All the GOOD MUSIC you’re not hearing!
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Carmen Villain shares “Blue” alongside a striking rework by Jlin, pairing spectral dub, fractured acoustic samples, and vast negative space with one of experimental electronic music’s most singular rhythmic voices. The collaboration previews ‘Memoria’, Villain’s new album exploring memory as something constantly reshaped each time it is recalled.
Cameron Winter announces ‘Live at Carnegie Hall’, a document of his sold-out December 2025 solo performance in the venue’s main auditorium. Alone at the piano, the Geese frontman reimagines songs from ‘Heavy Metal’, unveils previously unreleased material, and captures the moment his solo career became something much bigger than a side project.
Remi Wolf announces ‘Mud’, her third studio album and most collaborative project yet. Built from live sessions in Big Bear, Electric Lady Studios, and Joshua Tree, the record trades some of her usual maximalism for warmth, space, and spontaneity while preserving the unpredictable pop instincts that made her one of contemporary music’s most singular voices.
Penelope Isles return with “Another Kind of Love,” a deceptively soothing new single that questions the boundaries of conventional romance while preserving the Brighton band’s gift for shimmering guitars and bittersweet harmony. The track previews ‘3’, their first album recorded live as a true three-piece, arriving September 25 via Bella Union.
The Body and Cel Genesis announce ‘Whole Wide World’, a collaborative album that throws trance, industrial electronics, distortion, extreme vocals, and two live drummers into the same volatile space. Lead single “Candy Crush” begins as oppressive noise before detonating into a punishing rave pulse, introducing a record built around friendship, compromise, and joyful creative destruction.
Phoebe Bridgers returns after six years with ‘Lost Weekend’, a hushed and beautifully disorienting album about grief, new love, memory, and rebuilding a life that no longer looks the way you expected. Filled with warped electronics, intimate folk songwriting, and some of Bridgers’ sharpest writing yet, it is a quietly daring evolution from ‘Punisher’.
L’Rain turns self-doubt, alienation, political unease, and the search for belonging into a shape-shifting sonic mirage on ‘fata morgana’. Taja Cheek’s fourth album moves effortlessly between R&B, gospel, dancehall, tape collage, noise, and crushed-metal intensity, resulting in one of her most fearless and emotionally resonant works yet.
Getdown Services turn British mundanity, childhood nostalgia, social anxiety, and emotional self-sabotage into something gloriously danceable on ‘Massive Champion’. Their second album keeps the absurd humor intact while revealing a deeper, surprisingly vulnerable side to one of the UK’s most distinctive indie duos.
Dummy return with ‘do you love the color of the sky?’, a politically charged new album that turns AI anxiety, technofeudalism, and the devaluation of art into kinetic, deeply melodic indie rock. Lead single “Full Spectrum Dominance” pairs breakbeats, heavy guitars, and Emma Maatman’s vocals with a sharp critique of tech power and creative extraction.
Mastodon confront destruction, grief, and survival on “In The Ruins,” the latest single from ‘Marrow Deep’. Inspired by the devastation Hurricane Helene brought to Troy Sanders’ family and a period of profound personal loss within the band, the track transforms catastrophe into one of Mastodon’s most emotionally charged declarations of resilience.
