We Speak Music
Between Uncertainty and Control: Corban Chapple’s Maybe We’ll Make It Signals a Major New Voice
Corban Chapple’s Maybe We’ll Make It feels like stepping into someone’s private emotional architecture, intimate, carefully lit, and quietly cinematic. The Australian-born, New York-based artist introduces himself not with spectacle, but with atmosphere, crafting an EP that leans into vulnerability as its most striking aesthetic.
From the outset, there’s a sense of movement, between places, identities, and emotional states. Written during his early time in New York City, the project captures that liminal energy with a softness that feels almost tactile. Every track seems suspended in a different emotional room, each one painted with its own shade of longing or restraint.
Musically, the EP is lush without being overwhelming. There’s a sensuality in the production choices, a focus on texture and tone that gives the record its immersive quality. “Braid” drapes itself in layered intimacy, while “Let’s Not Talk About It” turns avoidance into an aesthetic in its own right. Even the more fractured emotional moments feel beautifully composed.
The collaborations on the project add a subtle contrast, like light breaking through fabric. “Porcelain” in particular introduces a dual perspective that deepens the EP’s emotional scope, reframing vulnerability as something shared rather than isolated. It’s one of the record’s most arresting moments, precisely because it feels unguarded.
By the time the title track arrives, Maybe We’ll Make It feels less like a debut and more like a fully formed world. Chapple doesn’t just introduce himself as an artist, he builds a space you temporarily inhabit. It’s thoughtful, atmospheric, and quietly magnetic, the kind of release that lingers long after it ends.
“What makes Corban special is his emotional precision,” says music publicist Danielle Holian, Decent Music PR. “He writes about jealousy, doubt, intimacy, and instability in a way that feels human, not performative. This EP is vulnerable without losing its edge, and that balance is powerful.”
Michele Ducci has unveiled the second single, ‘Woman Like You’, from his forthcoming album and animated film ‘Snail in the Clouds’.
‘Woman Like You’ pairs bright distorted electric guitar with an electronic drumbeat, adding in Ducci’s soulful vocals and a catchy uplifting chorus with Letizia Mandoleisi’s sweet vocal harmonies. A vintage organ pedalboard operated by Ducci simultaneously generates chords, bass and rhythm, like a one-man band. Shane Kennedy (Girl in the Year Above) joins in on guitar. Simon Milner (Is Tropical, Ysing) recorded and produced the track at his 4am Studios in London.
The album and film tell the story of a planet called ‘Snail’, inhabited by hybrids – primarily a mixture between scorpions, snails and humans – who lead a life according to the style of Pythagoras, devoted to music. There is also a cloud man named Agostos, a writer of musical operettas, who together with a talking smoke machine called Doctor Subtilis, begins to kill all hybrids, targeting in particular the hybrid musician Diodoros and his band, in an effort to steal the ark of melodies, an ancient ship that allows the whole planet to survive with music and joy.
The video for the single, created and animated by Ducci and Mandoleisi, delves further into the realm of planet ‘Snail’:
Says Ducci, “The ark of melodies, after various attempts, finally starts to work and fly in the planet Snail, while the shady Doc. Sub. and Agostos, with their platoon of soldiers made of foggy smoke, spy the miracle, planning to steal the ark for their evil and tyrannical purposes.”
About the track, Michele says, “I wrote this song for my love Letizia. Love seen from the mind is the sound we make. Sound is the love of matter.
We used a Technics synthesizer organ from a flea market. I tried to find a mood that was right for the song and I started using the bass of the pedal board together with the synth and the drums, and it was magical to hear the song reveal itself all coming from a single instrument. Leti was singing with me and we recorded everything live in one shot. Then we made Shane do the guitar flight, as if he came out of the window. The idea was to maintain disproportions, guitar thrust and synth drum thinness a la Haroumi Hosono, so as to create an estrangement, but naturally: it’s about how I listen, with close up something that captures me in its nuance as element of a larger orchestra somewhere. I’m glad we decided in the studio with Simon to use the layers of arrangement as the close-ups in the cinema; they look like strange enlargements that perch on parts of a mutated orchestra. I’m happy to come back with this love song at a time when everything seems to opt, even my labor in managing the flows of selfishness that have poured out on me while doing this album, for the sound of war. I’m here happy to be able to say that the sound of love always wins as did for me. Snail in the clouds is one of the most important works in my life and I am glad to start from pure love for this album that is my son.”
The album and full-length film will be released on the 5th of June on Monotreme Records.
Michele and Letizia’s previous musical short film, ‘The Great Book of Nature’, is an official selection for the 2026 Venice Shorts Film Festival.
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