Moby has announced his 23rd studio album ‘Future Quiet,’ set for release on February 20, 2026 via BMG. Alongside the announcement, he shares the album’s opening track, a newly recorded orchestral version of “When It’s Cold I’d Like To Die,” featuring vocals from Jacob Lusk of Gabriels. The release marks a reflective new phase in Moby’s catalog, built around restraint, atmosphere, and emotional space.
Across eleven tracks, ‘Future Quiet’ moves through piano minimalism, ambient compositions, and select vocal collaborations. The album centers on the contrast between constant digital noise and the human need for stillness, shaping a listening experience designed around calm and focus. The record has already drawn a strong response for its clarity and intention, presenting a quieter but deeply considered body of work.
Moby describes the album as a deliberate retreat. He explains that while he still loves loud and maximal music, the increasing intensity of modern life has pushed him toward writing and recording music that feels safe and grounding. He describes ‘Future Quiet’ as a personal refuge, created with the hope that listening can offer the same sense of relief and pause.
The album opens with the reworked “When It’s Cold I’d Like To Die,” originally released on Moby’s 1995 album ‘Everything Is Wrong’ with vocals by Mimi Goese. The song has reached a new audience following its use in seasons one and four of Stranger Things, where it resonated widely despite its sparse structure. Moby notes that the renewed attention has been surprising, especially given that the original recording was never released as a single.
Reflecting on Jacob Lusk’s involvement, Moby recalls hearing his voice for the first time on KCRW and immediately wanting to collaborate. After tracking him down, the two worked together on the new version, which places Lusk’s voice at the center of a sweeping orchestral arrangement. Moby has described the result as transcendent, pointing to the emotional depth Lusk brings to the performance.
With a career spanning more than three decades, Moby continues to evolve while remaining deeply connected to his values around activism, compassion, and mental health awareness. His work across music, writing, film, and visual art reflects an artist still driven by curiosity and purpose. As ‘Future Quiet’ arrives and live plans expand through 2026, the album reinforces his long-standing role as a singular voice shaping the emotional language of modern music.
Ali McGuirk has released a new hip hop remix of “Where Does All The $ Come From?”, a track originally featured on her album ‘Watertop’. The remix includes expanded lyrics from Boston activist and rapper Eroc of Foundation Movement, production by Charles Haynes, and additional vocals from Boston soul singer Jonathan Gramling. The new version reframes the song through a sharper rhythmic lens while keeping its focus on questions of value, power, and responsibility.
McGuirk describes her connection with Eroc as long-standing and rooted in shared conversations around justice and liberation. “He is someone who carries an energy of love and clarity that I deeply admire, which is so needed in our world today,” she says, noting that the collaboration had been a long-held hope. She also points to the contrast between her usual band-based recordings and the hip hop process behind the remix, calling the experience expansive and grounding. “Watching this remix come together was magical,” she adds, crediting Haynes’ production approach and Gramling’s vocals for bringing new depth and color to the track.
The remix continues the thematic throughline of ‘Watertop’, an album that examines human and societal value through a blend of soul, folk, and experimental sound design. Across the record, McGuirk approaches activism and care as spiritual practice, pairing direct lyrical intent with emotionally charged performances. The new remix extends that conversation, placing collaboration and collective voice at the center of the song’s message.
Ant Thomaz returns with his new single “Good Times Roll,” a rhythm-driven track shaped by a life lived between cultures. With family roots in southern Louisiana and a creative base in Scotland, Thomaz blends folk, soul, pop, zydeco, and rock into a sound built on warmth, melody, and feel. Written and recorded with the idea of a “Scottish Mardi Gras,” the song brings together musicians from different musical backgrounds, allowing each voice and rhythm to live fully inside the groove. The result feels communal, open, and grounded in shared movement.
Co-produced with longtime collaborator Chris Gordon, “Good Times Roll” took nearly a year to complete, passing through more than 60 mixes before reaching its final form. The track draws from Louisiana Mardi Gras traditions, Bollywood influences, South African rhythms, and Celtic music, shaping a unified celebration that moves easily between styles. Lyrically, the song reflects on finding balance within chaos and carrying joy through change, themes that align with Thomaz’s long-standing focus on optimism, self-awareness, and connection. Following years of busking, festival stages, BBC airplay, and supporting artists including Happy Mondays and Sheku Kanneh-Mason, the new single signals a fresh chapter as Thomaz continues toward his debut solo album.
Priyank Shah has released his new single “What You Want,” a polished pop track that highlights his fully self-contained creative process. Writing, producing, mixing, and mastering the song from his own studio, Shah continues to shape a sound that balances groove and clarity. He describes the track as a literal meeting point between cultures, saying, “Music has always been my way of crossing borders, but with this track, I took that literally. It’s a conversation between cultures blending the universal language of funk-pop with the poetic depth of Mandarin.”
The song blends retro textures with modern pop precision, pulling from 80s and 90s-style drums, funk-driven guitar lines, and warm analogue synths. Sung in both English and Mandarin, “What You Want” approaches love as a shared experience that moves beyond language. Shah adds, “Here’s the truth: I don’t speak a single word of Mandarin. I’m a boy from India living in London. On paper, this collaboration shouldn’t make sense. But when I heard the flow of the Mandarin lyrics, I didn’t need to understand the definitions to understand the feeling. It was just musical.” The result reflects Shah’s interest in connection through sound, without borders or formulas.
Kisschasy have released “Better,” the fourth and final preview from their upcoming album ‘The Terrors of Comfort,’ out February 13, 2026. The track introduces a brighter, more optimistic tone compared to the band’s recent singles, pairing an open, melodic arrangement with a sense of forward motion. Vocalist Darren Cordeaux describes the song as an inverted love song, built around an expansive feel that contrasts with earlier releases “Parasite,” “Lie to Me,” and “Uncomfortably Numb.” The chorus leans into a familiar Kisschasy strength, direct, catchy, and designed to carry in a live setting.
Recorded between Melbourne and Los Angeles, ‘The Terrors of Comfort’ was produced and engineered by Cordeaux alongside Richard Stolz. The album moves deliberately through shifts in tone and mood, reinforcing the band’s focus on the album format as a complete listening experience. In 2026, Kisschasy will support Good Charlotte and Yellowcard on arena shows in Perth, Brisbane, Bendigo, and Sydney, marking an active new chapter as they continue building on more than two decades together.
John Fogerty steps into the Tiny Desk space with a performance shaped by family, memory, and songs that have lived many lives. Joined by his sons Shane and Tyler on guitar, Fogerty keeps the setup loose and personal, letting the writing and melodies carry the moment. The set moves easily between solo material and familiar songs tied to his work with Creedence Clearwater Revival, presented without excess and with a clear sense of ease.
Recorded on Veterans Day, the performance carries added weight as Fogerty reflects on the origins of some of his most enduring work. The setlist includes “Proud Mary,” “Change in the Weather,” “A Hundred and Ten in the Shade,” “Long As I Can See the Light,” and closes with “Have You Ever Seen the Rain,” drawing the room in for a shared finish. The result feels lived-in and warm, a reminder of how these songs continue to connect across generations.
When Valentino Garavani passed away in Rome at 93, the fashion world lost more than a designer. It lost a guardian of beauty, discipline, and devotion. Valentino believed elegance was an act of care – for craft, for history, for the people who wear clothes and the people who make them. In that spirit, here are 25 lesser-known facts about a man who treated fashion as a lifelong responsibility.
His mother named him after silent-film star Rudolph Valentino, sensing destiny early.
His first fashion lessons came from his aunt Rosa in Voghera, not Paris.
He apprenticed under local designer Ernestina Salvadeo before formal schooling.
He studied at both the Ecole des Beaux-Arts and the Chambre Syndicale in Paris.
He assisted Jean Desses by sketching for Countess Jacqueline de Ribes.
A vacation dispute in Saint-Tropez ended one Paris chapter of his career.
He returned to Italy in 1959 to relearn couture the Roman way.
His first Rome atelier opened on Via Condotti in 1960.
Models for his debut show were flown in from Paris to Rome.
Valentino Red emerged from his love of opera costumes in Barcelona.
He met Giancarlo Giammetti by chance at Cafe de Paris on Via Veneto.
Giammetti left architecture school to save Valentino from bankruptcy.
Florence, not Paris, hosted his international debut in 1962.
Jacqueline Kennedy ordered six black-and-white dresses after a private fitting.
He designed her wedding dress to Aristotle Onassis.
His iconic V logo debuted in an all-white 1967 collection.
He quietly followed trends but refined them through tailoring.
The 1970s made him a favorite of New York society.
Diana Vreeland championed him relentlessly in the US.
Joan Collins made him a Dynasty-era household name.
He designed luxury interiors for a Lincoln Continental line.
Accademia Valentino funded AIDS support initiatives in Rome.
He appeared as himself in The Devil Wears Prada.
His final couture show earned a standing ovation at Musee Rodin.
He never stopped believing elegance was a moral choice.
Valentino showed that fashion can be disciplined without being cold, luxurious without being careless, and timeless without being rigid. His legacy lives on not just in dresses, but in standards.
Robbie Williams has surprise released his new album ‘BRITPOP,’ out now via Columbia Records. The 11-track release marks his 13th studio album and features the singles “Rocket,” “Spies,” “Human,” “Pretty Face,” and “All My Life.” Collaborators across the record include Chris Martin, Gaz Coombes, Tony Iommi, Jesse & Joy, and Gary Barlow. To mark the unannounced release, the album artwork was projected onto several London landmarks in the early morning hours.
Williams describes ‘BRITPOP’ as the album he wanted to make following his departure from Take That in 1995, drawing direct inspiration from the peak of the Britpop era. He says the record is guitar-driven, upbeat, and anthemic, reflecting both British musical identity and pop immediacy. The album artwork references one of his most recognizable looks, featuring a painted image of the red tracksuit he wore at Glastonbury Festival in 1995. ‘BRITPOP’ is available across multiple physical and digital formats, including CD, cassette, deluxe editions, and signed bundles through his official store.
Following last summer’s ‘BRITPOP’ stadium tour, which saw Williams perform across the UK, Ireland, and Europe, he now returns with a run of intimate, sold-out shows as part of the ‘Long 90’s Tour.’ At each date, Williams performs his debut album ‘Life Thru A Lens’ and ‘BRITPOP’ in full. The dates follow his recent performance at Dingwalls in London, the smallest show of his career, and continue his current focus on revisiting defining moments across his catalog.
The ‘Long 90’s Tour’ Dates: February 4, 2026 – Barrowlands Ballroom, Glasgow – SOLD OUT February 6, 2026 – Liverpool Olympia, Liverpool – SOLD OUT February 8, 2026 – O2 Academy Brixton, London – SOLD OUT February 9, 2026 – Civic Hall, Wolverhampton – SOLD OUT
‘BRITPOP’ Tracklist: Rocket Spies Pretty Face Bite Your Tongue Cocky All My Life Human Morrissey You It’s OK Until The Drugs Stop Working Pocket Rocket
The Sooks have released their new single “Take It Slow,” available now worldwide. Produced by Jack Nigro, the track presents a reflective side of the Sydney-based band, pairing breezy guitar lines with relaxed percussion and a measured rhythmic pace. Led by vocalist Corey Fitzsimons, the song focuses on the balance between ambition and exhaustion, capturing a moment of transition as opportunities begin to accelerate.
Written in the summer of 2024 ahead of the band’s first festival appearance, “Take It Slow” follows earlier singles “Kickstarter” and “Sober (For The Second Time),” all set to appear on The Sooks’ upcoming EP due out February 18, 2026. Since releasing their debut EP ‘Oyster Boy’ in 2024, the band has expanded their live presence, supporting Daily J, Press Club, and Salarymen, and appearing at festivals including The Great Escape and Good Gumnuts. The new single continues to define their steady progression within Australia’s indie scene.
Ashun Sound Machines (ASM) announces the Leviasynth Keyboard and Leviasynth Desktop, two synthesizer models that will be showcased at The NAMM Show 2026. Built around ASM’s new 16-voice Leviasynth engine, each voice features eight oscillators of algorithmic synthesis, combined with both digital and analog filtering, designed to support deeply expressive performance and detailed sound design.
Far from just the traditional 2 or 3 oscillator synth sound, Leviasynth gives you 8 oscillators, with over 300 waveshapes, for truly massive sounds. Leviasynth’s algorithmic engine encourages you to experiment with unique oscillator combinations and structures that can bend timbre to your will. From generating thick bass and lead sounds to rich pads and ambient evolving clouds of shimmering glass – algorithms place a new level of power at your fingertips. Leviasynth comes with 144 preset algorithms, and the added ability for you to design and save your own customizable algorithm per patch. If that was not enough, this powerful engine allows for algorithm morphing. You can choose 8 algorithms and morph from one to another, creating smooth transitions between synthesis structures, allowing sounds to evolve in new ways over time.
Each oscillator supports multiple synthesis modes, including phase modulation, frequency modulation, pulse-width modulation, HTE Sync, and three types of phase distortion, providing a broad palette for both traditional and experimental sound design. Leviasynth lets you combine multiple synthesis modes inside a single algorithm for truly unique sound design possibilities.
The output of the algorithm then feeds into the dual filter stages. The first filter is our famous Hydrasynth digital filter, with 18 different types and modes ranging from low pass, multi-mode, and high pass filters to esoteric filters like the vocal formant filter. The second filter is our new, pure analog 4-pole resonant filter. This rich analog filter includes custom-built pre-drive saturation that elevates your sound with a fiery warmth as well as a screaming self-oscillation, creating a hybrid signal path that blends digital precision with analog character.
For sound shaping and performance control, Leviasynth includes a 32-slot modulation matrix with 170 modulation sources and over 290 internal modulation destinations, alongside a comprehensive onboard effects section derived from ASM’s Hydrasynth design.
A built-in three-track sequencer, featuring two note tracks and one parameter-automation track, is paired with an arpeggiator that introduces an Entropy function for real-time variation of arpeggio patterns. Arpeggiator patterns can also be generated directly from user-created sequencer data.
Both models ship with a factory library of 512 Single-mode patches and 256 Multi-mode patches designed for instant playability both in studio and on stage, and feature a full-color touchscreen with dedicated knobs and buttons for sound design and performance control; and both are supported by the updated ASM Patch Manager for macOS and Windows, which handles firmware updates, patch organization, backup, and restoration at lightning speed.
Leviasynth Keyboard The keyboard model pairs the Leviasynth engine with our game-changing 61-note Polytouch® polyphonic aftertouch keybed featuring semi-weighted keys, designed to provide detailed, per-note control for expressive performances. A four-octave ribbon controller with multiple operating modes further expands real-time interaction, supporting pitch control, modulation, and custom assignments.
Designed for hands-on performance, the keyboard version emphasizes physical control and responsiveness, allowing players to shape timbre, dynamics, and modulation directly from the keyboard for both stage and studio use.
Leviasynth Desktop The desktop model delivers the complete Leviasynth engine in a compact, tabletop design, offering the same synthesis architecture and performance features as the keyboard version. 16 Polytouch polyphonic aftertouch pads offer an additional step sequencing mode. The unit supports VESA mounting as well as 19-inch rack mounting, making it well-suited for studio- and rack-based setups, modular rigs, and systems where a separate keyboard or controller is already in use, while providing full access to Leviasynth’s synthesis and modulation capabilities.
“Our goal at ASM is to create premium-quality, great-sounding, and highly playable electronic instruments that give musicians accessible tools for musical expression,” says Glen Darcey, CEO of Ashun Sound Machines. “Our team brings decades of experience designing and performing with electronic instruments, and our partnership with Medeli allows us to realize that vision in products like Leviasynth.”
Availability The Leviasynth Keyboard and Leviasynth Desktop are expected to ship in February 2026 through ASM’s global network of authorized dealers. Both models will be on display at The NAMM Show 2026, with hands-on demonstrations available throughout the show at ASM Booth 10102. ASM will also be at the Buchla & Friends show in Downtown Los Angeles, CA on Saturday January 24th and Sunday January 25th.
