While working late today, I received a notification about some new albums released on the 19th of September that might pique my interest. Curiosity got the better of me, so I decided to give them a listen.
The first is “Aeris Suite” by Erik Wøllo, a journey into expansive, immersive soundscapes. (Tidal link is available)
Erik Wøllo‘s 30-minute AERIS SUITE is a meditative, long-form work delving into the ethereal and textural side of the Norwegian composer and guitarist’s sonic worlds. These emotionally evocative guitar-based compositions find Wøllo at his most introspective: creating a deeply resonant palette of hypnotic, suspended, slow-evolving tracks.
AERIS SUITE flows naturally as seven seamless, interconnected parts. The EP is performed almost entirely on Wøllo’s special custom electric sustainer guitar processed through an intricate array of pedals and effects. The addition of looping devices paired with harmonizers and advanced granular effects sometimes sounds like synthesizers, but actually, it arises from the direct touch of the guitar strings. Through this setup, Wøllo sculpts subtle layers of tone and depth, creating electronic music at once weightless and vast; it’s a vivid and organic expression.
Reminiscent of his previous reflective works, this suite explores the abstract edges of his style with less emphasis on melody. Moving through drifting harmonics, radiant overtones, and slowly shifting timbres, it offers a timeless, contemplative, and immersive aural experience.
Beginning with the threshold-like “Portal,” it then meanders along the most rhythmic track on the album, “Sinuous Path.” From there, it drifts through tonal shifts (“Monochrome”) and shadowy terrain (“Obscure Trail”), into an enveloping venture (“Celsius”), eventually arriving at the title track “Aeris” and closing with the glowing “Sirius.”
The title AERIS — derived from Latin, meaning “air” or “of the air” — hints at the intangible qualities of this music. Light, open, and expansive, the suite evokes a floating presence, a sense of being held in an endless drift of sound. This is music untethered, stillness echoing in the domain between sound and silence.
And the second one is “Better Broken” by Sarah McLachlan (Tidal link is available)
Of the new material, McLachlan said in a press release that the lyricism was inspired by her thoughts on the state of the world, adding that “A lot of the lyrics on this record came from thinking about the world right now and asking, ‘How do we move through this landscape? How do we keep our heads above water when it feels like so much is falling apart?’” says McLachlan. “I don’t know if I have any answers, but channeling all that angst and uncertainty into the music has been so cathartic. So even though some of the songs may seem quite dark on the surface, singing them has given me an incredible amount of joy.”
In a monumental leap for McLachlan, Better Broken finds her widening her creative circle and working with producers Tony Berg (Phoebe Bridgers, boygenius) and Will Maclellan (Lucy Dacus, Phoebe Bridgers). “I’d worked with the same person for 30-plus years, so this really felt like stepping out on a limb and trying something new,” says McLachlan, who enlisted producer Pierre Marchand for landmark albums like her 1993 breakthrough Fumbling Towards Ecstasy and 1997’s eight-times-platinum Surfacing. Mainly recorded at the legendary Sound City Studios in Los Angeles, Better Broken instills a potent new energy into her lush and moody form of pop-rock, thanks in part to contributions from esteemed musicians like Wendy Melvoin (a former guitarist for Prince and the Revolution), drummer Matt Chamberlain (Bob Dylan, David Bowie), multi-instrumentalist Benny Bock (Lucy Dacus, beabadoobee), and pedal-steel guitarist Greg Leisz (Kacey Musgraves, Florence + the Machine). “I went into the studio with a ton of trepidation, because I hadn’t made a record in so long and was unsure of about what I wanted to say and whether the songs were strong enough.” says McLachlan. “But all that fear and uncertainty dissipated so quickly once we started working. The whole process was deeply collaborative, and every musician added something so magical to the songs.”
Her tenth studio album and debut release for Concord Records, Better Broken takes its title from its opening track—a soul-searching reflection on the fortitude that comes from weathering life’s constant storms. “I’m 57 now, and nobody gets to this point unscathed,” says McLachlan. “Life is hard, and you get bashed around a bit, but I feel more wholly myself than I ever have, I think it’s true that we learn so much more about ourselves from our failures – what it takes to heal and find ways to stay open and curious is a theme for a lot of this record.” A gorgeous showcase for her inimitable voice, “Better Broken” unfolds in delicate beats and lavish textures as McLachlan once again proves her singular gift for spinning wisdom into indelibly catchy melody (from the chorus: “Let it be all it is/Small and still and better left alone/Some things are better broken”). The result: a perfect entry point into her latest body of work, instantly revealing her one-of-a-kind ability to swiftly lure the listener into a more elevated state of mind.
As McLachlan points out, Better Broken took shape in the midst of a bustling schedule that included touring North America on her sold-out Fumbling Towards Ecstasy 30th Anniversary Tour as well as her ongoing work as founding chair of the Sarah McLachlan School of Music (a not-for-profit founded in Vancouver in 2002). “Before we made this album, I thought it might be my last, because my other responsibilities have really pulled me away from music over the last decade,” she says. “But the whole process rekindled my love for making records, and now I can’t wait to start the next one.” And with the release of Better Broken, McLachlan hopes to impart others with the pure, unbridled joy she experienced in creating the album. “We all need something to lift us up out of all our challenges and the negative things we’re dealing with every day, and music has always done that for me,” she says. “I hope that this record provides people with some relief and release—but in the end I just want them to take whatever they need from it, and make the songs part of their own story.”
You can read more on this story on the official Concord Records label website, where the album was released on 19 September 2025.
