This is the fourth album under Dan Snaith’s Daphni alias, which remains his outlet for more club-based material. The boundaries between this and his other alias, the vocally-sourced Caribou, are beginning to blur however, as one track here ‘features’ both personas.
Snaith continues to be a busy, productive source of energetic music – and this album looks to represent the music he would play in a club – and indeed did do so, at Open Ground in Wuppertal, Germany.
What’s the music like?
Butterfly is the ideal name for this album, for the music is colourful, energetic and restless all at the same time. There are rich flashes of colour, plus the odd moment where Daphni folds the wings and the music turns in on itself. The Caribou guest slot, Waiting So Long, is easy on the ear, as is the dappled light of Sad Piano House. Clap Your Hands takes one of those small loops that Snaith chops up so well and mines it almost to death, stopping just short of being annoying, but AI. Shifty knows exactly how to get its audience up and dancing.
Does it all work?
It does – and, as Snaith says, is best experienced as one big ball of energy.
Is it recommended?
It is. Daphni makes really danceable music, and providing you can keep up with the beats, a lot of smiles and released endorphins are guaranteed!
Listen / Buy
Published post no.2,798 – Saturday 14 February 2026
by Ben Hogwood, with text from the album press release
London artist kwes. returns with his new record Kinds, his first solo material in eight years; an evolutionary work of meditative, otherworldly minimalism, ambient, classical composition & shoegaze inspired by memory, colour and his kids, who also helped create the project’s artwork. As the world outside becomes noisier, this is a project that creates a space of tranquility and solace, while planting a flag in yet another new frontier of popular music.
Kinds will be released by Warp Records on Friday 27 February, and you can listen to the new single Black (Grey) below:
Made after a reset following a period of burn out – a period alleviated by a family holiday in a popular holiday resort – kwes. was inspired to make Kinds after an incident involving his daughter: “My oldest daughter was busy drawing and in the midst of it, she accidentally knocked over her glass of drink and it went all over her work. It frustrated her for a few seconds, then she was fine and started another one… That was the catalyst for me to start the record – to decompress, to ‘release’ life-experience: good, bad and everything in between – to ‘commit it to tape’ as succinctly as possible, without too much deliberation”.
First previewed at the Warp Happening event at the Barbican, Kinds is formed of tracks named after colours, a system of synaesthetic classification founded on three personal principles: “The first being in relation to kinds of thoughts and feelings I had felt while making them, personal reminders / colour-field coded memories in a way…secondly, so that listeners can experience the music how they want to, without much narrative, and thirdly, I simply just love colour.“
Kinds favours a subtle wall of sound that recalls Brian Eno, and Jon Hassell’s fourth world music but also the noise and drone work of The Caretaker and Tim Hecker. It’s an introspective piece made with his children in mind. This is kwes.’ most immersive work yet, where lone melodies are allowed to expand and contract into vivid soundscapes.
Kinds will be exclusively premiered at the Tate Modern, London as part of a multi-sensory presentation, in collaboration with artist Ryan Vautier. Alongside the premiere, the event will stage an intimate conversation with kwes., as well as artist DJ sets throughout the night. The record will also be available to purchase exclusively at the event.
In a recording career lasting more than 15 years, Kwes Seyhas remained a musical explorer who doesn’t use conventional coordinates to find his destination.
The Lewisham-raised artist’s ‘Meantime’ EP in 2012 on Warp was a showcase of his artistic vision with four tracks, including the hit single ‘Bashful’ and the enduring, beautifully fraught anthem ‘LGOYH – Let Go Of Your Hurt’, which appeared on the Rye Lane soundtrack over a decade later, this time featuring Sampha and Tirzah. His debut album ‘lp in 2013 went a step further, melding the poppier aspects of his production with noisier sound collages.
His ability predictably led to him becoming a sought after producer and collaborator. Damon Albarn, Solange Knowles, Loyle Carner, Bobby Womack, The xx, Mica Levi, Sampha, Tirzah, Kelela, Hot Chip’s Joe Goddard, Nubya Garcia, Rosie Lowe, Selah Sue, Black Coffee, Lucy Rose, as well as his brother Coby Sey have all called on his services in the studio. kwes. has also worked on film scores, providing the soundtrack to the critically acclaimed romantic comedy Rye Lane as well as the groundbreaking documentary Black Is Beautiful, about photographic artist and activist Kwame Brathwaite.
Beverly Glenn-Copeland’s story is best expressed in the press release accompanying Laughter In Summer:
“From the moment we are born, we begin the long walk home. Beverly Glenn-Copeland and his wife Elizabeth started down the path together nearly half a century ago, and have been trailing it since, hand in hand and song by song. Together, they’ve made a life sharing their unselfish hearts—ones too large for earthly configuration—through art and community, encouraging us all to take our own dance down the road with elemental love and grace.
Now, as Glenn lives with a version of Dementia known as LATE, their walk has taken on a different weight. Out of this season comesLaughter In Summer, an album the couple made together—realizing, before long, that it was a love letter to one another: a tender ledger of memories, shared devotion, grief and joy.
What’s the music like?
Incredibly expressive. The music here is a combination of young and old, moving from wide-eyed innocence to experienced and world-worn pain, This is surely a result of Copeland’s awareness of his plight, but the overwhelming feeling is one of a childlike innocence, especially on songs like the closing hymn. Ever New has a rapturous contentment, all expressed in rich tones, while Laughter In Summer itself is a hymn of positivity, deep in thought as well as appreciation.
Copeland’s voice is extraordinary, rich in tone and working well with the minimum of accompaniment, expressing his feelings in an incredibly brave way given this is the last album he is likely to make.Absi
Does it all work?
Absolutely. A very brave album that somehow finds a higher plain in spite of afflction,
Is it recommended?
Yes, without reservation. Copeland’s voice is an expressive marvel, communicating wondrous emotions in spite of the hardships faced. A pure inspiration to power all who listen to greater things.
Listen / Buy
Published post no.2,796 – Thursday 12 February 2026
by Ben Hogwood picture courtesy of United Archives
Last week we learned the sad news of the death of Hungarian pianist and conductor Tamás Vásáry, at the age of 92.
More details about Vásáry’s accomplishments can be found in an obituary at Classical Music Daily
Vásáry made many fine recordings as a pianist, with his exploits in Chopin, Liszt and Rachmaninov especially noteworthy, while as a conductor he enjoyed nearly a decade with the Bournemouth Sinfonietta, yielding imaginative albums looking at the music of Respighi, Honegger and Martinu.
Arnell The New Age, Op. 2 (1939) Brian The Tinker’s Wedding (1948) Bridge Rebus H191 (1940) Britten orch. Colin Matthews Overture to ‘Paul Bunyan’ Op.17 (1941) A. Bush Resolution Op.25 (1944) G. Bush Yoric (1949) Fenby Rossini on Ilkla Moor (1938) Jones Comedy Overture (1942) Orr The Prospect of Whitby (1948) Parker Overture to ‘The Glass Slipper’ (1944) Rawsthorne Street Corner (1944)
Chandos CHAN20351 [77’20’’] Producer Jonathan Cooper Engineer Stephen Rinker, Philip Halliwell
Recorded 23 May (Arnell, Brian, Britten, G. Bush, Rawsthorne), 20 November (Parker), 21 November 2024 (Bridge, A. Bush, Fenby, Jones, Orr) at MediaCityUK, Salford, Manchester
Reviewed by Richard Whitehouse
What’s the story?
Chandos continues its series devoted to British Overtures with the third instalment featuring three first recordings among those eleven works which, between them, demonstrate just how significant to British concertgoing was this now neglected genre throughout the inter-war era.
What’s the music like?
The album gets off to a cracking start with The Tinker’s Wedding – Havergal Brian’s overview of a play by J. M. Synge, by turns uproarious and ruminative, that duly launched his abundant Indian Summer. After this, Geoffrey Bush’s Yorick cannot help sounding well-behaved if with sufficient expressive contrast for an evocative portrayal of Shakespeare’s hapless jester. In his detailed booklet note, Lewis Foreman describes Alan Rawsthorne’s Street Corner as ‘‘largely forgotten’’, which is a pity given its vivid conjuring of time and place has dated as well as the best Ealing Comedy. If Daniel Jones’ take on its subject may be less memorable, his Comedy Overture exudes more than enough humour and intrigue to make its acquaintance worthwhile.
Frank Bridge’s last completed work, Rebus was unheard for decades after its premiere but this third recording confirms it as a minor masterpiece and the finest of all these pieces – not least as an object-lesson in being accessible without diluting individuality. Robin Orr first attracted attention with The Prospect of Whitby, and his bracingly resourceful evocation of the London pub should not have waited so long for its recording. Richard Arnell was clearly out to make a statement of intent with The New Age, which generates real energy between imposing outer sections. Benjamin Britten might not have intended to preface his operetta Paul Bunyan with an overture but, as realized by Colin Matthews, it leaves a pleasing if anonymous impression.
Far more personality is conveyed by Alan Bush in Resolution, derived from an earlier piece for brass band and which continues that dialectical facet evident in much of his earlier music through its contrapuntal dexterity. There could be no greater contrast than The Glass Slipper, Clifton Parker’s overture to Herbert and Eleanor Farjeon’s ‘fairy tale with music’ that found success as a Christmas Matinee in London’s West End. Most appealing for its slightness and knowingly fey charm, it ideally complements Rossini on Ilkla Moor – Eric Fenby’s ingenious homage to the Italian master which came about through (deliberate?) misunderstanding only to enjoyed frequent performance, and which entertainingly rounds off the present collection.
Does it all work?
Yes, whether in terms of the overtures heard individually and a continuous overall sequence. Those who have acquired those previous volumes (or Chandos’s two issues of British Tone Poems) will recall that Rumon Gamba favours predominantly swift tempos and so it proves here, though there is never a sense of this music unnecessarily being rushed, while the BBC Philharmonic is more than equal to the often considerable technical demands of each piece. None of those overtures previously recorded can surely have emerged so effectively as here
Is it recommended?
Indeed it is. The continued absence of overtures from the programmes of most UK orchestras means such pieces have little chance of reaching a new public other than with recordings, and there could be no greater incentive to get to know them than through a collection such as this.
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