Alone Together serves as the official follow-up to the band’s celebrated 2022 album, Trouble The Water, and bears themes of praxis and putting belief into action. Alone Together is not about atmosphere, but about direct communication, a call to galvanize ourselves and the people around us. Working alongside producers Klas Åhlund (Robyn, Ghost) and Kenneth Blume III (Geese, Fcukers), the New York Hardcore stalwarts recontextualized their core language into something with more focus, urgency, and clarity than ever before.

Bones of the band’s fourth full-length was first formed in their Corpus studio, in the basement of the building that serves as the New York City collective’s headquarters. It’s also the home in which frontman Julian Cashwan Pratt lives with his young family, writing the album in the wake of his daughter’s birth amidst existential crises and the loss of loved ones. Fittingly, Alone Together brings the band’s ethos of resilience in the darkest moments into startling focus, making for the trailblazers’ most harrowing and joyous output to date.

Klas Åhlund, one of the album’s producers, came over from Sweden to visit Pratt and fellow SMTB founder Harlan Steed in Queens and gave a blunt assessment of the band’s demos. “He caught me at me becoming an adult, so I didn’t tell him to fuck off.” And so, Pratt said, the band sat with Åhlund’s one critical piece of advice: “There’s certain parts of our music that are distinctly Show Me The Body. And he was like, ‘those parts only your band could do? You should just do that all the time. All the parts that sound like everybody else, you should just do less.'” With this ringing in their minds, they soon decamped to Kenneth Blume’s California studio, where the band and their new odd-couple producers took that core sound to unheard-of heights.

This spring, Pratt spoke with Rolling Stone about the making of and intentions behind Alone Together.When asked about the themes and feelings of tragic loss juxtaposed with immense love that the lyrics of these new records convey, he volunteered:

“I think throughout Show Me the Body, I write about things that I feel and the things that I see. When I was younger, I was writing about the city. And now I’m feeling like love and loss constantly, but also trying as much as I can to believe in life, that the important part is guiding them into a way to enjoy life and to think that there’s a beautifulness to this crushing reality, rather than just losing of friends.”

Last week, the band debuted the album live for the first time in London at dance venue The Cause. Earlier this week, the band brought the album home to NYC with an in-store performance at Rough Trade New York. They will be taking their infamous live show across 23 North American cities starting in Boston this September for the Alone Together tour. Notably, the band’s hometown show at Webster Hall will be the first show without a stage barrier in over a decade. Later this year, the band will make the rounds in the UK and Europe, playing select festival dates and supporting Deafheaven on a run of shows before embarking on the North American tour.

During the rollout of the album, Show Me the Body launched a series of conversations in which Pratt speaks with “a few of my best friends, creative peers, and mentors about life, loss, family, community, art, and praxis.” The series is called ‘Alone Together‘ and was directed by Nicolas Heller (New York Nico). Episodes 1, 2, 3, 4, & 5 with Dracula O. / Chi, Kasie Kirkland AKA Yung Mayne, Jaylen Strong, Yo Chill, and Starker are all available on the Show Me the Body YouTube page and Spotify.

Alone Together is available via all digital platforms and physically on CD and Vinyl. Check out physical merchandise, including the pressings of Alone Together on vinyl, their Krink marker collab, Alone Together and new coffin t-shirts, and upcoming tour dates at showmethebody.com.

The post Show Me the Body’s new album Alone Together has arrived appeared first on twnty three.

‘Dollar Bill’ and consequently, Frozen Charlotte, were teased via the new Third Man Release Lab, a free, two-part, behind-the-scenes online series that explores Third Man Records’ creative approach to record releases and demystifies the album release process. Fans tuning into each Release Lab unknowingly witnessed glitching album imagery, allusions to the Frozen Charlatan character, and listened to a ‘Dollar Bill’ audio clip for the first time.

White will introduce fans to Frozen Charlotte on a wide-ranging 2026 world headline tour. North American dates begin July 10 with a sold-out show at Washington, DC’s The Anthem and continue through a two-night stand at Atlanta, GA’s Coca-Cola Roxy on November 20-21. Highlights include two-night runs in a number of cities, including Brooklyn, Los Angeles, Chicago, Atlanta, Charlotte, and Miami Beach, along with top-billed festival performances at East Aurora, NY’s Borderland Festival (September 19) and Richmond, VA’s Iron Blossom Music Festival (September 20). Support at Toronto, ON’s RBC Amphitheatre on July 14 comes from Angine de Poitrine.

White and his longtime live band – Patrick Keeler (drums), Dominic Davis (bass), and Bobby Emmett(keys) – will also cross the Atlantic for a series of shows and headline festival appearances in Europe and the United Kingdom, including two-night stands at Paris, France’s sold-out L’Olympia (June 13-14), Brussels, Belgium’s sold-out Ancienne Belgique (June 16-17), London, UK’s Eventim Apollo (August 25-26), and Dublin, Ireland’s sold-out 3Olympia (September 1-2). In addition, White will travel to Asia for eagerly anticipated dates in Seoul, Shanghai, Istanbul, Turkey, at Babylon Soundgarden (August 23), and Almaty, Kazakhstan. For complete details and remaining ticket information, please visit jackwhiteiii.com/tour-dates.

Frozen Charlotte follows the premiere earlier this year of two fiery new songs, ‘Derecho Demonico‘ and ‘G.O.D. and the Broken Ribs‘, available now at all DSPs and streaming services. White and his band marked the release with electrifying performances of both songs during a landmark sixth career appearance on NBC’s Saturday Night Live.

Produced by White, ‘G.O.D. and the Broken Ribs‘ and ‘Derecho Demonico‘ represent White’s first new music since 2024, a year highlighted by the release of the Rock & Roll Hall of Fame inductee’s critically lauded sixth studio album, No Name. The acclaimed collection was honoured with a 2025 GRAMMY® Award nomination for “Best Rock Album” – White’s 34th solo-career nomination and 46th overall, along with 16 total GRAMMY® Award wins. No Name includes the consecutive #1 U.S. radio hit singles, ‘That’s How I’m Feeling’ and ‘Archbishop Harold Holmes’, the latter of which is joined by an electrically charged official music video starring legendary actor and renaissance man John C. Reilly as the ecstatic, impassioned titular character, now boasting over 3.5M worldwide views via YouTube alone.

October 2025 saw the official publication of Jack White Collected Lyrics and Selected Writing Volume 1, available now at thirdmanbooks.com, Third Man physical storefronts, and booksellers in the United States and the United Kingdom. Edited by Third Man Records co-founder Ben Blackwell, the landmark new anthology features never-before-published poems and writings by White, rare and exclusive photos, and new essays written especially for this book by Blackwell, award-winning, Pulitzer Prize and National Book Award-nominated poet Adrian Matejka, and award-winning, Detroit-based filmmaker and writer dream hampton. The collection also compiles lyrics from both White’s solo recordings thus far, as well as his acclaimed work with The Raconteurs, The Dead Weather, and other collaborations. White discussed Jack White Collected Lyrics and Selected Writing Volume 1 during an extended interview on CBS’s The Late Show with Stephen Colbert, highlighted by a recitation of his original poem, ‘Just Suppose to Juxtapose’. White also appeared on Colbert’s surprise public access broadcast, Only In Monroe, which premiered the day after his final CBS episode.

The post Jack White announces seventh studio album Frozen Charlotte + ‘Dollar Bill’ out now appeared first on twnty three.

Alongside the album’s release, Wesley also unveils a brand new single and accompanying video featuring longtime collaborator and childhood friend Jorja Smith, a standout moment that captures the project’s emotional core in vivid detail. Shot in their hometown of Walsall, the visual returns Joseph to his roots, grounding the collaboration in a place that has shaped both artists’ histories. Cinematic in scope yet intimate in feeling — juxtaposing the rawness of midlands life with expansive shots of Walsall’s surrounding greenery. There’s a real sense of movement and intimacy that mirrors the track’s emotional undercurrent; the rolling hills and quiet residential moments lend the film a reflective, almost dreamlike quality.

Across Forever Ends Someday, Joseph expands on the immersive palette heard in previous singles, including ‘Pluto Baby‘— his BBC Radio 1 Hottest Record — as well as ‘If Time Could Talk‘ and ‘Peace Of Mind’ (ft. Danny Brown). These tracks offered early entry points into the album’s unfolding world, with almost all of the singles paired with striking, self-directed visuals that underscored Joseph’s singular, cinematic approach. From modernist architecture in Paris to fleeting moments across London streets, the visuals have consistently blurred the line between realism and abstraction as a throughline.

“‘July’ was written during a difficult time for me but equally a time where I felt really thankful for the things that I do have. Just as the song started making sense and I knew what it was about – Jorja text me. It was scary timing because in that moment I knew this was our song. We recorded her vocals back home in Walsall after a day catching up in the sun reminiscing and dreaming, talking about growing up, how much everything’s changed and how far we’ve come. It was a really special thing to be sat with one of my oldest friends having a 360 moment on record”. – Wesley Joseph

Wesley also recently announced a run of UK/EU tour dates, tickets are on general sale now at the link here.  A full list of upcoming live dates can be found here, spanning Paris, Amsterdam, Berlin, Manchester, London, Birmingham and Brighton.

Forever Ends Someday maps a personal timeline, drawing from childhood memories, teenage turbulence and the present moment to create scenes that shift between the real and the surreal. Throughout the record, Joseph explores the pull of nostalgia, the weight of emotional change, and the fleeting beauty of the passing of time. The music occupies a space between honesty and escapism, fusing stark realism with dreamlike, expressive production.

Across the album, Joseph draws from an array of influences that have shaped his artistic DNA: soul and R&B that soundtracked his upbringing, the omnipresence of rap, and the alternative electronic and psychedelic records discovered during hours spent online as a teenager. Rather than fitting within one genre, the record merges these touchpoints into a cohesive, instinctive sound – raw, cinematic, and resolutely forward-thinking. His voice moves fluidly between understated soul, poetic rap, and textured melodic delivery, unified by an emotional through-line that runs across all 13 songs.

Forever Ends Someday was crafted between London, Walsall, Los Angeles, and a remote mountainside studio in Switzerland, closely created with an accomplished team including Nicolas Jaar (The Weeknd,Mustafa, FKA Twigs), Harvey Dweller, Tev’n, A.K. Paul, Al Shux, Ryan Raines, and Romil Hemnani (Brockhampton). The process was deeply intuitive, favouring in-the-room experimentation and organic arrangement over rigid structure, which results in a record that breathes with spontaneity while maintaining a refined, deliberate sense of craft.

Since his emergence with 2021’s ULTRAMARINE, Joseph has built a reputation as one of the UK’s most forward-thinking new artists. The debut project earned critical acclaim across the music and fashion worlds — from The FADER, GQ, i-D, Pigeons & Planes, Vogue. 2023’s follow-up GLOW only cemented his reputation, hailed as a bold, world-building project that blurred the boundaries between alternative R&B, rap, and soul. Joseph has collaborated with the likes of A. K. Paul, Dave Okumu, Leon Vynehall, JoyOrbison, childhood friend Jorja Smith and Loyle Carner (he appeared on the Mercury Prize shortlisted “hugo” and supported on a sold-out tour through the UK). Beyond this, he has since taken his captivating live show global, having embarked on a headline North American tour and delivered a triumphant sold-out London headline show at KOKO.

Following intimate early listening sessions — including a special first-play event at London’s Hideout — and a run of sold-out live shows, including the BBC 6 Live Music Festival, Joseph now steps into this new chapter with Forever Ends Someday fully realised: a debut album that captures the complexity of growing up, looking back, and moving forward, all at once.

The post Wesley Joseph shares highly anticipated debut album Forever Ends Someday via Secretly Canadian: watch ‘July ft. Jorja Smith’ appeared first on twnty three.

Arriving alongside a new visual, the track deepens the world first introduced with ‘Running To Pain’, intimate, devotional, and quietly explosive. Where the first single leaned into tension and release, ‘Portrait Of A Lady On Fire’ burns slower, built on longing, restraint, and emotional clarity.

Taken from a ten-track album co-produced with Jack Antonoff and Yves Rothman, So Help Me God marks Lu’s return seven years after their debut Blood. It’s a record shaped by transformation where devotion, desire, grief, and transcendence collapse into one another.

Visually, the project continues to unfold as a wider cinematic work. The video for ‘Portrait Of A Lady On Fire’ builds on Lu’s ongoing collaboration with BAFTA-winning director Savanah Leaf, forming part of a larger visual language surrounding the album, one that moves fluidly between film, performance and music.

Alongside the album release, Lu will bring So Help Me God into the physical space through a series of intimate live moments. This April, they’ll perform a run of shows at Blue Note in New York and Los Angeles,  a rare opportunity to experience the new material up close.

Lu will also present a new large-scale performance work titled PENUMBRA on the 7th May at PalazzoDiedo in Venice, commissioned by Olivier Berggruen and Monteverde Productions. Conceived as an immersive extension of the album, the piece blurs the boundaries between concert, installation, and ritual, inviting audiences into a shared environment shaped by sound, movement, and presence.

Across music, film, and performance, So Help Me God signals a new chapter for Lu, one that feels more expansive, more physical, and more uncompromising in its vision.

The post Kelsey Lu shares new single ‘Portrait Of A Lady On Fire’ from forthcoming album So Help Me God out June 12th via Dirty Hit appeared first on twnty three.

After a brief break during which they tended to their own projects, band members Sophie McComish(vocals and guitar), Annabel Blackman (vocals and guitar), Cecil Coleman (drums) and Georgia Wilkinson-Derums (vocals and bass) reconvened in 2024. Rejuvenated and re-energised to tackle what the world hurls at us each day, the band immediately got to work.

Released today via Poison City Records (AU/NZ) and p(doom) Records (UK/US/EU), ‘And What Else?’ is a bratty, bittersweet call-and-response anthem, about the pleasures and pitfalls of fishing for compliments. Blackman was inspired by the haunted yearning of The Shangri-Las and the hammy delights of Ivy and the Eater’s hit ‘Working Women’. “The big chorus is a cathartic cry out against feeling insecure in a relationship, those mental twists your brain makes when statements of adoration make you feel sceptical and unworthy, but simultaneously hungry for more of that sweet stuff” says Blackman.

Since first forming in 2016, Body Type have shared a stream of acclaimed projects in EP1, EP2 and a quick succession of albums in their debut, Everything’s Dangerous But Nothing Is Surprising and Expired Candy. Met with global fever and demand, the band have toured Australia, the UK and US extensively, sharing stages with Sleater-Kinney, Warpaint, The Pixies, Wolf Alice, Fontaines D.C., Big Thief, Cate Le Bon, POND, Unknown Mortal Orchestra, Frankie Cosmos, Rolling Blackouts Coastal Fever, Wolf Alice, King Gizzard and the Lizard Wizard, DZ Deathrays and more.

With appearances across Roskilde and Rock Werchter to SXSW, The Great Escape and a recording session at the BCC’s Maida Value studios, their London show featured a cameo from esteemed punk musician Gina Birch (The Raincoats), affirming Body Type’s growing significance in a long lineage of women in punk music. Collecting support throughout their career across Billboard, Rolling Stone, NME, the FADER, Sydney Morning Herald, The Guardian, Australian Guitar Magazine, BBC Radio 1’s Jack Saunders and Apple Music’s Matt Wilkinson; alongside radio playlisting on Double J and community stations fbi.radio, 2SER, Edge, RTR FM, SYN and 3RRR.

With the release of their new single ‘And What Else?’, Body Type look forward to upcoming headline performances at The Sydney Biennale and Punters Club.

The post Body Type return with new single ‘And What Else?’ + sign to King Gizzard and the Lizard Wizard’s label p(doom) records (UK/US/EU) appeared first on twnty three.

Narratively ‘Half Real’ suggests that while painful memories can make one feel stuck in the past, time heals us in the quiet business of sticking around to see what the next day holds. Maxwell explains, “I envisioned this song as a conversation between an older and younger version of myself. The younger, wondering if they will ever get out of the darkness they have found themselves in. And the older, telling them to just focus on what the next day holds.”

Where The Singer is set to showcase the gamut of melancholy and rapture, ‘Half Real’ is the record’s emotional heart and starkest moment. Sparsely built on acoustic strumming with a potent feature from Bonnie “Prince” Billy (Will Oldham) – whose timeless album I See A Darkness has seen covers from Rosalia, Johnny Cash, Perfume Genius alongside collaborations with Bjork, Cat Stevens, Silver Jews across his career – it’s gutful. Indicative of DC’s own grit and ultimately the power of song, their collaboration was fated – “he responded to a cold email I sent with a scratchy phone demo.”

DC continues, “He loved the song and just happened to be in LA while I was there recording the album – our studio was 2 minutes from where he was staying. Seeing Will sing live in front of me, his face still covered in glitter from the sold out show he’d done in LA the night before, performing a song I wrote, was one of the highlights of my musical life so far. He brought so much passion and love to the song, and I thought the younger version of myself that this song was trying to speak to would be in absolute awe. It was one of the greatest moments for me working with a genuine musical genius like Will. He truly brought so much emotion and gravitas to the part, and I will be forever grateful.”

Visually capturing the effervescence of youth, ‘Half Real’s music video is self-directed by Maxwell and Jess Fu, who speak to the video’s inspiration: “The song speaks to some of the darker moments in a young life. So we had the idea of a nostalgic bike ride through a cookie cutter suburbia, that had at its fringes, decay and wilderness. We were inspired by the incredible Spike Jonze directed Arcade Fire music video for ‘The Suburbs’. Jess Fu (my co-director) found the perfect developing suburb on the outer fringe of Melbourne (Wollert), and we shot in and around construction sites from the back of a Toyota Hilux as I sung the song in the sunset, while dodging Ute’s fanging it around corners, and families of Kangaroos bounding across the road.”

Joining the recent singles ‘Funeral Suit’, ‘Jesus’s Son’, ‘Golden Light’, to see and hear The Singer is to believe. Presenting the dogma that faith in art can empower, the record is confessional and off-kilter. Ghostly, at times intense and above all, basking in hope. DC’s creative maxim throughout is a display of the soul that possesses song – an approach he injects to every fiber of his creative being. Evocatively preluded by Maxwell’s live reputation, setting ablaze every venue he steps into with a passionate live show fast becoming the stuff of legend, this May 2 DC Maxwell will debut an all new musical experience. ‘In The Round At Emerald Hall’ is a stripped back, intimate and intense take on the record. Set to captivate, Maxwell will showcase just how The Singer will save.

The post DC Maxwell reveals ‘Half Real’ duet with Bonnie “Prince” Billy appeared first on twnty three.

Born from a desire to represent their community visually and sonically, Robert Baxter is a force who has evolved from making beats in their rural hometown to becoming a magnetic presence in Naarm/Melbourne’s music scene. With over 1 million combined streams, sold-out headline shows, and recent performances at SXSW Sydney, Heaps Gay Mardi Gras, Midsumma and Victoria’s Pride, Robert has made it clear they are one of Australia’s most exciting and dynamic queer voices.

With last year’s viral release ‘ICY (TAKE IT OFF)’ with Sweatbaby an emotional whiplash of connecting in the digital age, Robert Baxter’s sound traverses club-pop akin to Troye Sivan and PinkPantheress, championed by tastemakers  triple j, F Word Magazine, Kaltblut Magazine and landing several Spotify New Music Friday playlists across the UK, US, Canada and Australia/New Zealand.

High-octane and at the height of striking pop-house, today they share ‘MUSIC 2 MY EARS’, an extension of their forged world that is driven by an emotionally open approach to storytelling. “This song is about desire” they share. “I want people to hear this track in the club, in the gym, on the radio and it gets them pumped for their day. When they check who it’s by and they’re like damn this song is Australian? That’s such a cool feeling.

I have a lot of friends who are DJs, dancers, in the ballroom community, models etc, all the different aspects of my life. I feel like this song suits all of them, everyone needs a hype up song, and everyone wants to feel desired,” they continue. “For this track I came up with the idea, recorded a little demo and sent it to Sweatbaby. He produced this vibey track that mixes the flirty lyrics with the dance beat and piano. We’re stepping even further into the dance/pop world and I’m so here for it!”

Robert Baxter is a non-binary Taiwanese/Australian pop artist, model and influencer based in Naarm/Melbourne. Drawing on a rich background in dance, modelling and theatre, their creative practice is unafraid to explore vulnerability, desire and humour in equal measure, sitting comfortably in the tension between the serious and the playful. First emerging with their debut album you wouldn’t expect cupid to cry in April 2024 and STARGIRL singles ‘SUSPICIOUS’ and ‘CAMBOY’, Robert’s diverse catalogue, striking visuals, and multidisciplinary practice position them as an artist proudly building spaces for community while carving out their own dazzling lane in Australian pop.

The post Pop sensation Robert Baxter shares new single ‘Music 2 My Ears’ with Sweatbaby appeared first on twnty three.

LOOKING FOR PEOPLE TO UNFOLLOW is a record about subtraction, cutting ties with what drains your energy and distorts your vision, according to Vandal: “The systems. The trends. The illusions of connection. It’s about choosing silence over spectacle, finding empowerment through letting go. It’s a space we still protect at all costs, especially now more than ever, while the world is on fire and distraction has become our default state.”

Embodying that raw, unfiltered energy, the announcement arrives with a new song and visual for ‘SORRY! CRASH!‘. “I thought I’d hit rock bottom when I wrote this,” Ecca shares, “but realised there isn’t really a rock bottom at all – you just keep falling. This song is that moment where you stop pretending that you’re okay, “SORRY! I’m about to CRASH! the f*ck out!” It follows previously released singles ‘MOLLY‘, ‘BLEACH‘, ‘CRUISING TO SELF SOOTHE‘, ‘BLEED BUT NEVER DIE‘, and ‘THEN THERE’S ONE‘.

The album was recorded and produced by Richie Buxton and Ecca Vandal in Buxton’s childhood bedroom.

“We cut out everything that didn’t serve us, the timelines, the metrics, the pressure to ‘stay visible’ online. We tuned out of the feed and turned inwards. In Richie’s childhood bedroom, we built a tiny home studio, four walls that became a universe. The internet was painfully slow, so we were truly disconnected from the online game. Deep in bayside Melbourne, far from our inner-city friends, that little room became our whole world for nearly two years. It held all our chaos and all our clarity, a little ‘playpen’ where we could live, play and experiment like teenagers again. We started making things with our hands again, tangible, imperfect, and real. We wanted to celebrate long-form, the idea of an album as a whole body of work, while the world was chasing 15-second snippets and algorithm friendly noise.

So we left behind the room packed with industry chatter and opinions, and created our own little haven. And honestly, it was magic. The best decision we’ve ever made.”

Later this month, Ecca Vandal will make her Coachella debut, followed by an Australian tour supporting Deftones. No stranger to big stages, she and her band have played Camp Flog Gnaw and toured with Limp Bizkit, Queens of the Stone Age, IDLES, The Prodigy, and more. Her high-energy performances have become a trademark, pulling from punk, jazz, hip-hop, and electronic into a distinct sound.

The post Ecca Vandal announces new album LOOKING FOR PEOPLE TO UNFOLLOW out May 22 + ‘SORRY! CRASH!’ out now appeared first on twnty three.

‘Pluto Baby’ sounds stadium sized; catchy, instinctive hooks intertwine with direct, incisive rap verses, grounding the track with clarity and intent. Distorted guitar lines react and contort, the track’s low-end textures forming a shadowy undercurrent beneath cascading synths that glimmer and dissolve throughout. Piano chords scatter intermittently alongside Wesley’s bars, adding moments of fragility to an otherwise restless sonic landscape. At the centre of it all, Wesley’s vocal cuts cleanly through the haze. The accompanying video directed by Lokmane, and creatively directed by Wesley Joseph, has been shot in the Paris Communist Party Headquarters. The visual places Wesley within the building’s distinctive modernist interior, using the striking location as a powerful backdrop for the new single.

The Walsall-born, London based artist continues to assert himself as one of the UK’s most ambitious multi-hyphenates, presenting a fully realised debut that distils years of introspection, Previous singles ‘If Time Could Talk‘ and ‘Peace Of Mind’ (ft. Danny Brown) offer early entry points into this world, each accompanied by striking, self-directed visuals that underscored Joseph’s cinematic approach to storytelling. Shot across cities including Paris and London, the videos moved fluidly between realism and abstraction, reinforcing the album’s emotional core while expanding its visual language.

“Pluto Baby is set in the blur of night, written from a younger and less sure perspective that’s questioning what’s real,” says Wesley Joseph. “It’s the spiral between chasing highs, euphoria, lust and loneliness. Reaching for meaning in the wrong things and feeling somber underneath it all – a snapshot into a night that feels like it could be the last party on earth.  We were recording in Hastings as a thunderstorm broke outside the studio and I wanted the track to carry that same energy.  Charged, restless, and alive. A. K. Paul picked up his guitar and played a solo that became the spine of the song. Me, Harvey Dweller and Tev’n fleshed it out and later Nicolas Jaar heard it and steered it towards a four to the floor pulse. We followed that current until it became what it is now, a dark but euphoric storm you can move to.”

Forever Ends Someday marks Joseph’s most vulnerable and cinematic work to date. The album maps a personal timeline, drawing from childhood memories, teenage turbulence and the present moment to create scenes that shift between the real and the surreal. Throughout the record, Joseph explores the pull of nostalgia, the weight of emotional change, and the fleeting beauty of the passing of time. The music occupies a space between honesty and escapism, fusing stark realism with dreamlike, expressive production.

Across the album, Joseph draws from an array of influences that have shaped his artistic DNA: soul and R&B that soundtracked his upbringing, the omnipresence of rap, and the alternative electronic and psychedelic records discovered during hours spent online as a teenager. Rather than fitting within one genre, the record merges these touchpoints into a cohesive, instinctive sound – raw, cinematic and resolutely forward-thinking. His voice moves fluidly between understated soul, poetic rap and textured melodic delivery, unified by an emotional through-line that runs across all 13 songs.

Forever Ends Someday was crafted between London, Walsall, Los Angeles and a remote mountainside studio in Switzerland, closely created with an accomplished team including Nicolas Jaar (The Weeknd, Mustafa, FKA Twigs), Harvey Dweller, Tev’n, A.K. Paul, Al Shux, Ryan Raines and Romil Hemnani (Brockhampton). The process was deeply intuitive, favouring in-the-room experimentation and organic arrangement over rigid structure, which results in a record that breathes with spontaneity while maintaining a refined, deliberate sense of craft. The album features collaborations with childhood friend Jorja Smith, and the aforementioned Danny Brown.

Since his emergence with 2021’s ULTRAMARINE, Joseph has built a reputation as one of the UK’s most forward-thinking new artists. The debut project earned critical acclaim across the music and fashion worlds — from The FADER, GQ, i-D, Pigeons & Planes, Vogue. 2023’s follow-up GLOW only cemented his reputation, hailed as a bold, world-building project that blurred the boundaries between alternative R&B, rap, and soul. Joseph has collaborated with the likes of A. K. Paul, Dave Okumu, Leon Vynehall, Joy Orbison, childhood friend Jorja Smith and Loyle Carner (he appeared on the Mercury Prize shortlisted ‘hugo’ and supported on a sold-out tour through the UK). Beyond this, he has since taken his captivating live show global, having embarked on a headline North American tour and delivered a triumphant sold-out London headline show at KOKO.

Alongside the release, Wesley has also announced a run of UK/EU tour dates, tickets will go on pre-sale to the official mailing list on Wednesday the 11th of March, with general sale following on Thursday 12th of March. Wesley also recently invited fans to an intimate first-play of album tracks at London venue Hideout, transforming the space into a close-knit, immersive experience met with rapturous response. A full list of upcoming live dates can be found HERE, spanning Paris, Amsterdam, Berlin, Manchester, London, Birmingham and Brighton.

The post Wesley Joseph shares new single + video ‘Pluto Baby’ appeared first on twnty three.

Stylistically, GODSPEED is built on a backbone of new wave, melodic hardcore and Britpop. “The songs go on either side of that,” says guitarist Todd Andrews. “They can go heavier or lighter, but stylistically it’s the central point for us.” Thematically, the new album trades their usual modes of dread and anxiety for a newfound self-assurance, tackling familiar themes of personal autonomy, distrust of authority, and broken societal structures from a fighting stance.

Produced by Ben Greenberg (Depeche Mode, Drab Majesty, Show Me The Body), the follow-up to their ARIA and AIR Award-nominated LP TNSW is a gear switch. The heavier influences are pushed into darker or more aggressive territory – as on boot boy punk rager ‘PIG’, melancholic new wave, ego-death jam ‘R.I.P. ME’, and ’80s hardcore banger ‘BIRDBRAIN’. So too the lyrics. “They’ve switched into a more empowered state,” says singer Jamie Timony. “In some ways, it feels like the final chapter of a particular story. Now’s the time to step into your power.”

The direction of each track was steered somewhat by the in-studio presence of Greenberg, whose work with bands like Ceremony, Institute, The Chisel and Chat Pile – all noted TNSW influences – prompted different approaches to feel, tone and tracking. “The album would sound completely different if he hadn’t happened to be in Melbourne at the exact same time that we wanted to record,” says Timony. Meanwhile, their softer influences have opened out to generate some of the band’s most experimental material to date. ‘MISS HER’ lands somewhere between heartfelt indie and fuzzy punk, ‘ECSTASY’ has a baggy, Madchester-inspired groove, and piano ballad ‘NOBODY LISTENS’ packs the stark, emotional punch of the Gallagher brothers.

These New South Whales have the kind of raw energy that can berate authority and blow your haircut off in equal measure. With GODSPEED, the group firmly pushes back. As personal as it is politically charged and a damn good time, there’s defiance in the face of doubt, a refusal to be shaped by outside expectations. It’s not about surrendering to the chaos anymore – it’s about cutting through it. This time, TNSW have a clarity in the voice, a rejection of bullshit, a sense of recklessness and an insistence on trusting instinct over influence. The mission statement is laid out within the first thirty seconds, as vocalist Jamie Timony bellows, “The choice is yours / Godspeed.”

Building on the maturity of TNSW with connections to the raw determination of their debut, You Work For Us, GODSPEED is a refinement rather than a reinvention, fine-tuning their strengths while laying the brickwork for new paths to explore in the future. “It does feel like the first three albums combined,” says Timony. The breadth of that evolution is clearest on ‘BE WHO YOU WANNA BE’, sonically fresh and of the present with faint flickers of nostalgia to their early sound. While the group have evolved past the nipple tape into a serious post punk force, behind the curtain has always been a deeply considered code of ethics guiding their every step, never betraying their genre’s ethos and anti-establishment origins – each TNSW record features an anti-cop anthem, and that hasn’t changed on GODSPEED.

As a band in conversation with a continually shifting hellscape, whatever comes next is anyone’s guess, but the meaning of GODSPEED can be found in the here and now. Switched on and sick of it all, it’s a reminder that salvation has no blueprint. Trust yourself and see. It’s direct, galvanising and, above all, an irresistibly good time. TNSW in a nutshell.

Tonight, the group are in Brisbane to kick off their series of album release celebrations, including live podcast shows to mark What A Great Punk podcast’s end of Season 1, and in-store record signings and performances across the weekend, including Sydney and Melbourne. Collect your copy of GODSPEED at any of the events BELOW.

The post TNSW release blistering and heartfelt new album GODSPEED appeared first on twnty three.