Through the release of three full-length albums, 2013’s Jinn, 2019’s Trace and 2023’s Water, It Feels Like It’s Growing, two EP’s, 2016’s Figure and Ground and The Memory Empire, as well as a handful of singles, all which were self-produced and recorded at their own Room 11 Studio, Montréal-based outfit Atsuko Chiba — Karim Lakhdar (vocals, guitar, synths), Kevin McDonald (synths, guitar), Eric Schafhauser (guitar, synths), David Palumbo (bass, bass VI, vocals) and Anthony Piazza (drums, electronic drums, percussion) — have firmly established a genre-defying sound that sees them crating a cohesive and hypnotic blend of post-rock, prog rock and krautrock paired with offbeat songwriting.

The Montréal-based quintet’s self-titled fourth album is slated for an April 24, 2026 release through Mothland. The album reportedly sees the band rethinking their sound and approach, drawing inspiration from the likes of Mark Lanegan, Beak>, Talk Talk, Can and Portishead, along with their previously established post-punk fueled psychedelia.

Though the band has been introducing more vocals and lyrics with every subsequent release, their fourth album sees the band further wielding vocals and lyrics as a well to delve deeper into their intrinsic meta. The result is an album that’s one-part gritty post-rock and one-part intimate hymn to self-reflection with its moodiness amplifying a communal desire to eschew recurrent patterns for the sake of comfort, approval and longevity.

The band decided upon a freeform creative process, which could only be achieved by pursuing a hands-on approach, and with each member sharing the roles of engineer and producer,

“Overall, Atsuko Chiba is an exercise in patience and restraint. The mood of the album is melancholic, at times feeling optimistic, while other times feeling almost hopeless—there’s a sense of loss and disconnect, but also a glimmer of hope,” the band explains. “It is the most vulnerable and stripped down music we have ever made. It is a departure from the aggressive and distorted guitar sound we’ve relied on over the years. We also chose to make it a self-titled record which is something we battled with. We went with Atsuko Chiba because its overarching themes relate to us in a deep way. The material on this album presents itself as a mosaic of our interests and experiences as a band. We let the music guide us every step of the way, never forcing our will upon it, instead paying attention to what it was telling us and what we could do to further support it.

At first, we would come into the studio without a plan, just playing and recording the entire time, with no pressure as to a specific outcome: free jams during which we were just generating grooves, parts, and moments that felt good to us. We also put limitations, cutting out certain instruments from session to session, opening us to new options and pathways, generating new sound palettes. A lot of attention was put into creating space and holding back from always going for big epic moments. We focussed on keeping things simple and using dynamics to create exciting moments instead of relying on loud guitars to get us there. This album features a lot of auxiliary percussion, synthesizers, and keyboards, and places a strong emphasis on vocals. We explored acoustic guitars and created many custom percussive sounds by layering two or three sources together, also programming rhythms using samplers and drum machines.”

The self-titled album’s latest single, album opening track “Retention” is a slow-burning, almost bluesy shuffle featuring eerily atmospheric synths, a melodic bass line, dancing guitars paired with driving percussion and sprechgesang-like vocals that become increasingly melodic, turning the song into a sort of hazy, dream-like ritualistic vibe. In fact, lyrically, the song recounts a tale of rituals, spirits and effigies from a parallel universe.

“’Retention’ takes place in a world not quite our own—half dream, half memory—where every shadow holds a story and every breath carries the weight of what once was,” the band’s Karim Lakhdar explains. “At its center is a young boy who lives in a village haunted by the quiet, persistent ghosts of the past. They linger in doorframes, whisper through the trees, and stare back from every surface like reflections. There is only one way to free himself: the boy must meet the spirits face to face. He gathers what remains of them—fragments of memory, pieces of lives unfinished—and shapes them into effigies. One by one, he sets them aflame. This ritual, both tender and terrifying, invites the spirits to release their hold and return to whatever lies beyond. With each burning figure, a thread is severed, a burden lifted, a soul allowed to rest. Yet the question remains—when all the effigies have turned to ash, will the boy finally be free, or will he always carry the guilt of the past.”

The accompanying video for “Retention” features footage shot by the band and edited by the band’s Anthony Piazza. The footage captures the band in the studio, presumably while recording their new album and on the road. The result balances a sense of seriousness and playfulness.