New Music Reviews: Joshua Chuquimia Crampton and Jessie Ware

Two polar opposites this week – mainstream dance-pop from Jessie Ware and experimental fare from Joshua Chuquimia Crampton.

Joshua Chuquimia Crampton

Anata

2026, 7/10
Joshua Chuquimia Crampton was involved in one of my favourites from last year – he recorded Los Thuthanaka with his sibling. He’s back with the solo Anata, an album of noisy psychedelic instrumentals. It combines his unhinged guitars with instruments from his Pakajaqi (Andean) heritage. The album’s a one-man show – Crampton produced and played all the instruments.

This album is dedicated to Anata, the Andean ceremony where we celebrate the Pachamama (Mother Earth) as she opens her eyes signaling the rainbow, nourishing nature and mankind with rain, regeneration and abundance. The great game of water, colors and joy straight from the sacred spring.
Joshua Chuquimia Crampton, Bandcamp

Anata is abrasive – I like to listen to music while I work, but I find it impossible to concentrate with these bold instrumentals in the background. Shoegaze-inspired guitars cut deep gouges – it barely lets up until the mellower second half of ‘Convocación “Banger / Diffusion”‘.

I don’t recommend listening to Anata while you’re trying to work, but it’s fascinating.

Jessie Ware

Superbloom

2026, 7.5/10
Jessie Ware is the UK’s most likeable mainstream pop star. Her vocals are warm and agile, but her low-key personality means she never overwhelms the song. On her first three albums, she explored earnest pop, but on 2020’s What’s Your Pleasure? she pivoted to the dancefloor. She’s returned to the dancefloor twice, each time with slightly diminishing returns, although Superbloom is still a worthy effort.

At times, Superbloom strains against the dancefloor formula – the lush, romantic ’16 Summers’ almost feels like it comes from the pre-rock era. There’s a great single, ‘Ride’, which uses the instrumental theme from The Good, the Bad, and the Ugly.

Even on a slightly weaker Ware album, she’s likeable and energetic. It’s a step down, but pop tunes like ‘Automatic’ and ‘I Could Get Used to This’ are charming and fun.

Superbloom is worthy, but feels weaker than her previous dance-oriented records. Perhaps it’s time for another reinvention?