Squarepusher wrote a chamber concerto. Yes, that Squarepusher. 每日唱片 Vol.010

Colin Currie Group — Steve Reich: The Sextets

Timing matters. Colin Currie's ensemble marks both Steve Reich's 90th birthday and their own 20 years by bundling four key works—Sextet, Double Sextet, Six Marimbas, Dance Patterns—on one album for the first time. Recorded this past August at King's Place in London, these pieces demonstrate how Reich's minimalism doesn't calculate backwards toward simplicity; it calculates sideways, finding new permutations in material that seems elemental. The ensemble plays with the precision you expect and the grace you don't. Essential.

Squarepusher — Kammerkonzert

Tom Jenkinson's 21st album announces itself with an unlikely title: chamber concert. What unfolds is orchestral avant-prog tangled with experimental electronics, 14 tracks across 62 minutes. Comparisons to Magma, Weather Report, Morricone, and Stockhausen arrive fast because they're earned—there's a real orchestra here, and Squarepusher treats it like one more instrument to corrupt. AllMusic and Uncut both landed at 80. This is a musician who stopped asking permission years ago.

Lime Garden — Maybe Not Tonight

Brighton isn't short on four-piece bands, but Lime Garden's second album—produced by Charlie Andrew, who's worked with Wolf Alice and alt-J—carves its own space. The concept is simple: one night out, tracked in full. The results are more synth-forward and dance-angled than before, but the guitar stays central, the songs stay human. Ten tracks, 29 minutes. It's the kind of album that makes you want to put on shoes and leave the house.

Hannah Lew — Hannah Lew

Hannah Lew brings credentials from Grass Widow and Cold Beat, but her debut is something else: synth dream pop about breakups and self-rebuilding, recorded at home in Richmond, CA. The tension between Chromatics' distant cool and early New Order's dance-floor hunger defines almost every moment. DIY doesn't mean cheap. Nine tracks, 31 minutes, and enough restraint to let the loneliness breathe.

El Ten Eleven — Nowhere Faster

The LA post-rock duo's 16th release marks a subtle pivot: real strings and piano weave through their architecture for the first time. Working with producer Sonny DiPerri, El Ten Eleven built eight tracks about time, endurance, and the strange permanence of making music together. Thirty-two minutes long and never once seems short on ideas. Post-rock gets accused of empty gesturing; this counters that entirely.

DJ Cam — Underground Vibes

Label廠牌

30th Anniversary Edition

Stepmother — Absurdus Manifestus

Melbourne's Stepmother—led by Graham Clise of Lecherous Gaze and Witch—makes power trio music that sits somewhere between Motor City proto-punk and psychedelic noise. Second album, 13 tracks, 33 minutes, and the whole thing moves like it's one take. That urgency is intentional. There's no polish here to hide behind, which is precisely why it works.

Gretel — Squish

Gretel's full-length debut was recorded in five days, which might sound reckless until you hear it. The urgency is real. Twelve tracks that live in the space between grunge textures and indie-pop melody, with enough goth sensibility to keep things weird. The kind of album that sounds like it arrived exactly when it needed to.