For much of their career, Editors have explored a varied range of approaches to their music. From the stark post-punk urgency of The Back Room through the widescreen ambition of In This Light and On This Evening and the industrial-electronic experimentation of EBM, the Birmingham band have spent two decades repositioning themselves while retaining a distinctive identity. On this, their eighth studio album, Surface, Echo & Sound, they take what might appear an unexpected turn, back toward their fundamentals
Following the electronic intensity of 2022’s EBM, written in collaboration with Benjamin John Power (Blanck Mass), the new album emerges from a markedly different creative process. Frontman Tom Smith arrived with stripped-back…
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…includes two exclusive bonus tracks.
A project built around lead singer/songwriter/guitarist Bobby Townson and his sister, singer and miscellaneous instrumentalist Emma Townson, who also does the band’s artwork, 
Some music carries its architecture within it; other music waits for a building to reveal the full shape of its thought. In the Basilica di San Marco, every note enters a space crowded with memory, where gold mosaics hold the afterimage of vanished liturgies. 
Saxophone phenom 
Flutist and singer Elena Pinderhughes conjures deep, soulful jazz textures on her debut album, 2026’s I Hope You Can Feel It Too. A Bay Area native, Pinderhughes is best known for her contributions to trumpeter Chief Xian aTunde Adjuah’s albums, having been introduced on 2015’s Stretch Music. She has also worked with a cross-genre mix of artists, from jazz legend Herbie Hancock to rappers Future and Metro Boomin to contemporary luminaries like Esperanza Spalding and Robert Glasper. She brings all of this experience to bear here, embracing a harmonically nuanced crossover sound that touches upon electronic fusion, global rhythms, and alt-R&B. Throughout, her flute is often dipped in a sonic effects shimmer, and on cuts like…
…In a way, the 
…includes three brand-new songs.
The band 
Few musicians can name a chiptuned guitar sketch “Artrock” and be taken seriously. One of them is Leo Fincham, a precocious Londoner whose songs evoke irony-tinged earnestness and referential irreverence, the sorts of tensions terms like “art rock” were invented to resolve. Along with Rowan Please of the Femcels, he helms the madcap duo Worldpeace DMT, whose debut, The Velvet Underground & Rowan (2025), stuffed a thrift store’s worth of sounds — Glockenspiels! 8-bit consoles! Broadcast footage! — into mechanically precise music, as if childhood memories could be exported as sample packs. The resulting RAM space is evident on Stick Around for Tea, a slighter record with the ragtag splendor of a low-budget musical. More remarkably, its metaphorical…
Three hours of music about water is an audacious proposition. But not, perhaps, for Slovak label Mappa, which for the past decade has made a habit of asking listeners to slow down and pay attention, releasing records that move between field recording, electronics, and idiosyncratic folk. 
After four consecutive English language albums Ed Motta returns to singing in Brazilian Portuguese on Toc-Toc. A significant shift to be sure, but it’s not the only one. Motta always surrounds himself with the best studio musicians in Brazil. In sharp contrast, Toc-Toc was recorded in his apartment. He programmed and/or played all instruments and provided all voices. Co-produced with longtime collaborator Michel Limma, Motta received lyric assistance from comic book artist and spouse Edna Lopes. His goal was to bring two different genres of contemporary music together: Electronica and traditionally structured songwriting. He regards this as a pop-R&B album threaded with jazz influences. One can hear trace elements of artists who fascinated him while growing up,…
Vocalist Samara Joy owns the spotlight with swinging charisma on 2026’s Live at the Blue Note L.A. Recorded at the West Coast club, the EP finds the Grammy-winning singer leading her small big band during her April 2026 run of shows. Here, she dives into a set of well-chosen standards that nicely showcase the golden, resonant warmth of her vocals and her lithe phrasing. It’s a vibe she captured on her studio albums, but which takes on a dynamic immediacy in these live performances. She opens in bold manner with Thelonious Monk’s “Round Midnight,” emerging with a moll’s swagger from her band’s screaming noir-ish fanfare. These are not easy songs, but sophisticated statements of artistic purpose. Her Latin-infused rendition of “Yesterdays” has a burnished…
If the name 
…10th Anniversary Deluxe Edition expands the original tracklist to 22 songs total, featuring 8 bonus tracks.