With summer in the rearview mirror, things are beginning to ramp up again. Yes, we’ve lamented about the absurdity of the yearly release schedule many times (and probably enough). But with the festival season drawing to a conclusion, new music is brimming where it’s impossible to keep up.
Still, we try, but you can never be across everything. That’s why our AQ feature has always worked both ways. For us scrolls, it’s a way of verbalising a diary of sorts; for readers, it’s one-stop shop of accessibility. Something to ease the burden in a world that moves too fast and one where connecting the dots is almost like a Harvard-level mathematical equation.
If you like that sort of thing, that’s okay, too. In which case, feel free to wander to other parts of the site. You’ll find some other excellent new releases from the summer, of which there have been plenty. Locally, Immersion released their best album yet, while Merseyside underground champs, Rongorongo, released their debut album which only gets strong with each listen. (Read our interview with the band here.)
Further afield, and the big hitters have brought it, too. Ty Segall, releasing his best music in years, while The Afghan Whigs mark their own return to form. There’s been much more, too, and as the final quarter of 2026 looks chaotic on paper, I’m sure that will translate to more triumphs before the year is out.
For now, though, the following releases have kept us going throughout these warmer months, and darker times.
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Aidan Baker: Adverse Camber
Owl Totem Records
It’s been another year where Aidan Baker has been a constant in the new music sphere, both in collaboration and in a solo capacity.
In the first of two releases of his in this feature, Adverse Camber sees the Canadian-born Berlin-based guitarist get exploratory. At times there are the slightest echoes of the meditative nature of Sunn O))), but more in a noodling sense. It’s the kind of sonic reprieve one may find in a dark corner of the abyss.
It’s always been a habitat in which Baker has thrived, but through his work over the years, he’s been able to lighten the mood in such milieus. And that continues here on Adverse Camber.
Listen / Purchase from Bandcamp
Aidan Baker & J. Zunz: Dilated Time
Submersion Records
Aidan Baker has many an iron in the fire, and one of the hottest this decade is his latest collaboration alongside Lorena Quintanilla with Dilated Time.
Better known for her antics in Lorelle Meets the Obsolete and under her solo guise as J. Zunz., alongside Baker, the pair carve out four long-form compositions that feel like you’re straddling worlds in an Isaac Asimov novel.
Sonically, Dilated Time is crucial, too. Baker somehow finds new pockets in a soundworld where he barely scours over the same place twice. And alongside J. Zunz, this is a collaboration too many people are sleeping on. Here’s hoping it’s just the start, because right now, this feels pretty special.
Listen / Purchase from Bandcamp
Bondo: Bondo
Solid Brass Records
Los Angeles’ Bondo have been bubbling away underneath the surface all decade, and following their full-length albums, Print Selections and Harmonica, the band return for their debut on Solid Brass Records, the humbly titled Bondo.
And it’s what you’d expect. Duster-inspired jams that see the band melting post-hardcore into post-rock for something that is essentially for the late-night hours. It’s not to cut through A.M. dread, though. Instead, these songs give the listener a second wind after a crippling day.
There’s a certain energy to Bondo. It’s an L.A. record in its own way, insofar that it’s a jam record without being a jam record. This band, locked in and finding the right grooves, and it’s brought about by playing together for so long. Bondo, ultimately the band’s band at this point.
Listen / Purchase from Bandcamp
The Breedling: A Straunge and Terrible Wunder
Wrong Speed Records
The Breedling is the project of Norfolk-based gadget wrangler, Chris Spalton, who so far this decade has been the exponent of some very unsettling dreadscapes indeed.
On his latest and debut for Wrong Speed Records, A Straunge and Terrible Wunder, Spalton taps into the vein of dungeon wave, smashing it into the kind of off-kilter metal that Thrill Jockey have basically championed to great effect this decade.
Naturally, A Straunge and Terrible Wunder frames the wide stricken panic indicative of these times. The front cover, telling its own story with an album that is not only Spalton’s finest to date, but also one of the more forward-thinking metal-based releases from the U.K. this year. Stay with it and reap the ultimate rewards, because, well, it bites hard.
Listen / Purchase from Bandcamp
Chat Pile: Who Loves the Sun
The Flenser
And speaking of biting hard, if ever there was a band who epitomised an existential crisis, it’s Chat Pile. The Oklahoma juggernaut, continuing to trudge deeper through the malaise on Who Loves the Sun.
While the Korn comparisons have been tedious, any detractors would have been further thwarted on the back of Chat Pile’s excellent 2025 collaboration with Hayden Pedigo, In the Earth Again. On Who Loves the Sun, once again Chat Pile flail the burning torch at not just the American dream, but also the world at large.
While God’s Country was one of the decade’s shining beacons in noise-rock, Who Loves the Sun stands right next to it, as Chat Pile produce some of their best work yet (led by Deep Blue). It’s another bruising affair from a band that deal exclusively in reality.
Listen / Purchase from Bandcamp
Matt Christensen: Philia
Self-released
After a fallow 2025, Matt Christensen has resumed his rapid speed output in 2026. Over the summer he has changed his approach, going against the grain of the music instead of with it, and alongside a number of guests over several releases, the results have been excellent.
On his latest, Philia, featuring William Lopch (bass), Stephanie Stahl (drums) and Mark Dowdy (drums), the Zelienople lynchpin combines a bit of old world and new world Matt Christensen.
The link between both worlds, the fragile emotional intensity that has always been the songwriter’s hallmark card. The street level darkness through Christensen’s songs, potent and real, whereby his music illuminates it as clear as any other. And Philia is the latest example of that.
Listen / Purchase from Bandcamp
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Converge: Hum of Hurt
Epitaph
Earlier this year, Converge made what was one of the best April Fools jokes ever. The joke? That there wasn’t one. Shortly after the release of the excellent Love Is Not Enough, their announcement of Hum or Hurt and its eventual release was one of the quickest turnarounds in recent hardcore history.
And what an album it is. The ferocity, matching its predecessor in one of genre’s greatest triumphs of the year. Converge have been a hard pierce for people not attuned to hardcore, but like Love Is Not Enough, Hum or Hurt is hardcore designed for people who don’t really like hardcore.
There’s a depth here that goes unmatched with their contemporaries, and between the two albums, it’s merely splitting hairs on which is the ultimate go-to. So with that, just listen to both, back-to-back, on repeat.
Listen / Purchase from Bandcamp
Avi Engel: Seedhead
Self-released
Since its inception, Avi Engel has been a constant thread in Sun 13’s patchwork. And on Seedhead, the Toronto artist may have delivered one of their best efforts yet.
There’s something fundamentally different with Seedhed in comparison with Engel’s previous works, but it’s hard to pinpoint. Which, ultimately, is the beauty of art and its vague undercurrents. In Seedhead’s case (which is one of the titles of the year, by the way), there’s a spectral element that provides that vagueness throughout these songs. The space, infinite for Engel to work their magic.
And work it they do. Seedhead, not the worst place to start in Engel’s canon, and for those already familiar with the songwriter’s work, this one really stays with you.
Listen / Purchase from Bandcamp
Flower Show: A Cake in a Daydream
Self-released
Following last year’s debut, Painted Nails & Silver Bells, Liverpool’s Flower Show strike while the iron’s hot with their follow-up with A Cake in a Daydream.
And the iron is searing, as Craig Sinclair’s sardonic croons (led by the excellent The Morning Horn and Jimmy from Linkedin) are like something that feels like an edgy glam tribute band hijacking a Royal Caribbean cruise. The passengers, looking on in grave fear.
It’s wonderful stuff, and with a new line-up that includes veteran drumming maestro, Terry Green, A Cake in a Daydream marks a fine month for Merseyside releases. Flower Show, alongside local favourites Rongoronogo, dispensing music that should be reaching more people out there.
Listen / Purchase from Bandcamp
The Hobknobs: Helmets Off
12XU
If ever you wanted a band giving it a bit of the old Velvet Underground worship, then 12XU are the label to present it. In this case, enter The Hobknobs – the duo consisting of Yaël Dekker and Arie van Vliet (of Lewsberg fame) who arrive with the debut full-length, Helmets Off.
This is minimalist punk with homespun warmth. Grab a cup of tea and hear the duo trade verses that feel more like you’re intruding on a private conversation. The chiming guitar echoes, just about cutting through the atmosphere, or at the very least swallowing up the sound of your footsteps on the creaking floorboards.
Helmets Off is an escapist record of sorts. It represents more simple times, when music meant the most. And here the duo remind us a bit of the past. Which, if that’s your thing, then this may be, too.
Listen / Purchase from Bandcamp
Inland Years: Nowadays
BSDJ
Over the last 18 months, Ryan Daniels has been flying the flag for lo-fi. And of course, they doesn’t change on his latest cut, Nowadays.
The Brooklyn artist goes a little further afield with these songs, of which there are plenty. (A whole 13 of them clocking in at 15 minutes.) Chiming, countified, lo-fi dreamscapes that wouldn’t be out of place as a companion on the long open road to nowhere.
There have been several exponents of the ear worm during this era, and under the Inland Years banner, Daniels is another of them; the songwriter, dispensing the kind of ditties that are bridge for you to cross from one place to the next in this journey we call life.
Listen / Purchase from Bandcamp
Jim James: Wowed Out
ATO Records
Alongside Greg Dulli, Jim James is the key soul boy in indie-rock. Over the last decade, his solo albums have been more of a go-to than anything My Morning Jacket have produced (although granted, The Waterfall II ticked all the boxes).
Wowed Out is what is says on the tin. His first solo outing since 2016’s Eternally Even (one of the year’s best records), on Wowed Out James in fine form once again, with the kind of croonability designed for lazy Sunday mornings as much as having candle light dinners in solitude.
Jim James is one of those artists that will stay with you for life. Not just from the majesty of Gideon, but all throughout his career, he’s provided moments that have reached those heights. Wowed Out, included.
Listen / Purchase from Bandcamp
Kulk: Choosing To Die
Church Road Records
In the past, Norwich duo, Kulk, have been immune from making mediocre records, and the trend continues on their fourth long-player, Choosing To Die.
Thom Longdin and Jade Ashleigh Squires conspire to be one of the most bruising two-piece acts from the U.K. And the themes they explore on Choosing To Die – as its title suggests – aren’t for the faint-hearted. The duo, grappling with human suffering and backed by a sonic avalanche, it’s like Hymns-era Godflesh barrelling into sludge-laden salvos of Kylesa.
And the results are blistering. In short, sharp bursts, Choosing To Die is not only Kulk’s darkest record yet, but also quite possibly their best. Hold your breath and lock in.
Listen / Purchase from Bandcamp
Kevin Morby: Little Wide Open
Dead Oceans
It’s strange to consider Kevin Morby a veteran, however the troubadour has been plying his trade for much of this century so far. And to be honest, while this feature is more designed for voices who are either stuck or choose to work in the shadows, sometimes big albums need some recognition.
And that’s what Little Wide Open is. It’s Morby at his freewheeling best, spitting wisdom from song-to-song in what is easily one of his best to date. Carrying the flame of Dylan, as the years go on, songwriter’s of Morby’s ilk should be getting better. The more life they live, their scope of songcraft widens, and that’s the take out on Little Wide Open.
Morby isn’t afraid to share his experiences through song, making them all the more real. Little Wide Open, brimming with that reality.
Listen / Purchase from Bandcamp
The Mountain Goats: Days
Cadmean Dawn / Thirsty Tigers
The new music calander is never complete without The Mountain Goats, and John Darnielle and Co. continue their one-album-a-year run of form with Days.
Not only releasing music on a yearly basis, but The Mountain Goats maintain the sharpest of songcraft. Darnielle’s latest story, of a band reaching for stardom, and with everyone from Layne Staley, Charlie Sheen and Woodstock getting name checked, it’s yet another adventure the band takes us on.
Sonically, Days finds The Mountain Goats sweeping up remnants of their past. There’s a bit of everything from The Sunset Tree, to Goths and Getting Into Knives. The Mountain Goats, once again proving that they are one of the best yarn-spinners out there.
Listen / Purchase from Bandcamp
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My Pet Fossil: Live My Valley Life
Cherub Dream Records
This feature has always welcomed new discoveries, and My Pet Fossil is the latest o latest of them.
Following their 2025 release, The Other Shoe Drops, the band returns with Live My Valley. I mean, does anyone have Moonshake withdrawals every other day? Because if so, then this is the dopamine rush you need, and added with some early-era Unwound echoes, there’s something positively dirty about My Pet Fossil’s M.O.
And it gets stronger with each listen. Live My Valley Life, the sound of cynicism, and why not? The world’s burning, and there’s not much to shout about other than through the microphone to see where the volleys lands. And, all told, My Pet Fossil do a pretty good job of it.
Listen / Purchase from Bandcamp
The Odyssey Cult: Vol. 3
Silver Current Records
Ethan Miller (Howlin’ Rain) doesn’t rest. He waits. And this time alongside his Comets On Fire hombre, bassist Ben Flashman, the pair are joined by no other than drummer Steve Shelley, keyboardist Anthony Taibi (Carlton Melton) vocalists, Brigid Dawson (Osees), Paula Frazer (Tarnation), Inna Showalter (Magic Fig) as well as Zoh Amba on saxophone. The result? The third chapter of The Odyssey Cult.
Vol. 3 is a coast-to-coast jaunt of free-rock and fuzz-laden elastic psychedelia that covers everything from free-jazz to hard-rock. It’s like the soft edges of Hawkwind and even the ’Skynyrd! Psychedelia that washes over you, and it’s brought about by the singular visions of each member, as their ideas are splayed across the table.
It’s great stuff, but why wouldn’t it be? Miller isn’t in the filler business, and neither are the other members of The Odyssey Cult. Vol. 3. Sinking deeper into the groove the longer you stay on the journey.
Listen / Purchase from Bandcamp
Onesie: Way Thousand Bump to the Sky
Sell the Heart Records
Brooklyn’s Onesie have been doing their own thing to pretty slick effect during this decade. And their latest, Way Thousand Bump to the Sky, illuminates the fact.
While Doug Gillard stole our hearts earlier this year with Parallel Stride, Onesie are in the same orbit, with some anthemic chords and immediate A.M. pop-inspired tunes informed by Alex Chilton and, of course, Big Star.
Way Thousand Bump to the Sky is something that gets you from point A to point B in no time. Something where everything just fits. If you like your sun and riffs and like them mashed together, then this one’s for you.
Listen / Purchase from Bandcamp
Beth Orton: The Ground Above
Partisan Records
Beth Orton has been one of the safest pair of hands in the singer-songwriter sphere for a long time now. And she keeps getting better with age, as her latest The Ground Above, contains Orton’s best work in years.
Orton’s voice is like velvet. Beautifully worn, and goes down like the smoothest of whiskies on The Ground Above. And backed by beautifully sparse arrangements, the less-is-more approach gives these songs a far greater heft.
The more time spent The Ground Above, the more you realise it’s one of Orton’s finest records. For those in the past who have found her work a little dry and hard to pierce, this is the record that bridges the gap to her full body of work.
Listen / Purchase from Bandcamp
Perch: Rural Measures
God Unknown Records
What started out as the solo project of Brighton & Hove artist, Chris Mitchell, over the years Perch have evolved into a fully-fledged concern, with Rural Measures being the band’s fourth full-length release.
It’s slowcore out of the mould of American Football, but with a slightly more rustic slant. And it works, as Rural Measures sinks slowly into the pores, occupying the bloodstream.
Which is where it remains. The more time spent with these songs, the more they shine, and while Slint and other post-rock touchstones can be heard here, as its title suggests, there’s a locality on Rural Measures that sets Perch apart from their contemporaries.
Listen / Purchase from Bandcamp
Perennial: Modernism
Ernest Jenning Recording Co.
From the first notes of the opening eponymous track on Perennial’s latest full-length release, the hooks are well and truly in.
Formed in 2015 by Chad Jewett (guitar / vocals), Chelsey Hahn (organ / vocals), and Ceej Wolf (drums), the Connecticut band possess the punch that all modern-day punk bands need. It’s like The (International) Noise Conspiracy in a full-scale war with The Bronx, only for you to start rifling through the collection for some Murder City Devils records.
With right-on lyrics and melodies and choruses that seemingly collide and cut through the heart, Modernism is everything you want in guitar-based music. There’s nothing superfluous, just heart-on-sleeve punk rock designed to be played on a loop. Perennial really go for it here, and you’d be a fool not to join them on the ride.
Listen / Purchase from Bandcamp
Melanie Radford: For the Sake of Stillness
Jealous Butcher Records
Understated is often the best around these parts, and Melanie Radford is the latest to emerge from such shadows with her incredible (yes, incredible!) debut, For the Sake of Stillness.
If think of Jackie O Motherfucker re-imagining Hello Mr. Sky 10 times, you may be somewhere in the ballpark of what Radford captures on For the Sake of Stillness. It’s all vibe, and my word, it’s a good one. It’s lonely, sun-roof sway for all times of the year. All-purpose songcraft that sinks all the way to the marrow.
More often than not, the singer-songwriter stratum feels all too same-y and a bit too finicky. It falls short through pastiche and faded aesthetic, but on For the Sake of Stillness, Radford lifts it up onto new ground. These songs, sparkle because they are straight from the heart. So much so that if you stay with it, watch it grow into something far bigger than you.
Listen / Purchase from Bandcamp
Remote Viewing: State Violence
Human Worth
It feels like a while since we’ve heard from the London collective, but with the kind of songs Remote Viewing are exponents of, well, this doesn’t take five minutes.
Following on from Modern Addictions, State Violence is noise-sludge of the premium variety. Drum-tight musicianship where the music ricochets constantly in different directions. Think David Yow fronting Panopticon-era ISIS and you might be in the same orbit that Remote Viewing reach for here.
State Violence is equal parts punishing and cathartic, and with the likes of Kulk and The Breedling leading the charge in U.K. underground metal in this latest addition of AQ, Remote Viewing are there, standing shoulder-to shoulder with them. All three albums, framing an accurate picture of these bleak times.
Listen / Purchase from Bandcamp
Zakè & Marine Eyes: Still Beauty
Past Inside the Present
I mean, Still Beauty, the latest collaboration between Zach Frizzell (zakè) and Cynthia Barnard’s (Marine Eyes), could have just as easily featured in our next edition of Weirdo Rippers, but it’s too beautiful to wait for that.
Frizzel, an overlord in the experimental landscape who is about 10 steps ahead of everyone else, alongside Bernard, the pair distil majesty with Still Beauty. Slow motion, ambient moodscapes designed to melt the heart, it’s one of those close-your-eyes-and-let-the-music-guide-you kind of moments.
As each composition seamlessly runs into the next like one long-form journey on the path to peace, Still Beauty finds the duo reach the deepest pockets in the world of minimalism. The pair’s respective worlds, forming as one that is ceaselessly radiant and, on that note, it’s nice place to end this latest chapter of AQ.
Listen / Purchase from Bandcamp
Previous AQs:
AQ #22
AQ #21
AQ #20
AQ #19
AQ #18
AQ #17
AQ #16
AQ #15
AQ #14
AQ #13
AQ #12
AQ #11
AQ #10
AQ #9
AQ #8
AQ #7
AQ #6
AQ #5
AQ #4
AQ #3
AQ #2
AQ #1
