A handful of releases cut through this week, each built on deliberate shifts and a refusal to chase obvious moves.
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A handful of releases cut through this week, each built on deliberate shifts and a refusal to chase obvious moves.
Axel Willner’s first release under The Field since 2018 trades the project’s old rhythmic pulse for five tracks of dense, static-laden instrumentals.
Adam Michael Kozak returns with an album that trades comfort for corrosion, driven by abrasive textures and a sense of lived-in darkness.
The French-Cuban duo is back after four years, launching their own label with a 12-track album and a lead single filmed in Havana.
The last week of tapings for CBS’s ‘Late Show’ will feature David Byrne, Bruce Springsteen, and an unannounced legacy musician, as Colbert wraps his tenure with a mix of absurdity and high-profile guests.
The song was inescapable in 1989, but the band that made it was already fracturing.
Independence in music is no longer defined chiefly by aesthetic posture or outsider identity. In 2026 it is increasingly measured by the operational infrastructure artists and labels are able, or unable, to build around ownership, data, direct relationships, and economic control. This editorial examines what real autonomy requires when scale, consolidation, and platform logic continue …
A quiet, transportive EP that favors atmosphere and patience over flash.
Before the interview, Vile gave TAFS Unplugged an early look at his next album, including the unreleased love song “Every Time I Look At You.”
The second episode of the female-focused series, curated by Maria Papadomanolaki, arrives with a guest mix that draws from memory, ecology, and Ristić’s forthcoming album.
