Category: electronic music

Video by William Ruben Helms

New Audio: IFULKI Shares Uplifting and Empowering “Moment”

London-based trio IFULKI features musicians shaped by a culture of improvisation, openness and collaboration:

  • Queen Kaltoun, a Moroccan-Italian vocalist, who relocated to London when she was 189 to pursue a career in music

  • Charlie, an English-born bassist and synth player with Irish and Ghanian roots

  • Ayman, a Sudanese drummer and percussionist

Each member of the trio have spent years performing across London’s live music circuit, playing sets at Ronnie Scott’s, Jazz Cafe and Village Underground and a long list of others, while collaboration with a collection of boundary-pushing artists including David Mrakpor, Rebekah Reid, Mei Kirby, Ayo Salawu, Arowah, Tay Grace, and NK-OK.

The London-based trio have quickly established a unique blend of Gnawa inferences, electronic textures and live instrumentation helps to create a sound that’s deeply rooted in ancient traditions while being remarkably modern. Rather than remaining within the boundaries of jazz, the project for the trio became the meeting point of everything the inspired them — the freedom of improvisation, the emotional depth of electronic music, trip-hop and soul, and the philosophy of Queen Kaltoum’s Amazigh heritage.

Driven by spacious electronics, hypnotic rhythms and deeply instinctive interplay between the trio, the band’s music consistently prioritizes deep feeling over sterling perfection. That philosophy stems directly from their name: “‘Ifulki’ means ‘beautiful’ in the Amazigh language,” Queen Kaltoum shares. “It’s a celebration of the beautiful people and beautiful connections we encounter in this life. I’m Moroccan, and I come from the Amazigh people, an Indigenous people from North Africa. I want to pay homage to my ancestors. They’ve carried such a strong sense of community through generations, and that’s something I want to celebrate.”

For Queen Kaltoum beauty isn’t something superficial. Beauty exists in kindness, generosity, solidarity and the relationships we build and maintain with each other. Those values, which are deeply embedded within Amazigh culture, quietly shape every aspect of the emerging London-based trio’s creative vision — one, ultimately born, as Queen Kaltoum says, “from a need to bring people together.”

The rising London-based trio’s debut EP Something Greater is slated for a December 4, 2026 through [PIAS]’s new imprint SOURCE. The EP will feature the previously released EP title track “Something Greater,” and the EP’s latest single “Moment.” Built around a strutting and irresistible bass line, skittering hi-hats and atmospheric synths, “Moment” is a seamless blend of soul, trip hop and dance music rooted in a urgent, empowering message about calming one’s space and embracing the present with an unapologetic confidence delivered by an equally powerful vocal. In tone and message, the new single nods a bit of Aretha Franklin’s 1994 cover of C+C Music Factory’s “Pride (A Deeper Love).” But at its core, the result is a much-needed blast of affirmation and uplift — and a reminder that you can’t let anyone dim your shine, ever.

 The track is a call to recognise your moment when it arrives and refuse to let it pass you by,'” IFULKI’s Queen Kaltoum explains. “It’s about claiming your space, pushing through resistance and refusing to let anyone diminish what you’re building. At its heart, though, ‘Moment’ is also a reminder that strength doesn’t have to be solitary: sometimes, the right people beside you make all the difference.”

New Video by William Ruben Helms

New Video: Charlotte Adigéry and Bolis Pupul Share a Funky, Club Friendly Critique of Wellness Culture

Acclaimed Belgian duo Charlotte Adigéry & Bolis Pupul‘s sophomore album, the Stephen and David Dawæle co-produced Mainland Madinina is slated for a February 5, 2027 release through DEEWEE/Because Music. The highly-anticipated follow-up to their globally praised 2022 debut, Topical Dancer marks the duo’s first collaborative album in almost five years. More personal in its focus but no less ambition, the duo’s forthcoming sophomore album explores grief, parenthood, lineage and colonial history through their distinct blend of electro pop and dance punk, delivered with their signature sharp, irreverent humor.

The album reflects on family, belonging and the histories we carry, and is named for their respective places of origins — for Pupul, mainland China where his grandparents are from and Hong Kong where his mother is from; and Madinina, the Indigenous name for the Caribbean island of Martinique, where Adigéry’s mother is from. The album’s tile imagines a meeting point between two seemingly distant places, questioning the boundaries between mainland and island, while creating a shared space in which their stories can sit alongside one another.

Much like its predecessor, Mainland Madinina‘s material grew out of conversations between the two friends and collaborators as their lives changed. In the years since Topical Dancer was recorded, both have become parents, while Adigéry has also experienced the loss of her father to Alzheimer’ disease. Pupul’s solo album, 2024’s Letter to Yu, which was inspired by his journeys to his late mother’s homeland of Hong Kong, brought his own family history into focus. Together, these experiences led the duo to explore the parallels between their backgrounds coming together in Belgium — from Pupul’s grandparents’ Chinese restaurant in Aalst to Adigéry’s mother’s cocktail bar, Madinina, in Ghent.

Written in Ghent and Martinique, Mainland Madinina moves between deeply intimate songwriting and the duo’s long-held and familiar electronic intensity. The pair returned to songwriting fundamentals, working with little more than a guitar to creat songs that couldn’t hide between sleek production. The result is an album that makes space for vulnerability, while retaining the energy, wit and unpredictability that has defined their collaboration.

At its core, the acclaimed duo’s sophomore album is about what we inherit, what we choose to carry and how we find a sense of belonging. While Topical Dancer confronted the absurdities of contemporary life through privation and humor, the sophomore album turns inward, towards the duo’s own histories, finding connections between personal experience and wide questions of identity, memory and community. Yes, it’s an album shaped by life’s changes and by loss, but also the sustaining power of a deep and abiding friendship, and the possibility of making something new from the past.

Soulwax once again assisted as mentors/co-producers on the album, with Adigéry describing the duo’s contribution to Mainland Madinina as invaluable. “They’re people who can really inspire us when we get stuck – they invite us to go deeper, to really grasp the intention behind the song,” she says. Pupul adds, “They’re still the musical chiropractors – they really know where to push when stuck.” 

Mainland Madinina will feature the previously released “GOOGOO GAGA” and the album’s latest single “From Healer to Dealer.” Built around a strutting bass line, skittering, tweeter and woofer thumping beats and shimmering synths, “From Healer to Dealer” is a hilarious and incisive critique of spiritual materialism and heath culture that features a ridiculous phone conversation between “Grace” and “Ruben,” two wellness-obsessed manics that Adigéry and Puul use to explore the complex, often confused vernacular of health culture — while also pointing out its vapidity and self-absorption.

Directed by Lennert Madou, the accompanying video feature the duo doing a mix of pilates and yoga and in front of a wind machine — while seemingly reaching a higher plane of consciousness. But they look ridiculous while doing so.

Single Review by William Ruben Helms

New Audio: Yulia Niko Shares Thumping and Euphoric “Running”

Yulia Niko is a Berlin-based DJ, producer, radio host, Beatport creator and the founder of AXEPT Music Over the course of the past two decades, Niko has been connecting dance floors through forward-thinking electronic music released through Crosstown Rebels, Armada Music, Siamese Records, Nervous Records, Get Physical Music, Sweat It Out, 8Bit, Watergate Records and more.

As a tastemaker and curator, Niko champions new artists and new sounds while building meaningful connections through music and AEXPT.

The German-based DJ and producer’s latest single “Running” is a euphoric, incredibly accessible club banger that sounds like it would rock clubs in Ibiza, Berlin or here in NYC between 1:00am-3:00am.

Single Review by William Ruben Helms

New Audio: Justice Teams Up with Gesaffelstein on Cinematic, Club Banger “Pusher”

Acclaimed French electronic music duo Justice — Gaspard Augé and Xavier de Rosnay — exploded into the national and intentional scene with 2005’s groundbreaking single “Waters of Nazareth,” which was released through iconic Parisian label, Ed Banger Records. Their debut, 2007’s †, which was released through Ed Banger and Because Music featured the global hit, “D.A.N.C.E.“Their most recent effort, 2024’s Hyperdrama was supported with a stage-closing set at Coachella and a massive, extensive US arena tour that included a Grammy Award win for Best Electronic Recording.

Rockstar Games and the Grammy Award-winning French electronic music recently announced that Grand Theft Auto VI: Original Score is slated for a December 11, 2026 release through Because Music. Ed Banger and Rockstar Games. Hand-selected for the assignment, Justice worked in close collaboration with the Rockstar Games team to match the thematic beats of the gameplay experience, fine tuning their signature sound to align with the immersive world of Grand Theft Auto IV and its main characters Jason and Lucia. As a result, the band’s score is dynamically timed to game events as they unfold, constantly reacting in response to the different ways players engage with the people and places across the game’s world of Leonida.

“The scope of the game is so large geographically and thematically that it was clear from the beginning the music would also have to be very broad in terms of emotions, genres, and textures,” Justice’s Xavier de Rosnay says. “We were given the freedom to explore as many things as we needed to, musically speaking.”

Grand Theft Auto VI: Original Score will include the star-studded “Flower In a Hurricane” feat. Tame Impala, SZA and King Gizzard & The Lizard Wizard, which debuted at #34 on the US Alternative Radio Chart was the first non-feature Justice song to hit the Billboard Hot 100 at #62, and the album’s latest single “Pusher,” feat. French electronic music producer Gesaffelstein. The first taste of the album’s instrumental side, “Pusher” is cinematic yet club friendly tune that seemingly channels a sleek blend of John Carpenter, Kraftwerk and the work of the two French electronic music legends.

The Grand Theft Auto VI: Original Score 2xCD and 3xLP – available in a limited crystal clear edition as well as standard black – features 30 tracks and a number of bonus digital tracks comprising a 3 hour-long suite of material from the game. All versions can be pre-ordered/pre-saved here. 

Single Review by William Ruben Helms

New Audio: Warhaus Shares Thumping, Club Friendly “One Day”

Belgian singer/songwriter and multi-instrumentalist Maarten Delvodere is the co-lead vocalist and one-half of the songwriting team behind the acclaimed JOVM mainstay outfit Balthazar — and he’s the creative mastermind behind the equally acclaimed JOVM mainstay project Warhaus.

Devoldere’s fifth Warhaus album The Donkey is slated for a January 15, 2027 release through Play It Again Sam. The Donkey is reportedly Belvedere’s most raw and instinctive Warhuas effort of his career to date. As the backstory to the album goes: Delvodere was at home with his girlfriend and his dog, happy, calm and super zen. Nothing but peace and quiet in his life. But an overdose of peace of mind can be dangerous too; that’s how much energy came pouring out when he started writing the material which would eventually comprise The Donkey.

The filter was gone, the anesthetic had worn off and suddenly he wanted something else — something rawer, something perhaps more real? For years, he had churned out a collection of dandyish pop with each song better than the last with an almost insulting ease. So he wondered: what if he threw those beautiful, golden melodies out the window and wrought the primal urges lurking inside his chest?

The Donkey will include the previously released “The Baby” and “Simple Pleasures,” as well as the album’s third and latests single “One Day.” “One Day” is a swaggering, industrial-leaning banger, built around tweeter and woofer rattling beats, twinkling keys, and arpeggiated synth breaks beneath Devoldere’s punchy yet melodic delivery. It may arguably be the most invigorated and primal tune of Devoldere’s growing catalog. At it score, the song sees the JOVM mainstay playing with contrasting moods. pairing the familiar tropes and language of a love song with an uneasy, tense soundscape.

Devoldere explains that “I wanted the band to sound like a DJ. I wanted the love song to sound like a threat.”

Single Review by William Ruben Helms

New Audio: These Girls Are Electric Return with Cinematic “Our Day”

Indie electronic music duo These Girls Are Electric — Harris (vocals, organ, piano, synths, guitar, bass and sound design) and Zeno (vocals. guitars. bass, synths and sound design) — can trace the origins of their project back several decades: The longtime friends from Stuttgart began recording music in their bedrooms as teenagers in the 1980s. The duo cut their teeth in the local underground scene, playing in several bands in their youth including My Nature, First Approach, The B’Captains and Die Frohe Bootsfahrt among others.

Their early sound can be described as a melancholic blend of New Wave, synth pop, and underground music that was strange but frequently catchy. And over the years. they worked closely with several local musical heroes.

For the better part of the past two decades, the pair would meet at Musikladen Studio — a place packed with vintage synths, dusty guitars and humming computers, where time seemed to fold in on itself. During improvised sessions that they’ve dubbed “magnetic sessions,” the German duo would create raw, intuitive song sketches. Then they would start production: Selected material is reassembled without losing the original feel. Recordings from their “magnetic sessions” are re-edited, sorted and integrated into thee songs to preserve as much of the studio session feeling as possible.

As These Girls Are Electric, the German duo’s sound is a blend of electronica, lo-fi pop, post-punk and experimental soundscapes. Lyrically, the duo’s work revolves around love, hate, space, philosophy and the search for a lost universe — or a paradise that may have never existed. In their world, artificial intelligences meet broken hearts, cyborgs conjure childhood memories and stardust cigarette light tells stories of humanity in transition. Each song within their catalog is part of a multi-voiced narrative about life in a post-human world and the search for meaning, connection and renewal.

Last month I wrote about the broodingly atmospheric “Ghost In The Bottle.” The duo’s latest single “One Day” strikes me as being a bit of a blend of Public Service Broadcasting and Joy Division/Interpol-like post punk that showcases the German duo’s ability to craft cinematic and broodingly atmospheric material with catchy hooks and anthemic choruses that give the song a reflective yet urgent feel.

The duo explain that “‘One Day’ explores inner struggle, fading ideals and the search for meaning through cryptic, surreal imagery. The refrain ‘This is our day‘ captures a quiet sense of resilience, balancing melancholy with hope.”

Video by William Ruben Helms

New Video: AN_NA Shares Glitchy Visual for Seething “Too Much”

French-born, Montréal-based married couple and electronic music duo AN_NA formed over three decades ago. And over the course of their lengthy careers, they’ve used their experiences within electronic music, industrial and experimental music scenes to create a unique sound that sees them frequently experimenting with different styles and genres. Their long-held penchant for experimentation has given them the space to evolve as artists, while keeping them open to new ideas and influences that they readily incorporate into their own songwriting approach. 

If you’ve worked in the music industry long enough, you’ll recognize that surveying longer than a few seconds in a hyper-competitive and often cutthroat industry is extremely difficult. But for the Montréal-based duo, they’ve credited their longevity to being true to their art — and to making music that they’re passionate about. 

“Too Much,” is the French-born, Canadian-based duo’s latest single — and the first since the release of 2024’s sophomore album More Pills. Arguably one of the more confrontational songs of the duo’s catalog to date, “Too Much” is a seething song, featuring propulsive, tweeter and woofer rattling, industrial thump and scorching synth oscillations beneath an unhinged Nicola Kuperus-like vocal performance that’s defiant, furious and paranoid within a turn of a phrase. 

While being a club banger for a dystopian age that’s inching ever so much closer to the apocalypse, “Too Much” as the duo explains finds them moving a bit closer to their punk roots. “Having lost none of our rage, ‘Too Much’ explores, without embellishment, the questions surrounding violence.”

The accompanying video for “Too Much” features the duo performing the song in a darkened club with hot, analog/VHS fuzz and glitch that undulates with the song’s propulsive thump.

Video by William Ruben Helms

New Video: Normal Bias Share Surreal Visual for Thumping, Club Banger “Soft Power”

Currently split between New York and Atlanta, electro pop duo Normal Bias — Matt W.(vocals) and Chris C. (synths) — are a self-described “pump and dump scheme, mining the most bloodthirsty parts of decades of electronic music and striping it for parts” while describing their sound and approach as “equal parts techno synth pop and ruthless venture capital.” The duo have supported their recorded output — 2022’s self-titled EP and 2024’s Kingdom Come — with shows and touring with Nitzer Ebb, Boy Harsher, Nuovo Testamento, High Functioning Flesh and Phase Fatale. Adding to a growing reputation in the electronic music scene, the band is currently on tour with Spike Hellis, who has performed and collaborated with Nitzer Ebb, Boy Harsher, Pixel Grip, Buzz Kull, Nuovo Testamento, and more.

The duo’s sophomore album Ways of Keeping Clean will be released next year through DKA Records. Ways of Keeping Clean‘s first single “Soft Power” is an EBM and goth-styled banger built with thumping, wall-rattling beats, walls of glistening synths, razor sharp hooks paired with Matt W’s sultry Dave Gahan/Michael Hutchence-like vocals. Sonically seeming to channel early Depechde Mode, the song as the do explains “confronts the numbing effects of propagandized multimedia addiction that looms over the modern world and enables the worst instincts of our leaders and institutions, and leads us further into nowhere and nothing.”

Directed by Logan Devlin, the accompanying video for “Soft Power” is a sleek blend of live performance, stop-motion amination and Dali-esque landscapes with bursts of VHS glitch. While watching it, I thought of So and Us-era Peter Gabriel and Pet Shop Boys — but with a mix of mischief and menace.

Single Review by William Ruben Helms

New Audio: Los Angeles’ Charm School Shares A Thumping Club Banger for Our Dystopian Hellscape

Los Angeles-based electronic music act Charm School features Louisville, KY-born, Los Angeles-based multi-hyphenate artist and frontman Andrew Sellers and his longtime collaborators Matt Filip and Dave English. Sellers grew up immersed in Louisville’s underground scene, soaking up the work of local acts like Slint, Crain and Rodan, as well as the catalogs of beloved Chicago indie labels Touch & Go and Drag City. Later, Sellers got into PIL, Swell Maps, The Fall and Fugazi and The Nation of Ulysses. All of that informs Charm School’s sound and approach.

Their debut EP, 2023’s Finite Jest introduced listeners to a philosophically-minded, crushingly loud critique of modern life’s increasingly maddening realities. Last year’s full-length debut, Debt Forever introduced a broader range of influences and a much more acerbic viewpoint with lyrics drenched in salty, satirical humor.

Released earlier this year, Schadenfreude Ploy EP picks up where Debt Forever left off, musing on humanity’s tortured psyche and the confounding implications of living in a technocratic, dystopian hellscape in which tech billionaires, AI and modern life’s various manipulative traps are ubiquitous and seemingly inescapable.

Continuing a remarkably prolific period, the Los Angeles trio’s latest single, the Matia Simovich-produced “Desolation” is a hook-driven, EBM/darkwave/goth banger featuring 80s synthclavier stabs, thumping 808s paired with Sellers dryly sardonic yet simultaneously sincere delivery. Sonically bringing the likes of early Ministry, Depeche Mode, as well as contemporaries like Public Circuit to mind, the song is a club anthem for our dystopian hellscape. The world’s on fire and everything seems hopelessly fucked, so have a little fun, dance and sweat it out with some other humans.

Single Review by William Ruben Helms

New Audio: Quantic Shares Vibey “Subterráneo”

Will Holland is a British-born, New York-based producer, composer, multi-instrumentalist and DJ best known as Quantic. Emerging from the UK’s alternative dance scene of the early 2000s, Holland’s career features work that connects electronic production and beatmaking with soul, funk, jazz, and Latin music through recording, DJ’ing, collaboration and relentless create-digging.

Holland’s relocation to Colombia in 2007 marked a transformative chapter: He immersed himself in the country’s rich musical traditions, which led to collaborations with musicians across Latin America, as well as several different projects including Quantic Soul Orchestra, Flowering Inferno, Combo Bárbaro and Ondatrópica.

Currently based here in New York, Holland continues to combine vintage recording techniques, live musicianship and contemporary production to create music that’s rooted in the past, but specifically made for the dance floor.

Holland’s latest Quantic single “Subterráneo” is his first release on Play It Again Sam since 2024’s Dancing While Falling. “Subterráneo” is a warm, vibey blend of electronic music, melodic house and nu-jazz built with skittering beats, glistening and oscillating synths paired with a driving bass line. Evoking a rainstorm hitting on a window or a roof, “Subterráneo” reminds me a bit of Octo Octa‘s Between Two Selves.

“It brings together disparate fragments that swirl and swarm to create an emotional journey,” Holland says. “Through an organic approach, I wanted to hint at machine elements and human interactions through a collage of arpeggios and drifting sub tones.”

Video by William Ruben Helms

New Video: Rose Gray Shares Anthemic “Blink Twice”

Rising Walthamstow, UK-born dance pop artist Rose Gray has lived her life through club music — from cloakroom shifts to dance floor epiphanies. And that spirit infuses her work with hedonism, honesty and a lot of heart.

Her long-awaited full-length debut, last year’s Louder, Please, which featured “Party People,” “Free,” “Angel of Satisfaction,” “Switch” and “Wet and Wild” was released through Play It Again Sam. Praised for its breadth of collaborators, including Justin Tranter, Zhone, Sega Bodega, Ulfie and Alex Metric, Louder, Please saw the British artist channeling the chaos, catharsis and clarity of the dance floor into a kaleidoscopic vision that meshes classic pop with rave while quickly establishing her as one of the UK’s most exciting new dance artists. Along with the album, the rising British artist collaborated with Ben Hemsley on “Tidal,” Megra on “Elixir” and TSHA on “Girls.“

Adding to a breakthrough 2025, Gray opened for Charli xcx at London’s LIDO Festival. She played Glastonbury with Shygirl. She recorded a BBC Maida Vale live session. She also played her first ever UK headlining tour. She launched her own club night, Gray Selects. And she won a MTV Push Artist of 2025 Award. That summer, she played US dates with Kesha and Scissor Sisters. And she closed out the year with last October’s A Little Louder, Please, the deluxe edition of Louder, Please, which featured two previously unreleased tracks, “April” and “Lotus” and an additional disc of remixes with features from JADE, Melanie C, Shygirl and Casey MQ, as well as string versions of and club edits from Logic1000, Peach, Clementaum and Alex Chapman.

This year has seen the rising British artist build upon that momentum: Earlier this year, she played her second, sold-out North American tour, which included dates opening for Kesha and Scissor Sisters.. She recently made a run of the European festival circuit, playing sets at Primavera Sound, Boomtown and Leeds, which also included an opening slot for Lorde at All Points East. And she collaborated with Demi Lovato on “Joshua Tree.”

This past July, she released the two-track EP “Club To Your Arms“/”Just Be Bodies,” which offers a taste of what’s to come for the rising artist. And during all of this, she signed to Polydor Records.

Gray’s latest single “Blink Twice” is a rousingly anthemic, euphoric banger that’s a seamless blend of 80s and 90s dance pop, 90s Big Beat, house music and hyper pop that showcases the rising artist’s unerring knack for incredibly catchy hooks paired with earnest, lived-in lyrics, informed and influenced by her own experiences. And as a result, the song expresses a mix of awe, wonder, gratitude and luck that comes about from a whirlwind period in which hard work, dedication and moxie have finally seemed to pay off. But there’s also an awareness that even whirlwind, massive success can be fleeting.

“God, I love this song. It’s all chaos, love and emotion. I’ve been feeling so alive lately, more than ever,” Gray says. “This last year has moved so fast, and I’ve met so many incredible people along the way. Sometimes it hits me that I’m actually doing everything I ever dreamed of..touring the world, making music, playing the clubs I used to wait in line for. With all of that comes a little bit of fear too. I want it so bad, and I also don’t wanna lose it. Blink… and you might just miss it. I wanted to write a song about it.”

Paying homage to some of the classics of Gray’s upbringing, the track is also a full circle moment as it appears on the soundtrack for EA Sports 26/27. “This song reminds me of some of my favourite music I grew up on,” Gray adds. “Primal Scream, Basement Jaxx, maybe even a little bit of Britpop in its energy. I don’t really know what exact genre it is; it kinda bends between a few.”

The accompanying, stylishly shot visual for “Blink Twice” features the rising British artist in a suburban home vamping and dancing like a pop star before moving out — presumably for good.

Single Review by William Ruben Helms

New Audio: Rome’s Absorbance Shares Mind-Bending “Step Out”

Created by a mysterious Rome-based multi-instrumentalist and Roman music scene veteran who has played guitar, bass and drums in several different projects that have helped to broaden his tastes, Absorbance is an electronic and math […]

Single Review by William Ruben Helms

New Audio: TOMORA Shares Dazzling and Euphoric “Celebration”

TOMORA is a collaborative project featuring:

  • The Chemical Brothers‘ Tom Rowlands: As one-half of The Chemical Brothers, Rowlands has produced and recorded six widely acclaimed UK #1 albums and won six Grammy Awards.

  • Norwegian artist AURORA: AURORA has released four studio albums and has quickly become one of Norway’s most influential and globally recognized contemporary artists. Her single “Runaway” has amassed over one-billion Spotify streams to date.

TOMORA builds upon a creative relationship that can be traced to the recording sessions for The Chemical Brothers’ 2019 album No Geography. AURORA contributed vocals to three tracks, including “Eve of Destruction.” Rowlands then went on to contribute to AURORA’s 2024 effort, What Happened to the Heart?, which landed on the UK Top 10.

Released earlier this year through Capitol Records, the duo’s full-length debut, COME CLOSER was written and produced jointly by Rowlands and AURORA. The 12-song album sees the duo pairing the Norwegian artist’s distinctive vocal with the acclaimed British producer’s unparalleled studio expertise. The album sees the duo creating their own unique space, somewhere they can produce the kind of magic that comes from flicking through a perfect record collection, flowing from wigged-out 1960s psychedelia to the hyper-futurism of sounds imagined for the 2060s. 

The critically applauded album includes the previously released singles “COME CLOSER” “SOMEWHERE ELSE” and “I DRINK THE LIGHT.”

After two wildly successful tour runs that included festival sets at Coachella, Fuji Rock and others, the duo went to Rowlands’ Sussex, UK-based Rowlands Audio Research Studio to record COME CLOSER‘s highly-anticipated follow-up, the five-song CELEBRATION EP. Slated for an October 16, 2026 digital release and a November 27, 2026 physical release through Capital Records. The physical release will include a standard 12″ black vinyl, a special marbled vinyl and CD formats. You can pre-order the EP here.

The acclaimed duo say of the EP: “Celebration is a privilege. Celebration is a person. Celebration is a funeral and celebration is a ritual. It’s human nature. And it’s a human need. We should all be celebrated, as real human beings.”

The new EP will include the expanded, ten-minute version of album track, “IN A MINUTE,” and EP title track “Celebration.” “Celebration” features a dazzlingly hypnotic production anchored around motorik-like electronic pulse and club rocking, thumping beats beneath AURORA’s imitable, ethereal and yearning delivery. The result is a track that feels simultaneously immediate and expansive, introspective yet outward-looking, and yearning for ecstatic release.