Birgit Bidder – “Vårvinter och jag söker mitt blod” is a body looking for its own circulation, a soul-pop track where identity is treated as something that can thin out and return. The title places the search in a season…
OK Goodnight´s “22” is a measure of time that stops behaving like numbers and starts behaving like weight, a progressive metal piece where counting becomes a form of pressure. The Boston band builds around that figure as if it were…
Terror/Cactus – “Transmisión Clandestina” is a signal about control slipping, a cumbia track that treats the airwaves as territory and the body as its first occupied zone. Rhythm arrives as a steady shuffle, the kind that belongs to street speakers…
The Active Set´s “Death Of A Friend” treats grief as something that piles up until it loses shape, where one loss stops being separate from the next. A guitar-led indie rock structure keeps returning to the same place, each absence…
David Laborier – “Owl Skewl” is a study in groove as language, where jazz phrasing, rock attack, and early 90s hip hop bounce share the same sentence without translation. Built as an instrumental, the track refuses the idea that voice…
“Clash”, by João Larcher and Wheels, is an argument staged inside one voice, where past and present interrupt each other without warning. Built on an experimental rock frame that splices samples, electronic drums, and acoustic hits, the track treats identity…
Lexi Carr – “The Fight” is a self-portrait built on unstable ground, where identity is assembled in real time and corrected mid-sentence. The opening inventory sounds complete, a house, a man, a dog, then the cracks appear almost immediately, a…
“St. Bradley (Daughter of One)”, by The Industry Plants, is a bedside song that refuses to leave the room, where ritual, memory, and inheritance compress into a final address. The figure of St. Bradley hovers without definition, closer to a…
Frank Maza, Chucho Valdés – “Los Inmortales” is a statement about permanence in a genre built on disappearance, where each note exists for a moment and then is gone. Within that contradiction, the track places a young voice next to…
Ellery Twining´s “Oy!” is an act of blind synchronization, a score composed for a student film the musician never saw. Parallel narratives replace the debt sound owes to image, refusing the role of background. Indeterminate music emerges from a specific…