8 New Albums You Should Listen To: Ratboys, Joshua Chuquimia Crampton, and More

When Beverly Glenn-Copeland announced his dementia diagnosis in 2024, he said in a joint statement with his wife Elizabeth, “We want to challenge the mainstream image of this illness, which focuses on loss. We are actively asking the universe to show us where the life is here.” More than a year later, the pair’s new collaboration Laughter in Summer charts that course, acting as a mutual love letter and a firm embrace of the future. (A new arrangement of Glenn-Copeland’s 2007 track “Children’s Anthem” is dedicated to the couple’s granddaughter.) Recorded with engineer Howard Bilerman and a Canadian choir, it’s improvisatory and theatrical while remaining grounded in Glenn-Copeland’s rich, singular tenor. The title draws inspiration from a phrase Beverly sang to Elizabeth while at work on a still-unreleased project, Songs Without Words: “Laughter in summer, how I remember.”

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Daphni: Butterfly [Jiaolong]

Can an artist collaborate with themselves? On Butterfly, Dan Snaith’s first Daphni album since 2022, he makes a worthy case for it. The Canadian producer’s new endeavor under his dance alias includes one song, “Waiting So Long,” which “features” vocals attributed to Snaith’s other project, Caribou. In press materials, Snaith says the improbable match-up embodies the synchronicity of his artistry these days, and Butterfly finds him in step with his inner selector. Opening in an elegant blitz of house and post-EDM metered by interludes of dub and jazz, Butterfly flutters into funkier, stranger territory as the tracklist fades out. But it never loses the free-associative, peak-time spirit that the Daphni moniker embodies.

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Asher White: Jessica Pratt [Joyful Noise]