Glaive and Kurtains unite on God Save The Three, a deeply personal collaborative album built on years of friendship, shared creative evolution, and a defining run of spontaneous studio sessions across the United Kingdom and the United States.
by Paul Cashmere
Glaive and Kurtains have released their long-awaited collaborative album God Save The Three, arriving May 8, 2026, marking the latest chapter in a creative partnership that began in their teenage years and helped shape the modern internet-born pop underground.
Glaive and Kurtains have officially released their first full-length collaborative album God Save The Three on May 8, 2026. The project brings together two of the most closely linked figures from the digital pop underground, reconnecting a partnership that began in adolescence and matured through years of parallel solo careers. The release is accompanied by a new video for The Band, directed by Lewis Baillie, which arrives alongside the album rollout.
The record captures a series of recording moments across North Carolina, Asheville, and the United Kingdom, including an extended writing period in the Cotswolds. The album is positioned as a spontaneous but structured document of friendship, travel, and creative instinct.
The significance of God Save The Three sits in its convergence of biography and sound. Glaive and Kurtains emerged from the same internet-driven wave that blurred the boundaries between electronic pop, emo, and experimental trap during the early 2020s. Their collaboration reflects not only musical alignment, but a shared history of adolescence spent building songs in online communities.
The album arrives after a run of increasingly ambitious solo releases from Glaive, including I Care So Much That I Don’t Care At All, May It Never Falter, and Y’all. Kurtains has likewise developed a reputation as a producer operating at the centre of the same evolving ecosystem. Together, their reunion signals a return to the foundational chemistry that first defined their early work.
God Save The Three was largely shaped through a series of unplanned sessions. According to the artists, the process began during an impromptu visit to Asheville, where early recordings such as Weston Super Mare and Crisis were created in rapid succession.
The pair describe the experience as instinctive rather than premeditated, with much of the album taking form during a later writing period in the Cotswolds region of the United Kingdom. That environment, known for its quiet rural landscapes and historic architecture, became a backdrop for a series of extended recording sessions.
The album’s lead visual component, The Band, directed by Lewis Baillie, extends the project’s themes of intimacy and immediacy. The single The Troubles was released earlier, on April 24, 2026, acting as the first formal entry point into the project’s rollout.
Musically, the album continues the pair’s shared approach to emotionally direct, electronically driven pop structures, a style that has its roots in the early SoundCloud era where both artists first emerged.
Glaive’s trajectory has been closely tied to the rise of internet-native pop movements, often referred to as hyperpop and digicore. His early releases during the COVID-19 era positioned him as part of a generation that reshaped bedroom production into a global streaming phenomenon. Kurtains, working in parallel, developed a production identity that often intersected with Glaive’s output, particularly across later albums including May It Never Falter.
The duo’s collaborative history dates back to their teenage years, when both were still attending school and exchanging ideas online. That period helped define a broader shift in pop music production, where geography became less relevant than shared digital spaces.
Glaive’s catalogue, including Cypress Grove and I Care So Much That I Don’t Care At All, has been widely discussed for its emotional transparency and compressed melodic structures. Kurtains’ production style has similarly been associated with minimal yet emotionally charged arrangements, often prioritising texture over traditional pop maximalism.
God Save The Three extends this lineage while grounding it in physical spaces, contrasting earlier purely digital workflows with location-based recording.
While the collaboration has been framed as a natural continuation of a long-standing creative partnership, it also highlights a broader trend within contemporary pop, where artists from online scenes increasingly revisit collaborative origins after establishing solo identities.
Some observers within the independent music community have noted that such reunions can function as both artistic statements and strategic resets, allowing artists to re-engage early audiences while expanding their sonic range. Others point to the rarity of sustained collaborations at this level within the digicore and hyperpop-adjacent space, where rapid stylistic evolution is often the norm.
In this case, the project appears driven primarily by personal connection rather than external positioning, with both artists emphasising the informal nature of the writing process.
God Save The Three positions Glaive and Kurtains back within the same creative frame that first brought them together, while reflecting how far both have moved individually. It is a record shaped by geography, friendship, and a shared history that predates their public careers, arriving at a point where both artists now operate with fully formed identities.
Whether this collaboration leads to further joint releases remains unconfirmed, but the album reinforces their status as two of the most closely linked figures to emerge from the internet pop generation.
Tracklist
God Save The Three
Weston Super Mare
Half Two
The Band
Yaya Touré
Spinning Around
Old Freight Train Interlude
The Front
Let’s Link Up And Die
UNCA / Composure
Flyen
The Troubles
Crisis
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