Andrew PM Hunt’s fourth album as Dialect blends vaporwave and chamber ensemble into an unbroken whole. The result owes as much to collage as to composition, with an emphasis on flow.

Dylan Mills has hit his thirties with scores to settle and wisdom to share. On his sixth album, his wordplay remains scalpel-sharp, but the pool-party pop has been deflated in favour of steely, hypnotic grime and hip-hop. He jabs critics hard (“The Other Side”), vividly recalls the good and bad times of grime’s early days (“Make It Last”) and, on the gorgeously pensive “Slow Your Roll”, files a powerful report on gentrification and the loveless, lawless future facing some of London’s youth. Defiant, focused and thought-provoking, Raskit restates Dizzee’s standing as one of grime’s true greats.

Global Horizontal Irradiance by Luke Sanger comprises ten pieces that take the wholly electronic sound source of modular synthesizer played and coerced in a way that is unequivocally organic and of the outside world.

4AD传奇短命团 Rema-Rema（Mass / The Wolfgang Press / Renegade Soundwave / Adam and the Ants 前身）解散40年后拾珠而成的“首张专辑”。
除了部分录音为现场版外，CD版比LP版多1碟《Extended Wheel in the Roses》。

London, England band Dry Cleaning, have revealed their debut EP, Sweet Princess, will arrive on August 16th via It’s OK. Along with the news, the quartet have shared a video for the lead single, “Magic of Meghan.”
Dry Cleaning have been friends for years, the band, comprised of Lewis Maynard, Tom Dowse, Florence Shaw & Nick Buxton, started making music after a karaoke party in 2017 inspired a collaboration. They wrote instrumentally to begin with and six months later Shaw, a university lecturer and picture researcher by day, joined on vocals with no prior musical experience. They recorded the six-track “Sweet Princess” EP before playing their first show only last year. When they started they knew they wanted to make simple music, direct and uncomplicated. The musical influences were clear – the Feelies, the Necessaries, the B52s and Pylon as a starting point.
The video for “Magic of Meghan” was made by Sheffield based artist Lucy Vann. Vann investigates, records and reinterprets overlooked behaviours and occurrences in the everyday, in this case through moving image, but she also works with photography, writing, sound, objects and performance. Her work balances between a state of tedium and interest, and attempts to reveal something beyond the immediate surface of daily life. As for the lyrical content of the song itself, well, it’s clearly a song celebrating Meghan Markle, the Duchess of Sussex.
“The song acknowledges that following the lives of those in the public eye can provide people with an escape; an outlet for difficult emotions, and subsequently help them to cope with hard times in their lives,” says Florence Shaw. “The song is, in part, intended to serve as a thank you to Meghan for this service (‘You got engaged on the day that I moved out. It’s ok. She’s a smasher, perfectly suited to the role’). The song also aims to highlight how the news media dissect her decisions (‘Never has one outfit been designed, to send so many messages’) and the creative ways they conceal the misogyny and racism that is sometimes behind what they write about her (‘You’re just what England needs, you’re going to change us’).”

Honest Labour, the group's first full-length since 2020's landmark hybtwibt? (have you been through what i’ve been through?) mixtape, expands the project's palette with classical strings, shimmering guitar, and visionary vocal cameos, leaning further into their enigmatic fusion of ambient unrest and cosmic downtempo. It's a sound both fogged and fragmented, at the axis of song craft and sound design, born from and for the yearning solitudes of life under lockdown.
The album title is tiered, alluding to a legendary patriarch from co-founder Joshua Inyang's Nigerian family tree (who was lovingly called “Honest Labour” for his loyalty and resilience) as well as the nature of self-designated work, such as Space Afrika's music – a “labor of love” in its truest sense. With fellow co-founder Joshua Reid recently relocated to Berlin, the pair began sharing files last autumn, piecing together poetic vignettes of looping haze and found sound, inspired by the notion of “records that leave an impression, and help the listener deal with their life.” As the isolation of Covid compounded with the worsening winter, the songs skewed increasingly introspective and emotive, reflecting a mood of dissipating futures and the infinite nocturnal unknown.

CYRE is 29 minutes of concentrated, arching drama, both Gilbert’s and the world around him. The title is an acronym for Congratulations You Ruined Everything, a vitriolic nod to very specific world leaders whose names are easy enough to guess and need no further mention here. CYRE is a cathartic release of pent up anxieties, anger and despair at the state of the world today. Surprising then, that CYRE has such a broad view and is so full of optimism.
Using a dying accordion, baritone guitar, field recordings and electronics, Gilbert improvises, manipulates and processes sound to craft narrative-driven musical collages. The EP rises from a colorful, deep soundworld to a plateau of both crisis and clarity, and eases away to a place of reconciliation and forward-thinking. The shape of the five tracks follows Gilbert’s process. About that he says “Making music is cathartic to me. I need to always be ‘creating,’ music or otherwise. Musically I like my tracks to grow and then die,” and each track on CYRE, and the whole EP is like a long breath in and a slow exhalation.

Propelled by Valentina Magaletti’s masterful drumming and assisted by collaborators like Stereolab’s Laetitia Sadier, the London group ventures further into its utopian parallel universe.

Feigning coupledom, the two singers offer a fictionalized divorce album modeled after the tear-jerking country, soul, and pop duets of yesteryear. They flirt with camp without ever succumbing to it.

Dark and suffocating death metal sorcery from the innermost bowels of the European underground. “The Broken Seal” is a unique fusion of musical worlds, concocted to plague the reality of flesh.
When Lvcifyre made their way into Milan’s SPVN Studio in early 2020, they had no idea how much everyday reality would be changing around them. As the old world drew its final gasping breaths, Lvcifyre ventured deep into themselves to birth a smothering slab of audible darkness fit to greet the new age.
Calculating and cruel, steeped in an ambience of controlled fury, it offers a jarring journey through the haunted recesses of the mortal mind. Seven painstaking years in the making, Lvcifyre mastermind T. Kaos describes “The Broken Seal” as ‘the biggest mountain to climb so far’ in his 25 years as an active musician.

Exploring the concept of “queer time,” classically trained musician Isabelle Thorn crafts a prodigiously ambitious, suite-like album that never quite rests.

The definitive lineup of the British heavy blues/prog band captured live near the start (1969) and the end (1972) of their run.

The East London rapper and producer’s debut has the feel of a mixtape, luxuriating in the tension between her reticent persona and raw lyricism.