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Here, he sits and plays in an old circuswagon on Thorup Mark, gazing over the rolling hills and becoming absorbed in an old booklet of folk tunes by the locallegend, fiddler Peter Madsen (1865-1900). One autumn day, he tries out the old dance tunes on his trumpet while lookingout across the landscape. The tunes turn into hymns, and it feels as if an old soul is reborn floating across the warm, hillyland, a landscape that writes it's own silent music on the horizon every day. Composer and trumpeter Jakob Buchanan was recently honored as Jazz Composer of the Year 2024 at the Danish MusicAwards for the album Song \u0026amp; Wind, featuring the Aarhus Jazz Orchestra, Copenhagen Boys' Choir, late percussionistMarilyn Mazur, and conductor Carsten Seyer-Hansen (OUR Recordings). https:\/\/www. Buchanan. dk\/Swedish bassist Anders Jormin is one of the world's most distinguished jazz bassists. He has received numerous awardsand honors, including the rare Jan Johansson Prize, the Swedish Radio Guldkatten Award, and The Royal Swedish Academyof Music's Grand Prize. His solo album Alone became a cult classic and was named Record of the Year in all categoriesworldwide in 1991. #https:\/\/ecmrecords. #com\/artists\/anders-jormin\/New York legend Chris Speed is a tenor saxophonist, clarinetist, and composer. His work spans widely rooted in jazz, yetextending into various forms of folk, classical, and rock music. Speed is associated with a wide range of ensembles and hasbeen a prominent and influential voice in jazz and improvised music for over three decades. #https:\/\/www. #chrisspeed. com\/Pianist and composer Simon Toldam is one of Scandinavia's most exciting and acclaimed musicians. He has released 17albums, five of which have won Danish Music Awards, including Orchestra of the Year 2021 and Best Album 2019. 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In 2013, John Speight wrote his Soliloquy (track 7 and 8) at my request. Two more recent commissions are on the album, both from composers who play the violin: Fragile Stillness by Lilja Maria asmundsdottir and Aria by Maria Huld Markan. Iceland has a long tradition of violin playing and according to folklore every farmer in certain valleys up north was a fiddler. Ea Fantasia (track 4), my own composition, is inspired by the opening track Alia Fantasia by Nicola Matteis Jr. He was the London-born son of the Italian composer Nicola Matteis, who wrote Ayers and Grounds. Nicola Junior was a violinist like his father and lived in Vienna, where he composed numerous ballets for the imperial opera. His bariolage (arpeggios over four strings) remind me of the opening of Fratres by Arvo Part and Bach's Chaconne-key works in the violin repertoire-both of which have been a great inspiration to me. In Fragile Stillness (track 2), Lilja Maria asmundsdottir experiments with textures. Or as she puts it: \"The piece is inspired by a weather condition called froststillur. It is characterized by an intense calmness where there is no wind and a crisp, frozen atmosphere.Karolina wrote Meditation (track 3) in 1996 for violinist Hlif Sigurjonsdottir, who premiered the piece in June 1997. Meditation is in one movement, built on ideas which change and develop, and the composer describes it as \"variations without a theme.Aria (track 5) by Maria Huld Markan was written for me in 2023. Her solo piece is written under the influence of Maria Callas and her romanticism and lontano as she sings Puccini. Maria is reflecting on the concept of the genius, and motifs are flowing from all the fountains contemplating the romantic violin repertoire. On his Adagio (track 6), composer Tryggvi Baldvinsson writes: \"This small Adagio can be seen as a short play in which three distinct characters appear. Each has it's own traits, it's own personality. The encounter between these characters is bound to have a profound and lasting impact on them. As for the actual course of events, I leave that entirely to the listener's imagination. The piece was composed for Rut Ingolfsdottir, who premiered it in 1997.John Speight is an English-Icelandic singer and composer I got to know through working with the Reykjavik Chamber Orchestra, playing and recording his works. He wrote Soliloquy (track 7 and 8) in 2012 and it is the only piece on the album in two movements. The first movement is slow and thoughtful, while the second is crazy and furious. Tranquility (track 10) by Sveinn Ludvik Bjornsson is possibly the shortest piece I have ever played. The story of it is longer than the piece itself-and too good to omit. Sveinn Ludvik, who is visually impaired, was renting a studio in an old banana storage in Brautarholt, Reykjavik. To enter his studio he had to walk through the studio of artist Helgi Valgeirsson. Above the door there was a painting by Helgi which inspired Sveinn Ludvik deeply; he had the sense it was very somber in it's mood-a naked woman with her back turned. Moved by the scene he wrote Tranquility. Later, when discussing the piece with Helgi and admiring the tragic impact of the naked woman in the picture, Sveinn was shocked to discover that the painting, in fact, was of bananas and oranges.Veronique Vaka Jacques, a Canadian-Icelandic composer and trained classical cellist, grounds her work in the geology and topography of Iceland. In Ofdune (track 9), a map of North Iceland serves as groundwork, with the geographical details of a descending river abstractly translated into the work's time progression, using the river's path through hills and valleys as a loose blueprint. This concept of descent is echoed in the title, Ofdune, which is derived from the Old English meaning \"downwards\" or \"off the hill\".Jon Nordal's Hvert orstutt spor (Each Tiny Step, track 11) is from the play Silfurtunglid by Icelandic Nobel Prize-winning author Halldor Laxness. This is a famous Icelandic song, here in my gospel music influenced arrangement for solo violin. 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His contribution was crucial in defining the dimensions, shape, design, and construction technique of the modern classical guitar. Thanks to his work, the instrument acquired the features that still distinguish it today. Torres' training most likely took place in Granada. This formative period coincided with what is known as the first era of his activity, which ended in 1869. During these years, the technical and artistic level achieved by the Spanish luthier was particularly high, confirming him as one of the greatest makers of his time. After a break of several years, Torres began in 1875 what is defined as the second era of his production. This phase, which continued until his death in 1892, was characterised by a perfect balance between shape, proportions, weight, and dimensions, elements that made his guitars models of reference for generations of luthiers. 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Passeggiata musicale nell'OrtoBotanico di Padova (Songs of the Enchanted Garden. A Musical Stroll through the Botanical Garden of Padua), featuring soprano Barbara Zanichelliand pianist Aldo Orvieto, stems from a personal itinerary where past and present, the physical and the metaphysical engage in dialogue, andwhere music and poetry confront history and microhistory.The foundation of the project is a fascination with the Botanical Garden of Padua-a jewel of shapes and colors, a Theater of wisdom and harmonymasterfully preserved over time, which became a UNESCO World Heritage Site in 1997. The CD brings together 6 Canzoni (Songs), eachrepresenting a step on a journey where music intertwines with the historical, human, and artistic adventure of an author (with texts by LudovicoAriosto, Jean-Jacques Rousseau, Johann Wolfgang von Goethe, Emily Dickinson, Fernando Pessoa, and Federico Garcia Lorca). 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Linking up across the record's twelve tracks with producer Ali Chant (PJ Harvey, Perfume Genius, Yard Act), Baby You're A Winner showcases a real levelling up for Grandmas House: more layered and involved than their trio of previous EPs - Grandmas House (2021), Who Am I (2023), Anything For You (2025) - with a greater focus on the use of vocals and harmonies to embolden the meticulously crafted arrangements.  It's the sound of the quartet - Yasmin Berndt (guitar, vocals), Poppy Dodgson (vocal, drums), Zoë Zinsmeister (bass, vocals) and Polly Jessett (guitar) - bringing a greater sense of nuance and space to their music, while deploying myriad genres to maximum effect. From the righteous, elasticated rock of recent single 'DOG' to the syncopated post-punk and brass blasts of 'Dance' and on to the chamber folk ambiance of closer 'Spring', Baby You're A Winner is the most authentic, realised portrait of Grandmas House to date.  The songs here navigate a precarious balancing act between sadness and catharsis, ultimately landing in a place of salvation - the product of the band's tight-knit friendship, this album is their gift to the world, born from a period of grief and hardship but emerging from the other side with profound love and strength. It's a testament that even when the odds are against you, anyone can be a winner.  \"We wrote this album about the existential crisis of going through life,\" explain the band. \"It's about love and infatuation but also about grief and loneliness. It's emotional, powerful, sad and a good time all at once.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBaby You're A Winner\u003c\/li\u003e\n\u003cli\u003eDOG\u003c\/li\u003e\n\u003cli\u003eBlue Oblivion\u003c\/li\u003e\n\u003cli\u003eThe Table\u003c\/li\u003e\n\u003cli\u003eHurricane\u003c\/li\u003e\n\u003cli\u003eDance\u003c\/li\u003e\n\u003cli\u003eNext Big Hit (Choo Choo)\u003c\/li\u003e\n\u003cli\u003eTaxidermy\u003c\/li\u003e\n\u003cli\u003eSoaked\u003c\/li\u003e\n\u003cli\u003eI Miss That House\u003c\/li\u003e\n\u003cli\u003eHow It Is\u003c\/li\u003e\n\u003cli\u003eSpring\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 5053760153467\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Brace Yourself\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.30.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Grandmas House","offers":[{"title":"Default Title","offer_id":45974602481862,"sku":"230557039","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4521700-3626639.jpg?v=1782321702"},{"product_id":"pre-order-baby-youre-a-winner-colored-vinyl-red-ylw-mrb-uk","title":"Pre-Order: Baby You're A Winner [Colored Vinyl] (Red) (Ylw) (Mrb) (Uk)","description":"\u003cp\u003eBaby You're A Winner' is a perfect illustration of the elevated musicality of the album that bears it's name. Linking up across the record's twelve tracks with producer Ali Chant (PJ Harvey, Perfume Genius, Yard Act), Baby You're A Winner showcases a real levelling up for Grandmas House: more layered and involved than their trio of previous EPs - Grandmas House (2021), Who Am I (2023), Anything For You (2025) - with a greater focus on the use of vocals and harmonies to embolden the meticulously crafted arrangements.  It's the sound of the quartet - Yasmin Berndt (guitar, vocals), Poppy Dodgson (vocal, drums), Zoë Zinsmeister (bass, vocals) and Polly Jessett (guitar) - bringing a greater sense of nuance and space to their music, while deploying myriad genres to maximum effect. From the righteous, elasticated rock of recent single 'DOG' to the syncopated post-punk and brass blasts of 'Dance' and on to the chamber folk ambiance of closer 'Spring', Baby You're A Winner is the most authentic, realised portrait of Grandmas House to date.  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