Lankum have released a devastating, otherworldly cover of The Specials’ ‘Ghost Town’. The single is accompanied by a stunning video directed by the renowned Leonn Ward and shot on location in County Wicklow, with cinematography by Oscar-nominee Robbie Ryan. It’s a haunting piece of visual art, reminiscent of Andrei Tarkovsky—the perfect match to the track’s unsettling intensity.

Troubadour, the new full-length from Tiberius on Audio Antihero, sees them perfecting their “noughties emo and the much more general aesthetic of country music”. Blending twangy alt-country and pedal steel with shoegaze and post-hardcore dynamics, it’s a highly original, resonant, and expertly structured album that balances pastoral daydreams with cathartic, complex songwriting.

Filmed in the Sierra Nevada by Sweet Harmony Sessions, Mama’s Broke deliver a powerful performance of “Pick the Raisins from the Paska”, during which the duo merge the percussive art of Cajun fiddlesticks with a Ukrainian-influenced melody. The song, named for a family memory of picking raisins from Easter bread, perfectly captures the duo’s signature blend of tradition, heart, and astonishing skill.

Chicago-based sound artist Lia Kohl has shared three new tracks from her forthcoming album, Various Small Whistles and a Song, set for release on November 14 via Dauw and which draws its unique concept from Ed Ruscha’s 1964 artist book, Various Small Fires and Milk. The new tracks feature contributions from Patrick Shiroishi, Corey Smith, Ellie Mejía, and Anna Fox.

Instrumental super-folk-trio Leveret—Andy Cutting, Rob Harbron, and Sam Sweeney—create an exceptional “warm glow” on Lost Measures. Unearthed dormant melodies are combined with new originals, resulting in eleven pieces of beautiful music. The ease with which the players converse is remarkable, demonstrating restraint, power, and impeccable performance. This is exhilarating, spellbinding stuff; instrumental music performed at the highest level.

Midlake share “Eyes Full Of Animal,” the final single from their eagerly awaited sixth album, A Bridge To Far (out 7th November). Described as a “groove-based psychedelic beauty,” the song channels a “more visceral energy,” tracing a moment of emotional misalignment. It is the final preview of the new LP, produced by Sam Evian and already earning rave reviews.

Folk singer-songwriter Dani Larkin releases a compelling double A-side, featuring the original track ‘Morning’ and a cover of ‘She Moved Through The Fair’. ‘Morning’, an arrangement of Eleanor Farjeon’s 1931 hymn Morning Has Broken, is set to open Larkin’s 2026 album, Next Of Kin. The traditional cover is paired with a video featuring circus artist Christopher McAuley.

On their self-titled album, The Cosmic Tones Research Trio construct vibrating pathways of sound that lift you clear of contemporary concerns. It’s not zeitgeisty; it’s expansive spiritual jazz, mystical yet grounded, profoundly improvisational. The Portland trio crafts condensed pieces under five minutes that expand into timeless, textural soundscapes. Like Coltrane, this is music that paints a picture of what peace might look and sound like.

The Soft Pink Truth, aka Drew Daniel, announces his lavish new album Can Such Delightful Times Go On Forever?, arriving January 30th, 2026. The project grafts chamber music onto electronic foundations, exemplified by the lead single “Time Inside the Violet.” Confronting a “dystopian contemporary landscape,” the album seeks to provide a “makeshift queer refuge,” embracing intimacy and unapologetic beauty as defiant acts.

Brian Weitz, aka Geologist of Animal Collective, has signed to Drag City for his first-ever proper solo album, Can I Get a Pack of Camel Lights? (due Jan 30th, 2026). The lead single “Tonic” showcases his “post-post-punk” vision, swapping guitar for an overdriven hurdy gurdy inspired by Keiji Haino and Greg Ginn. The track, featuring a thumping Dave Portner bassline, is out now.

On Inner Day, Jim White expands on his percussive solo debut, creating a fuller, more detailed document. Keyboards, guitar, and even White’s own playful, semi-spoken vocals come to the front. It’s an impressive balancing act —a “clever, controlled use of tension” — between intricate drums and uncanny melodies. While White navigates wonder and trepidation in a mightily refreshing way, you still get the feeling that this is just the start.

Folklore forager Jake Xerxes Fussell and producer and musician James Elkington provide the score for Rebuilding, a poignant film of recovery and resilience. Their seventeen miniatures, built on guitar and fleshed out with pedal steel and subtle strings, evoke classics like Ry Cooder’s Paris, Texas, yet swap its iconic dust for palpable warmth and optimism. The music is almost minimalist but captures the magic of cinematic landscape and human emotion.