Jessie Ware – “Superbloom”

Jessie Ware, beloved UK-born pop singer-songwriter, comes through with her newest installment of tasteful, passionate, yet organic disco-revivalism. The 2010’s saw Jessie Ware experiment with the sounds of R&B, soul, and electropop, a run of projects that were well received yet stirred little online discussion. But with the onset of a child and the trials of motherhood, Jessie Ware crafted her 2020 disco opus “What’s Your Pleasure?” as the swan song to her body of work. But what was meant to close the door only opened it tenfold, reviving the sounds of 1970s funk and disco in a sensual, sophisticated, and glamorous creative triumph.

While the project did not reinvent the wheel, it reignited the most passionate qualities of disco in an easily digestible yet original fashion. “Superbloom,” her third disco installment, follows suit with a bygone sound and vocal sensuality that she has previously explored, but also introduces greater walls of lavish and organic instrumentation. Lead singles such as “I Could Get Used To This” and “Automatic” lean into her expected lyrical territory of finding satisfaction within pleasure, but now in the context of the relationship she has fostered with her spouse.

But organic percussion and lush string embellishments already separate this project from her past bodies of work, transitioning into a sound less synthesized and more raw and unprocessed. The opening hook of “Mr Valentine” is among the most catchy she’s ever put to pen. “Ride” renders the iconic soundtrack of “The Good, The Bad and The Ugly” into synthwork, manifesting a remarkably clever melody. The crown jewel of the album lies in the reflective piano ballad “16 Summers,” discussing the bittersweet emotions of motherhood, the passage of time, and helplessly watching your children grow up.

Yet the album can reveal cracks in its style. The mix can feel muddy at the cost of a less polished sound, revealing moments of instrumentation that sound congested instead of cognitive. Yet what Jessie Ware manages to craft is lush, impassioned, tender and the most vocally engaging pop release 2026 is yet to offer. “Superbloom” is another solid installment to one of the decade’s most exciting and consistent pop outfits.

Boards of Canada – “Inferno”

Legendary electronic duo Boards of Canada, after a nearly decade-and-a-half hiatus, return with a bleak analog apocalypse. Masterminded by member Michael Sandison and his brother Marcus Eoin, the duo are back after 13 years of silence since their last full-length statement, “Tomorrow’s Harvest,” their most ambient project to date. Known for their clever, cryptic, and confusing work of sampling, the duo’s perfectionist persona and sparse release schedule truly embody the phrase “quality over quantity.”

“Inferno,” the band’s most recent record, feels like a culmination of all their past work, incorporating the distinct sonic soundscapes of past releases into a beautifully orchestrated and cosmic blend. The haunting ambience of “Tomorrow’s Harvest,” the pulsating yet manipulated rhythm section of “Music Has a Right to Children,” the analog textures of “Geogaddi,” the hazy phycidelia of “Camphire Headphase”… all of these musical components are woven into the musicality and atmosphere of Inferno. But this blend is executed in an overtly religious and spiritual way, not seen on past projects.

From the warm, droning analogs, massive ambient chords, and religiously allusive song titles, “Inferno” ties cosmic and spiritual sounds into its hour-long run time, making the project intensely immersive and enveloping. Notable tracks include the lead single “Prophecy At 1420 Mhz,” alongside deep cuts like “Nakara,” and “The Word Becomes Flesh.” Boards of Canada never fail to evolve in dense, bold, and imaginative musical soundscapes, solidifying another project among the most cohesive and consistent electronic discographies music has to offer.

Other Notable Releases:
Genesis Owusu – “Redstar Wu & The
Worldwide Scourage”
Tokyo Shoegazer – “Remains”
Ed O’Brien – “Blue Morpho”
Nine Inch Nails – “Nine Inch Noise”