The Austrian guitarist Rosa Franziska Maier, winner of numerous international competitions, is releasing an album with an imaginative, musical collage of works from three centuries at GENUIN: compositions by Mario Castelnuovo-Tedesco and Johann Sebastian Bach, by Giulio Regondi, Heitor Villa-Lobos and Isaac Albéniz are grouped around William Walton's "Five Bagatelles".

Discover the beauty of classical guitar with Thibaut Garcia, a virtuoso and the perfect ambassador for his instrument. From Spanish melodies to baroque masterpieces, his artistry brings timeless treasures to life. Whether you're a devoted fan or a curious newcomer, this is the perfect chance to experience its magic!

In the album “Estrella del Sur” all the compositions, created by Mirta Álvarez, are deeply rooted in Argentine folklore, reflecting the Pampas landscape where she was born.

New flamenco guitarist Armik displayed an interest in and passion for music while still a young child. When he was just seven years old, he pawned his watch for a classical guitar, which he hid and practiced on in the basement. Formal music lessons followed and Armik completed the Rudolph Solphege program in two years; at 12, he was a professional recording artist. While his early career focused mostly on jazz, Armik discovered the beauty and passion of flamenco while visiting and studying in Spain during the '70s.

Federico Moreno Torroba (3 March 1891 – 12 September 1982) was a Spanish composer, conductor, and theatrical impresario. He is especially remembered for his important contributions to the classical guitar repertoire, becoming one of the leading twentieth-century composers for the instrument.

The Shadows are usually thought of as the quintessential British instrumental group and, along with the American band the Ventures and the Swedish group the Spotnicks, one of the most popular instrumental groups in the world. But that barely tells the story of their true significance in the history of British rock & roll – including the fact that they were the first homegrown British rock & roll band to dominate the U.K. charts, or that they weren't originally an instrumental group, either.

Al Di Meola's "Twentyfour," is a testament to creativity. Conceived during the tumultuous times of the pandemic, what started as a simple acoustic project evolved into something much grander. Al's initial intention to craft a reflective acoustic album on the challenges of the time expanded exponentially as he found himself unable to resist the allure of boundless musical exploration.

Imagine: It’s sometime in the back half of the 19th century, America. You’re sitting in the parlor of your mansion, or in the only room of your shack; things are dusty and smell like sweat and hair, no matter how wealthy you may be. You don’t own a phonograph, and you don’t know who Tony Hawk is, but you have an inkling of how good the word “shred” is going to feel when it enters the local slang. Suddenly, a tall, elegant figure with beautifully maintained fingernails emerges from some corner of the room, carrying a guitar. He says in a soft voice, “I have a transmission for you, from the coming few centuries. Would you like to hear it? I figured you wouldn’t have a dongle, so I brought my guitar.”

“It’s time. Africa, it’s time. It’s time that Africa changes. It’s time our leaders change. Everything that happens in Africa is extraordinary. We have everything: water, earth, sun, fields of oil, gas. We have all this in Africa, but Africa is still poor. It’s time we change our way of thinking. It’s time for Africans to take their destiny into their own hands. If not, others will take it.”

The second album of astonishing duets by guitarists James Elkington (who has toured and/or recorded with Jeff Tweedy, Richard Thompson, and Steve Gunn, among others) and Nathan Salsburg (an accomplished soloist deemed by NPR “one of those names we’ll all associate with American folk guitar”) is a sublime suite of nimble, filigreed compositions by two singular stylists. Belying its title—“ambsace” is the lowest throw of dice; snake eyes—the record thrives on a gentle empathy and generosity of spirit, sitting sneakily protean original compositions alongside gorgeous arrangements of songs by Duke Ellington and The Smiths at the same big hand-hewn table.

Jonathan Jiménez comes from a family of flamenco artists. He is El Cigala’s cousin and the grandson of Araceli Vargas, a gypsy guitarist famous in the history of the flamenco guitar who performed with artists such as Manolo Caracol, La Niña de los Peines, Rafael Farina or Farruco.

Remember hearing music while dreaming, fully confident that you’ll be able to reconstruct it once awake? Music that, as it turns out, you were the sole witness. In retrospect, why ruin the experience by something so vulgar as hearing it a second time, much less having to share it? We don’t mean to alarm you, but David Grubbs and Liam Keenan have returned from the dark side of the pillow bearing Your Music Encountered in a Dream.

NTS presents European Primitive Guitar, a compilation of instrumental guitar compositions, mapping out European analogues of the American Primitive Guitar movement, spearheaded by John Fahey in the 1950s.

Me Neither is a 29 track double album of instrumental guitar music. While juggling a number of other projects James Elkington began writing "music for which there was no purpose." It became a new way of working for him - waking up each morning and improvising and recording the first thing that came into his head. "The only rules I gave myself were that I should make most of the sounds with a guitar, changing the speed or processing the recordings afterwards to get the effect I was looking for." Before long he had an albums worth of material. About mid-way through the second album Elkington had a liberating thought: he was making his own version of library music "if you’re writing library music, you don’t have to know what it’s for - that can be someone else’s job.

After many years and many electronic music albums, Norway’s Erik Wøllo returns home, in a sense, on CLOUD OF STRINGS. Created on an assemblage of acoustic guitars, his 14th Projekt solo album sees Wøllo explore the instrument he first loved. It’s an album of twelve melodic moods — an intimate collection showcasing a fresh perspective on Wøllo's artistic range and versatility.