Our regular look at artists worth paying attention to now.
Three acts with new music, growing momentum and a reason to get on your radar before everybody else catches up.
– WORDS BY JAMBALOO EDITORIAL TEAM
YES BOONE
Australian producer Yes Boone has an interesting way of approaching electronic music. Where plenty of producers are content to let the machinery do the talking, the Sydney artist is increasingly interested in what happens when you introduce something considerably more human into the equation. His latest single, “Nosebleeds,” released September 10, brings together the enormous physical energy of French house with the romantic unease of British post-punk, creating something that sounds equally comfortable filling a festival field or accompanying a particularly complicated late-night conversation.
Having established himself with his 2025 debut EP, Best I’ve Found, Boone has been steadily building an audience through a collection of dance records that place considerable emphasis on melody and emotional immediacy. His breakout single “All I Really Want” helped attract attention from triple j and BBC Radio, while appearances alongside Diplo, Dom Dolla and Martin Garrix introduced his music to increasingly large audiences. The recent signing of a joint deal with Warner Music Australia and Warner Records US suggests that momentum is unlikely to slow anytime soon.
“Nosebleeds” represents an especially significant development. Drawing inspiration from the likes of The Cure and The Smiths alongside the rhythmic possibilities of French electronic music, Boone has begun singing his own lyrics, introducing a vulnerable new dimension to his productions. Written during time spent in London and Paris, the track explores the excitement and uncertainty of becoming infatuated with somebody, translating those contradictory feelings into a wonderfully dramatic piece of electronic pop.
What makes Boone particularly interesting is his understanding that dance music doesn’t have to abandon emotional complexity to achieve something physically exhilarating. “Nosebleeds” finds him moving towards a more distinctive identity, one where the personality behind the production is becoming just as compelling as the records themselves.
CAOILFHIONN ROSE
Photo by Emily Dennison
Manchester songwriter Caoilfhionn Rose was just two days away from becoming a mother when cellist Awen Blandford recorded her contribution to “Horizon” at Rose’s home. It’s a lovely detail in the story of a song that already existed in an entirely different form, having emerged from an almost effortlessly productive improvisation session with Danish electronic jazz duo Svaneborg Kardyb in Copenhagen two years earlier. Released October 13, “Horizon” introduces an especially personal new chapter for an artist whose music has always found fascinating connections between the natural world, human experience and the possibilities of experimentation.
Rose has spent much of her career exploring the spaces between folk, jazz and electronic music, releasing three albums through Gondwana Records while developing a beautifully understated approach to songwriting. Her 2024 album Constellation introduced increasingly adventurous arrangements, and her ongoing association with Manchester’s celebrated Durutti Column, including contributions to their 2026 album Renascent, has further demonstrated a willingness to work beyond conventional musical boundaries.
Her forthcoming fourth album, Draw Out Your World, arrives February 5, 2027 through Lost Map Records and her own Into Sky Records. Created with husband and longtime collaborator Rich Williams, the nine-track record draws from several years of musical ideas alongside new material written during pregnancy and early motherhood. Four compositions developed from sessions with Svaneborg Kardyb, while contributions from musicians including John Ellis, Awen Blandford and Eleanor Colee bring additional depth to arrangements that move between delicate acoustic passages, improvisational jazz and rhythmically adventurous folktronica.
There’s something especially appealing about Rose’s willingness to allow a song to develop through the contributions of other musicians. “Horizon” captures that spirit beautifully, with its origins in spontaneous collaboration eventually becoming part of a record concerned with change, resilience and imagining a different future. Rather than attempting to impose certainty on a particularly transformative period of her life, Rose appears to have found considerable creative freedom in allowing the music to change alongside her.
NOSAJ THING
For Los Angeles producer Nosaj Thing, electronic music has never been entirely separate from the images, environments and physical spaces surrounding it. Since emerging from the influential Los Angeles beat scene, Jason Chung has developed an approach to production in which rhythm, atmosphere and silence are treated with equal consideration. His records have consistently resisted the temptation to fill every available space, allowing melodies to emerge, disappear and occasionally reappear in unexpected forms.
His latest release, “LXR,” issued July 28 through his Timetable label, marks the first officially released joint musical project with Japanese artist and technological innovator Daito Manabe. Although the pair have been collaborating creatively for more than a decade, beginning with the remarkable 2012 video for “Eclipse/Blue” and continuing through the ambitious No Reality audiovisual performances, this new project brings their respective disciplines together as a shared musical undertaking.
Manabe’s involvement extends beyond creating images to accompany Chung’s compositions, with both artists participating in the musical and visual development of the work. Their ongoing collaboration has expanded into Material Works, a 2026 performance series incorporating the work of designer David Rudnick, alongside live presentations that explore the relationship between electronic sound, generative technology and visual expression.
Chung has maintained a similarly adventurous approach elsewhere. His 2022 album Continua brought together collaborators including Julianna Barwick, Panda Bear, Toro y Moi and Coby Sey, while his 2025 partnership with Canadian producer Jacques Greene under the name Verses GT explored a more explicitly club-oriented direction. Together, these projects reveal an artist continually reconsidering what electronic music can accommodate without losing the distinctive restraint that has defined his work.
With “LXR” and a new series of audiovisual performances scheduled across Europe this autumn, Nosaj Thing is entering another particularly intriguing period. The music remains central, but the boundaries around it are becoming increasingly difficult to identify, offering an opportunity to experience electronic composition as something considerably more expansive than sound alone.
