dream: a Greek musician busking in Berlin, inspired by statues of winged horses and the ghost of Augustin Barrios Mangoré, returns to his hometown of Florina armed with nothing but a ZOOM H4n recorder and an impossibly ambitious vision. What emerges is that rarest of things—a genuinely eccentric album that earns its strangeness through sheer force of conviction.

The Italian guitarist and composer Ninni continues his creative path by presenting his new instrumental works to the public. 'A Meravilha' is his latest release, which is named as a reflection on the play on words "Maravilha" (Portuguese for "wonder") and "Meraviglia" (Italian for "marvel").

EP 'Thunderfunk' is a new release from British jazz funk group Mulholland Jive. Mulholland Jive is led by Irish multi-instrumentalist Ben Mulholland, based in Cambridge, UK, where he brings together many great musicians for live performances and presentations.

Arjay Smith is a family man, actor and musician who recently presented his album 'Old Man Rookie Instrumentals, Pt. 1: Fives Up'. The record is based on 5 instrumental tracks made in the aesthetics of classic boom bap.

Kathleen Russo recently returned to an active creative life when, after a 20-year creative hiatus, she began writing and recording her new music. Her music catalog is constantly replenished with awesome musical compositions, and 'Dance of Redemption' is one of them.