Formed back in 2014, London-based art rock outfit and JOVM mainstays Ulrika Spacek — founding members Rhys Edwards (vocals, guitar) and Rhys Williams (guitar) , alongside Joseph Stone (guitar, keys), Callum Brown (drums), Syd Kemp (bass) — can trace their origins back to a night the band’s founding duo spent in Berlin, where the pair conceptualized the project around their mutually held passions and influences — in particular, Television, Pavement, Sonic Youth and krautrock.
Upon the duo’s return to the UK, they began working on the material that would eventually comprise their full-length debut, 2016’s The Album Paranoia, which featured album tracks “She’s A Cult,” and “Strawberry Glue.”
Since then, the project which started out as a duo, expanded to quintet with the addition of Stone, Callum, Brown and Kemp – and then released 2017’s critically applauded sophomore album, Modern English Decoration, an album that saw the band pushing their sound into a more textured territory. Their third and latest album, last year’s Compact Trauma channeled the anxiety and dislocation of the modernize age through a prismatic haze of guitars, loops and elliptical lyrics.
The British art rock outfit’s highly-anticipated fourth album EXPO is slated for a February 6, 2026 release through Full Time Hobby. Unlike its predecessors, which looked within, EXPO reportedly holds a mirror up to the world and captures a warped reflection. The material was deeply informed by the band’s most recent American tour and was written while the band’s Rhys Edwards was awaiting the birth of his daughter, and started to wonder what kind of future world she’d inherit.
Although their foundations have long been in art rock, they’ve been increasingly drawing from electronic elements. But as a band, they’re interested in the glitchy space that exists between the two. And as a result, their most recent work reckons with human warmth and digital isolation, while being welcoming and alienating, exploring the uneasy tension of modern life as we know it. “Our music has always been a collage – a bit patchwork, sonically – but what makes this album a landmark for us is that we went one step further and made our own sound bank and essentially sampled ourselves,” the band says.
The band creates their own doppelgängers in a world of almost-real, where the band appears as if they’re in a funhouse hall of mirrors. Digital drums are sampled and layered over real drums and the like, creating an eerie, spectral vibe. Sonically, album’s material grapples with the organic and the digital while dancing across musical languages.
The album will feature the previously released, “Build a Box, Then Break It,” a track that serves as a de-facto album mission statement that sees the JOVM mainstays actively pushing their sound into a new liminal space, while seemingly channeling Geoff Barrow‘s work with Portishead and Beak>, Radiohead‘s Amnesiac and The Orielles‘ The Goyt Method EP.
EXPO’s second and latest single “Square Root of None,” is an expansive, labyrinthine track that twists, turns and morphs in weird, prismatic directions seemingly at will. Featuring a looping and shimming guitar figure, bursts squealing feedback and a krautrock-like rhythm section, anchored around angular percussive attack, “Square Root of None” further establishes the album’s overall aesthetic while lyrically drawing from the language of math and coding, giving the entire affair a chilly, clinical vibe. The track, as the band says is about “throwing ideas at a wall” during a particularly cold Stockholm winter; one of the rare opportunities that the members of the band were in the same room together.
Directed by Katya Ganfeld, the accompanying video for “Square Root of None,” features the band performing in a studio with computer code, mathematical equations and computer screens superimposed on and around them.
