We Speak Music

Brooklyn’s Saga returns with Black Label Saga Vol. 1

Published

2 years ago

July 12, 2024

Brooklyn emcee/producer Saga has returned in a big way! For his first official release in over two years, he has announced a double LP entitled Black Label Saga Vol. 1 & 2. Vol. 1 is available now and Vol. 2 will drop on August 2^nd.

Stream / Purchase Black Label Saga Vol. 1: https://soulspazm.ffm.to/blsv1

In business the term Black Label, (also sometimes referred to as custom branding) usually refers to creating a completely unique product or service tailored to your specific requirements. In the context of Saga’s music, it means, taking a collection of loosies and nondedicated songs and building a project by designing new music around them to create a cohesive project.

The result is somber instrumentals that retain grainy soul samples, crackin’ drum patterns and gritty bars. Besides Saga’s contributions, featured guests on the project include LeZeppo, Adonis, Mac Montana, Iceburg Snub and Noyz. Guest producers include Quincy Tones, DJ Skizz, Cuth, Duke Westlake and Trox.

The Black Label Saga is a warmup to two other completed projects from Saga to drop this year. While this one is a sampler of the many styles and moods of the artist, the following two will be single producer and thematically focused affairs

With a lengthy history in the game, Saga’s 2015 debut full-length Out Of The Shadows was entirely produced by Marco Polo (Masta Ace, Torae). He followed that up with 2017’s Molotov with producer Thelonious Martin (Odd Future, Pro Era). When next he emerged in 2019 with the one-two punch of the Hagler EP and the Agassi LP, he demonstrated his own developed production skills. 2021 saw the drop of another two projects, Wisdom Wears The Crown EP and the Guttersnipe LP. He has appeared on tracks alongside such notables as Freddie Gibbs, Roc Marciano and Blu. He also toured Europe several times with such artists as Fashawn, Exile and Asher Roth.

In addition to these forthcoming releases Saga is also a member of The Drum Majors Production Team along with Marco Polo, DJ Skizz and Shylow.

More Info: https://www.instagram.com/saga718/

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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