We Speak Music

Cloud Brings the Noise with “Punk Never Dies”

Published

10 months ago

August 13, 2025

Emily

Cloud’s new single “Punk Never Dies” hits hard right from the start. This Japanese musician has put together something that sounds like it could have come straight out of the 1970s punk scene, but with a modern twist that keeps it from feeling like a nostalgia trip.

The drums on this track are absolutely massive. Alexandre Di Pasquale, who’s based in Avignon, France, plays like he’s trying to break through the floor. His drumming gives the whole song its backbone, and you can feel every single hit. The guy knows how to make noise in all the right ways.

Cloud’s vocals tell the story of someone who’s fed up with the world around them. Lines like “Nobody told me future” and “No future / Oh yeah / Ohhhhh I don’t care” come across as genuinely frustrated rather than just going through the motions. There’s real attitude here, not just posturing.

Luis handles guitar duties and brings some serious bite to the sound. His riffs cut through everything else happening in the song, and when he cranks up the feedback, it adds the right amount of chaos without making things messy. The guitar work complements the rhythm section perfectly.

The whole thing sounds raw but not sloppy. You can hear every instrument clearly, and nothing gets lost in the mix. It’s got that punk edge without sounding like it was recorded in someone’s basement on outdated equipment.

This song makes a strong case that punk still has something to say. Cloud and his collaborators have created something that respects what came before while making it work for right now. It’s loud, it’s angry, and it doesn’t waste time getting to the point.

For a genre that some people think ran out of steam decades ago, “Punk Never Dies” proves there’s still plenty of life left in punk rock.

You can listen here.

Related Topics:Cloud Fresh New new music Punk Never Dies

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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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