This Friday, April 10, you can also find in stores the records by Frédéric Soulard and Squarepusher.
Wesley Joseph Forever Ends Someday (Secretly Canadian/Modulor)
The Briton, equipped with a solid musical foundation, crafts hip-hop for tender hearts, a balm for heartbreak and a salve for wounds. Unfazed by a hip-hop scene that dares to bare its wounds more than ever, Wesley Joseph has since 2020 continually pushed the catharsis he explores on beats that lean more toward jazz and soul than toward purely British terrains—grime and drill.
By Maxime Delcourt. Read the review of Forever Ends Someday.
My New Band Believe My New Band Believe (Rough Trade Records/Wagram)
Within London’s newer rock scene, Black Midi ticked all the boxes: youth, a spirit of collaboration, energy, virtuosity, and a scholarly approach to blending genres. Alas, after three albums as exhausting as they were significant, and ahead of a profound mourning (Matt Kwasniewski-Kelvin in January, at 26), the band ends its brief yet bustling story. Cameron Picton now brings us news with his project My New Band Believe, already signed to two singles (Lecture 25 in 2025, Numerology in 2026) that have sparked our curiosity. The self-titled album vindicates our expectations: these new compositions are as distant from the nerve of Black Midi as they are close to its staggering ambition.
By Rémi Boiteux. Read the review of My New Band Believe.
Frédéric Soulard Get High (No Format/L’Autre Distribution)
Heard alongside the groups Limousine and Asynchrone, the seasoned French musician delivers his first solo album, entirely devoted to the high mountains, offering a flight of finesse toward the summits. In spring 2026, Frédéric Soulard marks a symbolic milestone by releasing his first solo album, Get High, centered around the mountain motif and driven by a powerful desire to ascend, in a double sense – as the playful title suggests.
By Jérôme Provençal. Read the review of Get High.
Squarepusher Kammerkonzer (Warp/Kuroneko)
On the borderline of contemporary music and neo-classical, the Englishman continually produces music that is at once physical and cerebral. Emerging at a moment when England was seized by the drum’n’bass fever in the mid-1990s, Tom Jenkinson has never written with blinkers. For thirty years, his project Squarepusher has wandered between post-rave jungle, electronica, and futuristic jazz fusion – the latter passion nourished by his intensive bass playing.
By Vincent Brunner. Read the review of Kammerkonzer.
WU LYF A Wave That Will Never Break (Lyf Recordings)
After fourteen years of silence, the Mancunians have kept all of their flamboyance for “A Wave That Will Never Break,” a stubborn collection of epic-length songs that roared into the scene and then vanished as quickly as it appeared, while its intense glow continued to illuminate the memory of others. “And it wouldn’t even matter if this first album were the last,” predicted JD Beauvallet in these pages. “It was recorded as the primal cry, as the swan song, with a singular intensity. It will endure.” But if some have turned WU LYF into a myth, the band’s second album is now a reality.
By Valentin Gény. Read the review of A Wave That Will Never Break.
