One of Britain’s most beloved alt-rock acts returns. Twilight is the eighth studio album from Jesus Jones, and their most anticipated release in years, their first new record in eight years.
Since forming in 1988, Jesus Jones have sold over two million albums worldwide, scored eight UK Top 40 singles, and delivered one of the defining anthems of a generation. “Right Here, Right Now” topped the US charts in 1991 and remains a global radio staple to this day. Twilight finds the five-piece, led by singer-songwriter Mike Edwards, venturing boldly beyond their comfort zone, while honouring the restless spirit that has always defined them: the collision of rock dynamics with the experimental freedom of dance music. It’s the sound of a band who know…
Category: electronic
Not all of us can afford beachfront property with a convertible Bugatti to match, but thanks to the new album by Argento, we no longer need to. Inspired by the riches of the Tuscan coast, Miraggi is as sultry as music tagged ‘Balearic’ gets. Breathy flutes wisp up and down, casting their ocean spray as they pass. Lithe basslines sway against windswept chimes, beckoning you to leave it all behind. New age, downtempo, and jazz fusion shimmer and swirl together like crisp white wine.
…If this all seems like fantasy, it’s just as much of one for Argento. The side project was conceived by German-Italian producer David August, who spends most of his time hovering…
Radical Frame marks Actress‘ return to Ninja Tune after several releases on other labels, including a reactivation of the producer’s own Werkdiscs imprint for a live collaboration with electronic music pioneer Suzanne Ciani.
Beginning the album with two fragmentary pieces consisting of muffled, cut-up voices, it’s clear that the artist remains enigmatic as ever. “Live by You” features a guest verse by U.K. rapper CASISDEAD, whose bitter, unapologetic rhymes are initially presented starkly over sparse, eerie synth notes. After a few bars, the track erupts with overloaded grime bass and scattered handclaps, while the emcee’s voice is distorted and glitched-out beyond recognition. The song ends short of the two-minute mark, malfunctioning and burning…
People like to say that artists who have little left to lose, either by virtue or lack of past success, have “zero fucks to give.” Usually, this means that an artist has either reached a point at which they no longer care what kind of impression their work makes on the general public, or, taking a more wide-angle perspective, they see no appeal in anything the world and future have to offer, and wash their hands of the whole thing. Colin Newman and Malka Spigel, formerly of post-punk legends Wire and Minimal Compact, respectively, have certainly earned the right to rest on their laurels, cruise on autopilot, follow their fancies, or indulge in score-settling. They owe the world nothing, but the world owes them plenty. Yet their latest album as Immersion is a work of craft…
…expanded digital edition featuring 11 additional b-sides and live recordings.
Listening to a new Solex album is a bit like being suddenly and completely immersed in a foreign language. At first it sounds alien, unpredictable, and impossible to decipher, but as time goes by, its rhythms become natural, and charming idioms and turns of phrase slowly reveal themselves. Elisabeth Esselink’s third Solex album, Low Kick and Hard Bop, could be considered a primer in advanced Solex — it’s an evocative and wildly creative, but not immediately accessible collection. Listeners not already fluent in Solex Vs. the Hitmeister and Pick Up may be bewildered by the strange, ever-changing melodies and arrangements, which Esselink crafts from samples of…
“We shall ask you to forget our former pranks and playfulness. We ask you, in the name of dignity and art, to put yourselves in a receptive frame of mind.” That sampled dialogue appears at the midpoint of Zeds Dead’s recently released third album, Return to the Return (of the Spectrum of Intergalactic Happiness), but it stands out as its core message. For 15 years, the Toronto-bred electronic music duo has been branded a bass act, known for lush production and explosive headbanger drops, but it’s never been truly fair to categorize Zeds Dead by any one genre.
Marking 10 years of its record label Deadbeats, Return to the Return (of the Spectrum of Intergalactic Happiness) feels as much a reflection point as a reinstatement of…
The boldly colored cover of Fantastic Thoughts features a sinewy band of horses heroically galloping out of the clouds above and into the foreground. Believe it or not, even that image might still be a little understated for the mood of the music.
Multi-instrumentalist Nate Mercereau is a prolific MVP of the L.A. post-jazz scene, frequently found in the company of similarly ubiquitous, outside-the-box musical thinkers like Carlos Niño and Josh Johnson on projects including 2025’s transcendent Openness Trio album and Andre 3000’s head-turning ambient-jazz solo debut. But while Mercereau’s solo sojourn shares a sense of spiritual uplift with those projects, it couldn’t be further from their quietly contemplative tone.
A record inspired by the desolate brutalism of their native Manchester, art pop/new wave trio, Yossari Baby’s new album, New Brutality is a radical statement of seriousness. This is an album that dissects Manchester’s anatomy in a very different way to the city’s musical back catalogue with murmurings of the anti-Manchesterism that they, and local label Alphaville, stand for. This Anti-Manchesterism isn’t a concept of scorn; Not in a degrading sense, but as a rally against the reckless nature of the soulless sprawl of buildings ruining the character of the city. Opening track ‘Super Cool’ is more akin to a radical composition than your ordinary futurist pop. This track has nods to DEVO and ‘Technique’ era New Order with hints of European house music and Warmduscher…
Chopping Mountain is the sixth long player from Ibibio Sound Machine. It was recorded in South London at their Vanguard studio and produced by synthesist/saxophonist Max Grunhard. It’s the first time ISM has eschewed an outside producer since 2019’s Doko Mien. Their subjects across these ten tracks are love, social and political resistance, unity, and healing, both societal and individual. While these aren’t unfamiliar topics, they are presented with a seamless maturity and an unwillingness to compromise. The songs were rehearsed, performed, and recorded collectively; they’re chock-full of classic West African highlife, mutant post-punk, Afrobeat, electronic sounds, and breathtaking 21st century soul.
Opener “Burning in Lagos” is introduced by…
Remastered by Atsushi Izumi.
Regis‘ early music will always loom large in techno. His searing records on Downwards, the label he started with Female, helped define what became known as the Birmingham Sound. As a member of Sandwell District, he’s partly responsible for the sleek and spacey style that prevailed in techno clubs in the ’00s.
Influential as those sounds were, though, his music from the last decade feels closer to his personal essence as an artist. Manbait, a collection of remixes from 2010 to 2015, teased out the lifelong love of post-punk and industrial that had always set him apart. Hidden in This Is the Light That You Missed carries on along the same path, delivering nine cuts of elegantly reduced…
Twenty-five years is an awful long time in electronic music – but that’s how long Simon Green, aka Bonobo, has been applying his beat making craft. Working from the early days with Tru Thoughts, where he established himself as an original producer capable of incorporating different styles and cultures into his work, Green has extended the spirit of collaboration to instrumentalists and vocalists alike.
On his watch the careers of singers such as Andreya Triana have been enabled to flourish, with Green’s talent of writing for the singer as much as the song a key feature of his work. With his live following now at a feverish peak, where do we find Bonobo’s music a quarter of a century on?
The answer from Distance in Static is that his…
…10th anniversary deluxe remaster features the original 9 tracks (remastered) along with 5 previously unreleased bonus tracks.
Devil Is Fine serves as Manuel Gagneux’s debut release through this one-man project, as he smashes extreme music against African American spirituals alongside a lullaby-inducing electro triptych.
Black metal is perverted through Come On Down’s tremolo-picked fury and shrieking, but then it’s into gorgeous blues croons, classic metal riffing, and back to Satan squeezing Manuel’s knackersack. Whether the genres run in tandem or successively, the blend’s never jarring. Children’s Summon is basically In Flames at their melodeath best channelling Rotting Christ.
CFCF‘s discography is a sort of nostalgia loop time-warp, delving into the sounds of the past from a present-day lens. During the 2010s, he frequently mined new age, soft rock, and smooth jazz for inspiration. With Liquid Colours, he revisited the moment when “electronica” was poised to take over the world, particularly drum’n’bass, and the ambitious Memoryland was a collision of all things ’90s and Y2K, from grungy alternative rock to French filter house.
With L.U.V., the now Los Angeles-based artist moves on to the type of electropop that regularly soundtracked hipster dance parties during the 2000s. For an artist who initially became buzzed-about for remixes of acts like Crystal Castles and HEALTH, the album comes close…
After releasing Ax Ox, an album born out of COVID-19 pandemic isolation as well as ongoing political struggle, stargazers Gnoomes downshifted to just the married duo of Sasha Piankov and Masha Piankova, and fled their native Russia for Slovenia. They recorded their next album, Losey, primarily at their new home, though former bandmate Pasha Fedoseev recorded some drum parts back in Perm, Russia. Perhaps it isn’t much of a surprise that Losey is the most electronic album they’ve made to date, as the duo incorporate more electro influences into their already heavily rhythmic and danceable sound.
“Foreign Agent” starts out hazily enough, with a steady beat and lush, trippy guitars, then plunges into a mind-fryingly distorted heavy…
The last few years have been a whirlwind for Glasgow’s corto.alto, aka Liam Shortall. From jamming with friends in his flat to a Mercury Prize nomination and worldwide tours, his rise as an artist in the UK jazz scene has been mesmeric.
Alongside long-term bandmates Graham Costello and Fergus McCreadie, corto.alto peaked with a few of these aforementioned accolades after releasing 2023’s Bad with Names. Now signed to the revered indie label Ninja Tune, their follow-up, SOME SMALL FORTUNE, faces more pressure than ever to meet expectations. Thankfully, Shortall lets the music do the talking.
Leading visually with its artwork collated from images from Shortall’s childhood, this collage-like approach is what binds together…
Jennifer Herrema’s Black Bananas return with Bad Bunch, the group’s first album since 2014’s Electric Brick Wall and Herrema’s first release since Royal Trux’s White Stuff (2019). Arriving via Fire Records, the album marks the long-awaited return of Herrema’s iconic vocals alongside longtime collaborators Brian McKinley and Kurt Midness.
From Royal Trux to RTX to Black Bananas, Jennifer Herrema’s work has never divided into separate phases so much as continued in motion. As Pitchfork observed, Black Bananas are an “alternate-universe RTX”, absorbing influences from synth-pop, hip-hop, French-touch house and dancehall into their own singular sound.
Originally formed over 20 years ago under the name RTX, Herrema, McKinley and Midness…