Their just announced collaborative double LP POMPEII // UTILITY will bring together two of the most critically celebrated rappers in the game, produced by NYC’s producer super-collective SURF GANG. While the project has remained a secret until now, this 33 track collection of songs has been many years in the making, a fact their respective cult fan bases have been acutely aware of through a trail of sporadic snippets and hints from the artists. Arriving on the heels of 2025 albums from both rappers — MIKE’s Showbiz! and Earl’s Live, Laugh, Love — POMPEII // UTILITY plays like a victory lap that traces their friendship back over more than a decade. While MIKE and Earl have orbited it selectively, they haven’t fully lived inside the SURF GANG universe until now, making POMPEII // UTILITY feel like a full-circle collision of worlds.

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Ecca Vandal’s versatility extends outside the studio, just as comfortable in the arenas of Queens of the Stone Age and Gang of Youths, as with electronic greats The Prodigy and Young Fathers. With varied international headline runs and festival appearances across 2018/19 at Reading (UK), Leads (UK), AfroPunk (Paris) and Download (UK), her most notable collaborations include Hilltop Hoods for ‘Exit Sign’ and Alice Ivy’s ‘In My Mind’, rewarded for her embrace of the challenge in juxtaposing her own sound via collaborations with a stream of dedicated and diverse fans seamlessly across genre boundaries. 

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Reid has composed crackling, lyrical film scores in collaboration with A24, Amazon Studios, and the Duplass Brothers Productions. Reid recently released the album Isomonstrosity, an avant-pop collaboration with artists Johan Lenox and Yuga Cohler that paired the modern production aesthetics of hip-hop with vocal chamber music.

In 2016, Reid co-founded Luna Composition Lab with composer Missy Mazzoli, an organization that provides mentorship, education, and resources for young female, nonbinary, and gender-nonconforming composers. It is the only initiative of its kind in the United States.

Born in Oak Ridge, Tennessee in 1983, Ellen Reid received her BFA from Columbia University and her MA from California Institute of the Arts. Reid serves as the Contemporary Music Chair of the Los Angeles Chamber Orchestra, and she is currently the first composer to be in residence with both Amsterdam’s Concertgebouw Concert Hall and Concertgebouw Orchestra simultaneously. She continues to live and work in New York City and Los Angeles.

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With Armand Hammer, he and billy woods keep delivering masterworks: 2025’s Mercy, produced by The Alchemist, marked “their seventh stellar album in a row” (The Quietus). The project was deemed “cinematic and unsettling in the best way possible” (HotNewHipHop) and “the type of free-flowing brilliance that can only spring forth when every artist involved is totally in sync” (FADER). 

Mercy was the first Armand Hammer album since 2023’s We Buy Diabetic Test Strips, a project that The Observer (UK) described as “an exceptional record that deserves your time and headphones” and The Line Of Best Fit deemed “their headiest and most impressive work thus far.” Meanwhile, Pitchfork  just included Armand Hammer’s 2017 album Rome in their 2025 list of The 100 Best Rap Albums Of All Time. 

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As a DJ under her former alias Chaotiic Good, she has supported artists including Underscores, Ninajirachi, Umru, MGNA CRRRTA, Damon R, Suzy Sheer, LSDXOXO, Daine and Juicy Romance. Her mixes have been broadcast across triple j, FBi Radio and CADA, and has played festivals including Beyond The Valley, Ability Fest, Vivid Sydney and St Kilda Festival.

Now stepping forward as a producer, Erika Ever marks a new chapter with upcoming releases on Nina Las Vegas’ NLV Records throughout 2026, building towards her debut EP. The tracks are collaborator-heavy, high energy and club-focused, spanning electroclash, witch house, and global club sounds and rallying the community she has built from years in the electronic underground.

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Fuzzy is a raw, honest, and utterly addictive dose of alt-pop as witty and playful as it is poignant. The songs, produced with Dillon Casey (Weyes Blood), are dreamy and inviting, offering up shimmering sonic mirages that belie their true emotional depths, layering analog and digital elements into disarmingly beautiful soundscapes that manage to feel both modern and timeless all at once. 

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