The 12-track record will be released in September The The have shared details of their first studio album of all-new songs since 2000, Ensoulment. Taking in 12 tracks, it was written and demoed at the London studio of the project's sole constant member, Matt Johnson, and was fully fleshed out in further sessions alongside long-standing band members...

It's the Canadian-American saxophonist's first solo full-length release since 2017 Colin Stetson is set to release a new album this September, titled The love it took to leave you. Spanning 11 tracks, it marks the Canadian-American saxophonist's first solo full-length release since 2017, and was recorded over the course of a week in early 2023...

As Mike Skinner’s bestselling hip hop concept album celebrates its twentieth birthday, Fergal Kinney looks at how the Birmingham rapper plotted a commercial crossover moment that changed British music enduringly  “Or suppose a woman has ten silver coins and loses one. Doesn’t she light a lamp, sweep the house and search carefully until she finds...

Wu-Lu Learning To Swim On Empty South London's Wu-Lu releases first EP since debut LOGGERHEAD and retreats even further into his interior life, while pessimism and optimism are locked in fierce battle, says Arusa Qureshi Learning To Swim On Empty by Wu-Lu There’s an overwhelming feeling of emptiness that many of us can relate to at the moment...

25 years after it was first released we should now regard Moby's Play as the first album of the 21st Century, says Ed Gillet. This article was first published on 13 May 2019 In the two decades since its release, Moby’s Play has been many things: the epitome of late-capitalist muzak, infamously licensed for commercial use more than any album before...

The already brilliant and nerve-shredding cinematic soundscapes of Mike Patton's Fantômas now make much more sense two decades later, says Jeremy Allen Director's Cut by Fantomas What does cinematic mean in the context of music? Used frequently in music writing, it can just as easily refer to the viscerally paralysing orchestral dissonance of Bernard...