The Predatory Wasp
Penelope Trappes doesn’t so much write songs as she carves out little underwater worlds to sit and stare at your feelings in. Anchor us To The Seabed Floor from her new album A Requiem is synths that start soft and end up ragged, hushed vocals, and heavy emotional fog. It’s slow, it’s sad, it’s very beautiful. Let it wash over you and maybe cry a bit. Or don’t. It’ll still haunt you either way.
Stonefly is the third single from Maria Somerville’s upcoming album Luster, due out April 25 via 4AD . It’s a slow, minimal track built around soft synth loops and Somerville’s low-key vocal delivery. There’s not much in the way of hooks, but it’s easy to get drawn into its atmosphere after a couple of listens. The track also comes with a video directed by Daniel Swan, which fits the mood without overdoing it
Barke’s new album Stochastic Drift is absolutely brilliant, and if it’s not in my top 10 of 2025 at the end of the I will be amazed. It’s not really fair to pick out a single track as you should really just dive in in its entirety, but The Remembering Self is the one that really stopped me in my tracks: probably the most purely ambient track Barker has ever produced, and achingly beautiful.
OK EG and Priori team up for a four-tracker that keeps things fast and focused without ever going full throttle, recorded from sessions at Melbourne Electronic Sound Studio. Stand out Serpentine 1 plays like a set of finely tuned sketches and there’s a definite Dozzy-like touch to the rhythms: slightly disorientating, never dull.
i was put on this earth is DJ Python’s debut EP for XL Records and his first solo release since 2022. Across five tracks, Python (Brian Piñeyro) gently forays into uncharted territory as a singer, producer and collaborator. For me, his 2020 LP Mas Amable is still the high watermark, and I do wish he’d return to that hypnotic style, but until that happens Marry Me Maia will more than do.
https://djpythonnyc.bandcamp.com/album/i-was-put-on-this-earth
OHYUNG made my favourite album of 2022, the ludicrously under-appreciated ambient masterpiece imagine naked!, and on the basis of my first few listens their latest LP is going to be right up there in 2025. You Are Always On My Mind marks a shift—away from the rawness of their earlier experimental work and towards something more pop-adjacent, but no less nuanced. Built from processed string loops and glistening synths, You Are Always On My Mind is “a declaration of love for raves and the dark hazy rooms that helped me to be free and true with myself – seeing other people who are so free and beautiful and thinking that one day that can be me – that’s me in the future.”
Swedish producer Martinou is the latest addition to my very short list of electronic artists making properly emotional stuff; melancholy, reflective, heartbreaking. Basically the kind of stuff I want to be able to make myself. This is taken from his excellent new EP The Glow That Lingers for Fauxpax Musik, and if you like what you hear I’d recommend going back to his 2021 album Rift for more of the same.
https://fauxpasmusik.bandcamp.com/album/the-glow-that-lingers
Astrid Sonne’s remix of Mount Kimbie’s The Trail sounds absolutely nothing like the original, and is all the better for it: chopped, stuttering and deeply atmospheric, her own ghostly vocals providing significant chills.
I have fond, if slightly intense, memories of Demdike Stare’s Before My Eyes nights they used to put on in a tiny London basement, especially one where my friend took too much K and ran, pretty much crying, from the room. Their new album sees them in their usual chaos mode, as they destroy and piece back together piano and vocal recordings by US filmmaker-musician Kristen Pilon, with unsurprisingly unsettling results. For fans of The Caretaker, crunchy drums and feeling generally a little bit tense.
Celebrating the re-release of one of the influential drum & bass singles of all time and the album from which it came, Adam F’s 1997 debut Colours. To record new versions of the tracks Adam F dug out all his old hardware which had long been hidden away. Over a span of two years he reworked the original music, from restoring vintage instruments like his Fender Rhodes piano to enlisting UK jazz legends like Julian Joseph. Vocalists including Kirsty Hawkshaw and the late MC Conrad re-recorded their parts, while new solos from contemporary artist added fresh life to the tracks. Circles still sounds as good as is always has – a true classic.
