Tycho – project of celebrated San Francisco songwriter, musician and producer Scott Hansen – announces Boundary Rider, his new collaboration with Paul Banks of Interpol.
WithInterpol cited by Hansen as a key touchstone on his own productions Boundary Rider sees Tychoin a decidedly post-rock mode, with Banks’ yearning vocals delivered over crisp percussion, swirling guitar riffs and fleeting synths. Watch below:
“Interpol has long been one of my biggest influences so I jumped at the opportunity to collaborate with Paul on a song,” explains Hansen. “Boundary Rider started life as an atmospheric instrumental song titled “Forge” that I had been working on here and there for a couple of years. When I met Paul and started thinking about what songs might connect with his voice, Forge immediately came to mind.”
“I sent him a demo along with the prompt “Boundary Rider”. I had been reading about the lives of Boundary Riders during the 1930’s, people who patrolled and maintained fences in the vast expanse of the Western Australian outback. There was something about this solitary existence that I felt resonated with the song and the deep sense of isolation in Paul’s lyrics brought this into focus.”
Published post no.2,696 – Thursday 23 October 2025
Jamie Lidell and Luke Schneider have created a kind of sonic tool to navigate a liminal state of mind. Their new collaborative LP, A Companion For The Spaces Between Dreams, is due for release on 31 October on Brooklyn experimental imprint Northern Spy Records, designed as a reverent companion for psychedelic journeys born from Lidell’s own ketamine therapy sessions, which deepened his belief in art’s healing power.
“A mind is often found more exposed during psychedelic experiences,” Lidell explains. “Specifically in a therapeutic setting, where trust is key to approach issues and work through events in the way of growth. This is music to support and guide the listening with or without psychedelic sensory heightening.”
From the album, and released today, New Landtravels the distance, shape shifting with sparkling, pulsating textures and vast drones that stretch for miles. Brent Stewart’s accompanying film for New Land combines three simple ingredients- expired Super 8mm tri X black & white film, sunlight and pure water from a hidden Tennessee creek.”
Neither Lidell nor Schneider is a stranger to brain-bending timbres. UK-born Lidell cut his teeth as a member of the microhouse duo Super_Collider and later released genre bending solo albums on Warp Records, spanning abstract techno to neo-soul. His prior 2025 album, Places of Unknowing, was Lidell’s first in nine years, exploring symphonic arrangements indebted to David Bowie and David Sylvian. As a pedal steel guitarist, Schneider has worked with artists including Margo Price, William Tyler, and Orville Peck. He has issued cosmic solo LPs on Third Man Records and Leaving Records, which meld instrumental shoegaze, outlaw country, and new age.
Their partnership emerged unexpectedly while working on a promotional video for Moog. Two days of freewheeling collaboration in the studio sparked A Companion For The Spaces Between Dreams, a collection of five long-form pieces that are almost suite-like. Lidell uses modular synths, Fender Rhodes, tape effects, and percussion to weave a fathomless tapestry from Schneider’s improvised pedal steel swells.
Lidell later returned to the sessions in a window of heightened neuroplasticity, refining the material through layers of sonic micro‑detail. The result is tactile and transportive. Prickly textures and sinewy drones call to mind dewy flowers at dawn. Whispers of krautrock flicker, echoing Lidell’s preference for jagged sonics during treatments. A Companion For The Spaces Between Dreams evades the pitfalls of clinical sterility, inducing a vulnerable inner voyage.
An important new release in the Sir Arthur Bliss anniversary year, from a record company who have done so much to advance the cause of the composer. This is the recording made around a concert in Nottingham in February, where the Metamorphic Variations were appraised by Arcana’s Richard Whitehouse.
Chandos write in their press release: “Perhaps now overshadowed by his earlier ballet Checkmate, Miracle in the Gorbals was a tremendous hit for Bliss and the Sadler’s Wells Ballet company. First performed in 1944, it was repeated in every season through to 1950. Based on a scenario by Michael Benthall (inspired by Jerome K. Jerome and Dostoyevsky), the ballet features the appearance of a Christ-like figure amid Glasgow’s most infamous slum. This mysterious Stranger performs a miracle, reviving the Girl Suicide, who in despair had earlier thrown herself into the Clyde. The locals rejoice, but an Official (Benthall had in mind a priest) is jealous and, after a failed attempt to cast doubt on the virtue of the Stranger via the local Prostitute, has him slashed to death by a razor gang.
Bliss’s score employs a wide range of styles and harmonic language, and also exploits Leitmotifs for the principal characters. Originally titled Variations for Orchestra, Bliss composed the Metamorphic Variations towards the end of his life, during a late surge of creativity. Two of the sixteen movements were dropped before the first performance (given by the LSO and Vernon Handley in 1973) and for some reason were not re-instated at any of the later performances of the work until that given by Michael Seal and the BBC Philharmonic Orchestra in February 2025, the day before they made this recording.
Julianna Barwick and Mary Lattimore have formed a formidable duo to release a new album, Tragic Magic, due out on 16 January 2026 via InFiné. Today they release the new single Melted Moon, one of “seven immersive, evocative songs” that make up the album. The press release details how, “together in freeform dialogue, voice and instrument, Barwick and Lattimore render a meditation on tragedy, wonder, and the restorative power of shared experience.”
The story continues: “Co-produced by Trevor Spencer (Fleet Foxes, Beach House), Tragic Magic came together in just nine days, a testament to the “musical telepathy,” as Barwick puts it, that has developed between the two artists over the years traveling the world as friends and tourmates. Sessions crossed improvisation with loose ideas they arrived in Paris with from Los Angeles, shortly after the January 2025 wildfires while still reeling for their community.
Barwick and Lattimore were given access to the extraordinary instrument collection of the Philharmonie de Paris’ Musée de la Musique in partnership with InFiné. The two artists embraced a divine setting, overwhelmed by the beauty and history at their fingertips. Lattimore selected three harps tracing the evolution of the instrument from 1728 to 1873, and Barwick chose several analog synthesizers that have shaped decades of exploratory music, including the Roland JUPITER and Sequential Circuits PROPHET-5, among other treasures.
“We were so lucky to have access to this experience. There was a lot of reverence, working with people with such warmth and enthusiasm, bringing these instruments into a modern context, literally taken off the shelves of the museum,” says Lattimore. “We wanted to honor the past while making music that we feel is a true expression of ourselves,” Barwick adds.
Today’s release of Melted Moon is accompanied by a video of Barwick and Lattimore performing the song live. Directed and edited by Joel Kazuo Knoernschild, the performance was filmed at Lou Lou’s Jungle Room at the Lafayette Hotel in San Diego this past April.”
The first single, Perpetual Adoration, is followed by the album’s closing track Melted Moon, a direct response to the Los Angeles wildfires in January 2025. The bold strokes of Lattimore’s harp soften as a calming chord progression asserts itself, before Barwick’s seraphic vocal adds a beautiful counter melody.
Barwick recalls “packing up her life under the dark ash clouds, “What do I need for these trips, but also, what do we need if we can’t come back to this house?” Lattimore lends a harp refrain that loops and echoes in the eventide, a measure in which she plays above as Barwick, uncharacteristically free of effects, offers her lyrics in poignant clarity, both haunting and hopeful (“Under the melted moon / The lights are all out / A strange taste in my mouth / You may never go home again / At least not the home you know”).
The notion embodies Tragic Magic as a whole: two artists and friends processing life through music, observing moments and working through emotions, contributing what they can to the world, within a lineage of creative expression and visionary invention represented by the very tools they used to realize this project.
Published post no.2,688 – Wednesday 15 October 2025
Nonesuch Records releases the soundtrack to Luca Guadagnino’s film After the Huntdigitally on October 10; it will be available on CD from October 17. After the Hunt stars Julia Roberts, Ayo Edebiri, Andrew Garfield, Michael Stuhlbarg and Chloë Sevigny, and opens in cinemas from October 17, following its world premiere at the 2025 Venice International Film Festival. The album features the score by Trent Reznor & Atticus Ross, a selection of works by the composer John Adams, as well as additional music from the film by Ambitious Lovers, Julius Eastman, Ryuichi Sakamoto and Everything But The Girl among others. Find the full track list below.
From visionary filmmaker Luca Guadagnino, After the Hunt is a gripping psychological drama about a college professor (Julia Roberts) who finds herself at a personal and professional crossroads when a star student (Ayo Edebiri) levels an accusation against one of her colleagues (Andrew Garfield), and a dark secret from her own past threatens to come into the light. After the Hunt is written by Nora Garrett.
“I was excited to make a movie about now,” Guadagnino says. “After the Hunt is a thriller that asks not what is the truth of this event but how many truths are there? And who should decide which is right? And, as a filmmaker, it was also a way of exploring how to tell a story showing all the possibilities of truth without saying one point-of-view is most valuable.”
The film’s suspense, feeling, and questioning is heightened by the texturally inventive score from the two-time Oscar-winning team of Trent Reznor and Atticus Ross. This marks the fourth film Reznor and Ross have scored for Guadagnino. “I always show Trent and Atticus the full movie without any music first. Then we start talking about principles and ideas,” Guadagnino explains. “In this case it was all about creating doubt. They brought me these extraordinary piano notes that underline the question of do we believe this person or not. This theme of doubt starts up in the first scene and keeps expanding. And then, around the structure they created, we brought in pop music as well as contemporary composers like John Adams.”
Adams’ music has featured in almost all of Guadagnino’s work, beginning with I Am Love (2009). Inspired by and scored entirely to Adams’ pre-existing music, this was the first time Adams had allowed his work to be used in this way. Guadagnino subsequently featured pieces by Adams in his films A Bigger Splash (2015), Call My Be Your Name (2017), throughout the eight episodes of his miniseries We Are Who We Are (2020), as well as the documentaries Inconscio Italiano (2011) and Salvatore: Shoemaker of Dreams (2020).
“Adams’ music comes to me constantly. Discovering it was transformative and changed my life as a director forever,” admits Guadagnino. “It comes with a capacity of interpreting reality, interpreting the history of the reality, interpreting the history of the United States, and understanding even the boundaries of music to become a cunning exploration of the identity of human nature and the politic relationship that ties all us in.”
Filmmaker Luca Guadagnino is an Academy Award, BAFTA, and GRAMMY nominee. Over the last three decades, his career as a director, writer, producer, and designer has been defined by rigorous dedication to artistic craft and creative experimentation. Celebrated for his bold and emotionally resonant work, his films include The Protagonists (1999), I Am Love (2009), A Bigger Splash (2015), Call Me by Your Name (2017), Suspiria (2018), Bones and All (2022), Challengers (2024), and Queer (2024).
Trent Reznor and Atticus Ross are accomplished musicians, composers and producers who have achieved significant popular and critical success in both film and rock music. Most recently, the duo composed the scores for Luca Guadagnino’s Challengers and Queer. Both scores received wide acclaim, with Challengers winning Golden Globe and Critics Choice awards, as well as a GRAMMY nomination. Over the years, the pair has composed music for a diverse array of film and television projects, beginning with David Fincher’s The Social Network (2010), which earned them an Academy Award and a Golden Globe. Their next collaboration with Fincher, The Girl With The Dragon Tattoo (2013), earned them a GRAMMY Award. Beyond their work in film, Reznor founded the iconic band Nine Inch Nails in 1988. Ross joined Reznor and the band in 2016.
John Adams occupies a unique position in the world of music. His works are among the most performed of all contemporary classical music, long embraced by the world’s leading orchestras and conductors, instrumental soloists and singers, choreographers, and opera directors. Nonesuch Records made its first record with Adams in 1985. He was signed exclusively to the label that year, and since then the company has released more than 40 first recordings and over 30 all-Adams albums, including the soundtrack to Luca Guadagnino’s I Am Love, as well as 2022’s 40-disc Collected Works box set.
After the Hunt track list:
Disc 1
Clock, One
A Child Is Born – Tony Bennett, Bill Evans
Let’s Walk – Mark Harelik, Victoria Clark, Adam Guettel
After the Hunt, One – Trent Reznor & Atticus Ross
It’s Gonna Rain – Ambitious Lovers
György Ligeti: Piano Concerto: II. Lento e deserto – Pierre-Laurent Aimard, Asko Ensemble, Reinbert de Leeuw
Terrible Love – The National
John Adams: Gnarly Buttons: II. Hoe-down (Mad Cow) – John Adams, London Sinfonietta
John Adams: Gnarly Buttons: III. Put Your Loving Arms Around Me – John Adams, London Sinfonietta
After the Hunt, Two – Trent Reznor & Atticus Ross
Break With – Ryuichi Sakamoto
Disc 2
Clock, Two
Julius Eastman: Evil Ni**er – Julius Eastman, Frank Ferko, Janet Kattas, Patricia Martin
L’incontro – Piero Ciampi
John Adams: The Death of Klinghoffer, Act II: “It is as if our earthly life were spent miserably” – Kent Nagano, Orchestra of the Opéra de Lyon, The London Opera Chorus
John Adams: The Death of Klinghoffer, Act II: Desert Chorus – Kent Nagano, Orchestra of the Opéra de Lyon, The London Opera Chorus
After the Hunt, Three
John Adams: City Noir: III. Boulevard Night – David Robertson, St. Louis Symphony
É Preciso Perdoar – Ambitious Lovers
Nothing Left To Lose – Everything But The Girl
Soundtrack compiled by Luca Guadagnino & Matthew Rankin
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