Grant Chapman follows his self-titled debut from May with a dense, gothic single that pushes his sample-based project further into distorted territory.
Menu
Grant Chapman follows his self-titled debut from May with a dense, gothic single that pushes his sample-based project further into distorted territory.
Swansea indie-pop group The Sweetest Ache will release Reframed on 9 November, pairing acoustic reinterpretations of their Sarah Records material with two new songs.
The AI music company once known for training on unlicensed material is now rolling out industry-backed models, download limits, and a watermarking system. The move reflects broader legal and consumer pressure on AI-generated music.
The monthly freeform session pairs Chad DePasquale’s New Happy Gathering with Tyler Wilcox’s Doom and Gloom from the Tomb, this month spanning recent 2026 digs and autumnal instrumentals.
On his Seoul-made DIY album, Insub Yoon builds a long instrumental weather system and lets a voice arrive only after the landscape has done the speaking.
The Oakland duo takes their 2025 album *Better Dreaming* and recent Boots Riley score on the road across the Midwest and East Coast.
Darren Cunningham arrives at his latest album after eighteen years of refining a fractured, static-laced electronic language — this time with CASISDEAD and Rainy Miller in the frame.
Wonare’s latest album refuses to settle into a single connective language, pulling glitch, drill, trap, and lo-fi breakbeat into a constantly shifting electronic form.
Rick Smith recalls recording the 1996 album in a Romford spare bedroom with an Atari, a 12-track tape machine, and a mixing desk wired for live takes.
A Philadelphia show becomes a public statement as Sheeran speaks about Macklemore’s removal and the pressures shaping his current tour.
