We Speak Music

Beldon Haigh’s “World Got So Dumb” Strikes a Chord

Published

2 years ago

April 19, 2024

Scottish band Beldon Haigh’s new song, “World Got So Dumb”, is an anthem for the disenchanted, a rallying cry for the proletariat. With razor-sharp lyricism and a sound that blends ska, reggae, and rock influences, Beldon Haigh delivers a powerful message wrapped in irresistible melodies.

But this single is just the beginning. It sets the tone for Beldon Haigh’s upcoming album, which tackles a myriad of societal issues with unflinching honesty. From the scourge of poverty and inequality to the erosion of community and the insidious influence of capitalism, each track invites listeners to pause, reflect, and reconsider their place in the world.

“World Got So Dumb the album deals with lots of current societal themes. For example poverty and inequality (Money Back) the breakdown of community and individual responsibility (Dumpster Fire) the need to forgive and forget (Old Black Eye) the narcissism of capitalism (Any Way You Want It) and the corruption of leaders (Felony), the eventual slide into compliance to a broken system (Life Is Hard). Throughout all of the songs there’s a general invitation to stop and think about stuff, to stop and look at the broken world that we live in and re-evaluate our approach towards it. But the system does not really want us to do that, it keeps us so distracted with other things that we feel like there is no bandwidth for evaluation, and most people are so downtrodden just paying the bills that they don’t want any more reminders of the unfairness of the system. And so it carries on. The rich and powerful few (whales) become more rich and more powerful, whilst the rest of us float around like plankton in their, broken and rigged, system.”

Yet, as the band points out, the system thrives on distraction and complacency. It keeps us so preoccupied with the everyday struggles that we forget to question the injustices around us. But Beldon Haigh refuses to let us remain passive observers in our own lives. Through their music, they inspire us to challenge the status quo, to question authority, and to strive for a more equitable society.

With their trademark blend of political satire and infectious melodies, Beldon Haigh is more than just a band – they’re a beacon of hope in a world gone mad. So let’s join together, raise our voices, and ride the wave of change with Beldon Haigh as our guide. After all, if we don’t speak up, who will?

Related Topics:music release Scotland single

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We Speak Music

Mané’s ‘The Goddess in the Room’ Turns Self-Discovery Into Sonic World-Building

Published

5 hours ago

June 2, 2026

Philomena Marie

There is a remarkable sense of intention running through The Goddess in the Room, the latest project from Swiss artist Mané. Blending alternative electronic pop with ritualistic percussion and spiritual symbolism, the album presents itself as both a personal statement and a carefully constructed narrative. Across its nine tracks, Mané explores identity, healing, queerness, and empowerment with impressive clarity of vision.

The opening track, “The GODDESS in the Room,” functions as both invitation and thesis statement. It introduces listeners to a world where intuition and self-trust become guiding principles, while establishing the atmospheric production style that shapes much of the record. The song’s spacious arrangement creates room for reflection, a quality that becomes one of the album’s defining characteristics.

That introspection deepens on “perles de sang” and “sappho.” The former grapples with inherited pain and bodily experience, while the latter offers a moving celebration of queer identity. Throughout these songs, Mané avoids reducing complex themes to slogans, instead allowing emotional nuance to emerge through carefully crafted songwriting and evocative imagery.

Musically, the album reaches some of its most intriguing moments on “)O(” and “moonstones.” Both tracks highlight Mané’s growing confidence as a sonic architect, blending electronic textures with organic rhythmic elements inspired by shamanic practice. The resulting sound feels immersive and transportive without losing its emotional immediacy.

Meanwhile, “j’serai tjr là” and “chocolate con sangre” provide some of the record’s most vulnerable moments. Here, Mané strips back some of the conceptual grandeur to focus on connection, memory, and emotional endurance. These songs reveal an artist equally capable of intimate storytelling and ambitious world-building.

The penultimate track, “Witches,” injects a surge of collective energy into the album’s narrative. Drawing on themes of resistance and feminine power, it stands as one of the project’s most direct statements while retaining its atmospheric sophistication. It is both politically resonant and emotionally charged.

By the time “ALIGNED” closes the record, the journey feels complete. Not because all questions have been answered, but because the search itself has become meaningful. The Goddess in the Room succeeds through its commitment to authenticity and vision, establishing Mané as an artist unafraid to follow her own path, wherever it may lead.

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