The big releases you need to hear from the week ahead.
After a festival season that saw the electronic megastar draw massive crowds wherever he went, his about-to-drop new project, ‘ten days’, looks to offer something more focused and restrained in scope, but with no less of that unifying relatability that’s made him one of the biggest names around.
Words: Dan Harrison.
The crowd at Reading Festival is electric, the anticipation thick in the air. Without fanfare, Fred again.. emerges not on the towering stage but within the crowd itself, standing on a raised platform among the thousands who’ve come to witness his headline set. It’s an entrance that immediately disrupts the usual artist-audience dynamic, shrinking the vastness of the festival grounds into something more intimate, more immediate. As the opening notes of ‘Turn on the Lights Again’ surge through the Main Stage speakers, Fred transforms from performer to participant, as much a part of the experience as those dancing around him, turning what could have been another festival headliner moment into something that feels every bit like a communal gathering.
This ability to make the enormous feel personal is the essence of Fred again..’s appeal and the reason he now stands at the forefront of the electronic music world. He may not be the most avant-garde producer — his work isn’t about pushing the boundaries of the genre in the way that someone like Aphex Twin might — but what Fred excels at, what makes him arguably the most important figure in UK electronic music today, is connection. His music has the uncanny ability to expand outward, resonating with thousands, making every individual feel as if the song is speaking directly to them while simultaneously bringing everyone into the same shared experience.
Fred’s ascent to this position wasn’t as obvious as might be expected. His roots lie in classical music, a background that might seem at odds with the throbbing bass and frenetic beats of electronic music. As a child, Fred Gibson was a prodigy, mastering piano, drums, and guitar; his early years marked by a rigorous dedication to his craft. But it was his encounter with Brian Eno that truly shaped the artist he would become. Eno, a legend of ambient music and a master of creating atmosphere, taught Fred to see beyond traditional structures, to focus on the spaces within music as much as the notes themselves. It was a mentorship not about producing hit records but about understanding the emotional and spatial dynamics of sound that could make something good sound truly great.
The influence of Eno is evident throughout Fred’s work, particularly in his ‘Actual Life’ series, which began in 2021. Albums that feel like audio diaries, they capture the messiness of real life through voice notes, ambient recordings, and samples that seem to pluck meaning from the mundane. Intimate in the truest sense, yet when performed live, those same personal reflections morph into something much larger. What starts as an exploration of individual experience becomes a shared moment of collective catharsis.
Fred’s latest album, ‘ten days’, continues that exploration of intimacy but with a more focused scope. Described by Fred as “ten songs about ten days”, the album is centred on the small, everyday moments that most of us might overlook. But in Fred’s hands, they’re anything but insignificant. They become the raw material for songs that, while subtle and understated, are designed to resonate on a much larger scale. There’s a quiet power, a sense that the personal is also universal, capable of speaking to anyone, anywhere, while also bringing people together under the same emotional umbrella.
The collaborative spirit of ‘ten days’ only deepens its impact. Fred has always been a connector, someone who thrives on bringing together different voices and perspectives to create something that transcends the sum of its parts. This album is no different. Contributions from artists like The Japanese House, Anderson .Paak, and Sampha expand the emotional palette of the music, allowing it to hit with a deeper resonance. This isn’t just about featuring big names for the sake of it – each guest is perfectly suited for the moment, bringing something unique and impactful to the mix. It’s collaboration as an instrument, painting pictures with a perfect blend.
Fred’s live performances take these elements to another level. At Reading, as the night wore on and the energy of the crowd built, it became clear that what Fred was offering was every bit the landmark headline set he’d been warming up all summer on a European festival tour that had taken him far and wide. But also, at the same time, it was every inch as much about the experience. Tracks like ‘Marea (We’ve Lost Dancing)’ and ‘Delilah (Pull Me Out of This)’ have transcended their boundaries, becoming touch points that encapsulate the collective emotions of a new generation. They capture the highs and lows, the grief and the joy, of recent years, offering a space for people to come together, to lose themselves and find each other in the music.
What makes Fred a key touchpoint in today’s musical landscape is his capacity to tap into something essential about the human experience. His music isn’t just about beats or drops; it’s about the emotions that connect us all, about finding unifying ground in the simplest of moments. While the divisive nature of discourse and politics works hard to separate us, Fred’s work offers a reminder of the power of music to bring people back together, to create a sense of community even in the most isolated of circumstances.
‘ten days’ is both a continuation of Fred’s exploration of intimacy and a bold step forward in his ability to craft music that resonates on a massive scale. It’s a monument to making the personal into something that feels transcendent, for music that speaks directly to the listener while also connecting them to everyone else who’s listening. As he continues to rise, Fred again.. offers a powerful reminder that even in the biggest, most chaotic moments, there is always room for a little bit of communal joy.
FAT DOG – WOOF.
Fat Dog’s ‘WOOF.’ is a ferocious introduction to a band who thrive on disorder. South London’s newest disruptors are less about refining their sound and more about amplifying their chaos. The album is a jolt of energy – unpredictable, untamed, and unapologetically loud. Tracks don’t just play; they lunge, pulling the listener into their world of sonic bedlam, layering intensity upon intensity, pushing the boundaries of their already volatile sound. ‘WOOF.’ is an assault on the senses, marking Fat Dog as a force to be reckoned with.
HINDS – VIVA HINDS
‘Viva Hinds’ finds Madrid band – now a core duo – Hinds at a crossroads, yet there’s no sign of hesitation here. This album is a testament to endurance, infused with the scrappy, unpolished charm that has always defined them. But there’s also a newfound depth, a hint of introspection that peeks through the familiar garage rock grit. Working with collaborators, including Beck and Grian of Fontaines D.C., reveals a willingness to stretch their sound, adding new ideas without losing their core. ‘Viva Hinds’ is an album that embraces change – not as a crisis, but as an opportunity, all while keeping what made Hinds so great in the first place in perfect health.
HONNE – OUCH
HONNE’s ‘OUCH’ steps away from the expected, offering something more introspective yet no less compelling. Known for their sleek, electronic soundscapes, the duo have turned inward, crafting songs that resonate on a more personal level. Tracks like ‘Girl In The Orchestra’ and ‘Backseat Driver’ are reflective, layered with rich production that balances the introspection with expansive, immersive sounds. HONNE are exploring new emotional territories with a collection of songs that linger long after the final note.
MJ LENDERMAN – MANNING FIREWORKS
MJ Lenderman’s ‘Manning Fireworks’ is a quiet revelation. His knack for capturing life’s small, sometimes overlooked moments is on full display here. There’s an intimacy that feels like a conversation with an old friend – honest, reflective, and tinged with gentle wisdom. ‘Manning Fireworks’ is less about grand statements and more about capturing the quiet, profound moments. It’s an album that doesn’t need to shout to be heard; its strength lies in its subtlety.
THE DARE – WHAT’S WRONG WITH NEW YORK?
‘What’s Wrong With New York?’ is a raw, unfiltered snapshot of a city that never quite settles. The Dare – aka Harrison Patrick Smith – has crafted a record that mirrors the relentless energy of New York, blending dance-punk and electroclash into something that feels both urgent and necessary. The album is less critique and more an exploration, capturing the frenetic pace and underlying tension of big city. It’s brash, it’s trash, and it’s utterly brilliant – a vivid portrait of a scene always on the edge.
TORO Y MOI – HOLE ERTH
Toro y Moi’s ‘Hole Erth’ is a genre-bending journey that’s as eclectic as it is cohesive. Chaz Bear draws inspiration from across the dial, blending them with his signature style to create something entirely his own. The album, influenced by the environmental themes of the Whole Earth Catalog, navigates the complexities of modern life with a sound that’s both familiar and refreshingly new. With contributions from the likes of Kevin Abstract and Benjamin Gibbard, it’s a listening experience that’s rich, layered, and thought-provoking.
SARAH KINSLEY – ESCAPER
Sarah Kinsley’s ‘Escaper’ is a lush, cinematic debut that invites listeners into a world both intimate and expansive. Working with Grammy-winning producer John Congleton, Kinsley has crafted an album that blends introspective lyrics with grand, sweeping soundscapes. ‘Escaper’ feels fully realised, with each track a piece of a larger, beautifully constructed puzzle. A significant new voice, ready to make her mark.
BOSTON MANOR – SUNDIVER
Boston Manor’s ‘Sundiver’ is a record that embraces light and warmth without losing the intensity that has always defined their sound. The band trades the darkness of ‘Datura’ for a more expansive, optimistic vibe, capturing the sense of renewal that comes with a shift in perspective. ‘Sundiver’ is a band evolving, not by abandoning their past, but by expanding their horizons, creating music that feels both fresh and true to who they’ve always been.
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