In July 2024 Kiasmos returned with their second album, II, to critical and fan acclaim. The album took Ólafur Arnalds and Janus Rasmussen across four continents over the next 18 months, playing to sold-out audiences. Now the duo have entrusted five artists to completely reimagine it, II Reworked is out now.
Arnalds and Rasmussen, together with executive producer Robert Raths, invited long-time friend and composer Alex Somers, producers/multi-instrumentalists duo Rachika Nayar and Nina Keith (aka Disiniblud), and fellow Icelandic composer duo Kjartan Holm and Sin Fang to rework the entire album. The result is a sprawling and shimmering trip back through the record’s melodies, with a dream-like daze more suited…
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Alli Logout and Margo XS might seem to occupy opposite sides of the cultural spectrum. The former is the frontperson for New Orleans-based electronic post-queercore band Special Interest, a firecracker performer who can channel fury and sexuality onstage like few of their punk peers. The latter is one of pop music’s rising producers, with a 2026 Grammy nomination for her work on Zara Larsson’s girlie-pop juggernaut “Midnight Sun,” and the executive producer of Kim Petras’ most recent album and subsequent club rebrand. Logout and Margo XS have been making grimy, sexy, explosive dance music under the name 
Milwaukee skramz trio 
CD 83-track box set tracing the development of indie music from the height of the Britpop explosion in 1995 through its aftershocks to the post-Britpop period in 1999, on the cusp of the new millennium. This box continues the story of indie/Britpop from Cherry Red’s 
Earlier this year, 
Following the 2LP vinyl edition for Record Store Day, XTC’s 17 April 1981 gig at Emerald City in New Jersey is released once again as 
DICE have always made music for moments. The kind that become memories before they are even over. On their second studio album ‘I Thought the Altitude Would Make It Worth the View’, the Perth quartet effortlessly capture that strange feeling of being nostalgic for experiences that may have not actually happened yet, turning their instinct for connection, movement and living in the moment into their most ambitious record to date.
In the late ’80s and early ’90s, 
There’s a slang term in Brazilian Portuguese that defines the dark, unkempt spaces where underground parties tend to happen: “inferninho,” or “little hell.” Whether they’re abandoned warehouses, as was so common for the UK’s acid house parties in the 1980s, or repurposed samba school rehearsal venues, these makeshift places are almost inescapable if you want to get to know São Paulo’s independent electronic scene. Producer 
Paradessence spotlights the innate surrealism of 
…6CD special edition featuring unheard material, including early demos, alternate takes, and unreleased songs.
Presenting a local music scene to a wider audience can be an arduous task if it is a scene that has already made a name for itself.
Pinning down what – or who – Lucia & The Best Boys are has, since their emergence in the late 2010s, been more difficult than perhaps it should. Emerging from a fertile synth-led Glasgow scene that gave us Walt Disco and The Ninth Wave – artists whose sonic and visual identities appeared fully-formed from the off – between name, line-up and sound changes, it hasn’t seemed to fully ‘click’ for the outfit. And, thankfully, at points on this debut, it does: opener ‘Butterflies’, ‘Love Yourself’ and ‘So Sweet I Could Die’ brim with the kind of bombast usually seen with shoulder pads and voluminous perms. When they amp up the ‘80s theatrics – think Bonnie Tyler after a few Snakebites and an accident with black eyeliner – the crystal-clear nature and range of…
Philly’s 
It’s a bold move in this attention economy to create an album that requires close listening, but that doesn’t bother