There’s been no let up in 2026’s ongoing onslaught of quality releases. Here’s a summary of some of the best ones…
There’s a dreamlike quality permeating Alexander Wolfe‘s new long player, Everythinglessness. It sits somewhere between the emotive ballast of Elbow and the acerbic wit of Jarvis Cocker and, as you would imagine, it’s a winning formula, especially considering the echoes of Babybird that can be heard throughout too. ‘Lewisham Conversation‘ is perhaps the best point at which to witness these comparisons, but Everythinglessness‘s sometimes sparse, folksy meandering elsewhere prove that Wolfe has lost none of his songwriting chops in the fifteen or so years since he first appeared on the music scene.
Those of you seeking a more exotic flavour may well be enticed by Tuareg band Imarhan‘s fourth full-length release, Essam. If you’re in any doubt as to the authenticity of the group’s ethos, then look no further than recent single ‘Adounia Tochal‘, a personal and highly affecting tribute to the mother of Eyadou Ag Leche (of Tinariwen), who wrote the song, yet his cousin Sadam’s adaptation of it here is quietly breathtaking and beautiful. Like pretty much the rest of the album is, to be fair.
Remember when Blur suddenly went all ‘dance’ on us with ‘Girls And Boys‘? That was a bit of a surprise, but it’s more of a shock coming from noisy bastard Hastings duo Kid Kapichi, on their new record Fearless Nature. Previously we’ve been accustomed to a loud, gnarly guitar sound more in line with the likes of, say, Queens Of The Stone Age or Demob Happy, so this new direction is interesting. Don’t panic though, because all the best elements of the formerly four piece band have remained gleefully intact – from the often hard-hitting, sometimes highly amusing lyrical content, delivered in that inimitable half spoken, half sung bent with aplomb by frontman Jack Wilson – to the still relentlessly catchy refrains, but now wrapped up in a shiny glitterball. Honestly? It’s no less appealing. Listen for yourself.
Fans of Bright Eyes, Villagers, The Decemberists, Sparklehorse or even Eels need to get your ears on Wormy, right now, on his latest release Shark River. Arguably previously best known as Samia‘s touring drummer, Noah Rauchwerk’s second album under the moniker is a highly palatable ten track affair that is as fucked up as it is pleasurable. Lyrics like those of ‘Cocaine Bear‘ are impossible to ignore and easy to love: “I don’t want to be left with the burden / I don’t want to be dead on the roadside / I don’t want to be dragged by the curtain / I don’t want to be there when I die.” Don’t be hoodwinked into thinking it’s in any way depressing though. It really isn’t. Some of these numbers are truly gorgeous too – “If my whole life’s a bender, at least I spent it all with you” sings Rauchwerk on ‘Give Up‘ to a soundscape of gentle pedal steel guitars, and it’s unfathomably touching as he evinces “So give up, give up, we might as well give up” as though that is the ideology that keeps him and the song’s recipient together. Just brilliant. I love this album. It might be my favourite release of the year so far.
Golden Hours release their second album, Beyond Wires, on Friday. The band’s members have performed with Gang of Four, The Brian Jonestown Massacre, Tricky, and The Fuzztones amongst others, and that experience has clearly paid dividends. Opening track ‘Whatever Happens Today‘ is like Hank Marvin meets Richard Hawley on steroids, while elsewhere there are shades of early Simple Minds, The Jesus and Mary Chain circa Psychocandy, and Sisters Of Mercy. It’s a deep, brooding record full of intensity and at its best is utterly transfixing. There are lighter moments, such as recent single ‘The Letter‘, though even that still packs a heavy punch, its driving rhythm both pointedly ominous and somehow magnificently uplifting at the same time. One of the most dramatic releases you’ll hear in 2026.
If all that’s a bit too fierce for you, look no further than Ya Tseen‘s new eleven strong set. It’s breezy and full of soul-stroking numbers, featuring an impressive roster of guests including Pink Siifu, Sidibe and, perhaps most effectively, Portugal, The Man, on the single ‘Taste On My Lips‘. This is what I’d call a “late night” album, though the latter track is wide awake and has its roots firmly embedded in the dancefloor. It’s like a slightly fucked up disco classic. Later on the album, ‘Katlian’s Hammer‘ ups the tempo again, which straddles the line between the likes of LCD Soundsystem and Animal Collective. An intriguing record.
Coming next week: Victoryland, The Just Joans, Sky Valley Mistress, The Jack Rubies and more.
