We Speak Music
Das Mörtal Announces Mini-Album DECVY I with Double Single “PARASITE” & “GHOST”
Dark synthwave producer Das Mörtal returns with a striking new double single, “PARASITE” & “GHOST”, marking the first glimpse into his upcoming mini-album DECVY I, due 29 October 2026.
Across two contrasting but connected tracks, the Montréal-based artist continues to expand his signature blend of darkwave, techno, and cinematic electronic music.
“PARASITE” drives forward with urgent rhythm and sharp synth work, channeling tension into motion. Built on a fast-moving beat structure and glowing melodic fragments, the track carries a darker conceptual weight beneath its kinetic surface. As Das Mörtal explains, “An illness has affected my body for some time now, and PARASITE was made under a pain that I can’t quite shake off.”
That sense of internal pressure translates directly into the music. Rather than abstracting emotion, the track seems to process it in real time, turning discomfort into propulsion and fragility into momentum.
Its counterpart, “GHOST” shifts into a more spectral space. Infused with witch-house textures and melodic vocal elements, the track leans into atmosphere and contrast, balancing hypnotic rhythm with a more immediate, club-ready energy. Where “PARASITE” feels like tension held in motion, “GHOST” feels like release through repetition.
Together, the two tracks form a deliberate pairing: one grounded in physical strain, the other in fading presence. It’s a duality that reflects Das Mörtal’s broader artistic identity, music that sits between body and machine, emotion and distortion, dancefloor and interior world.
With this release, Das Mörtal sets the tone for DECVY I: a project that appears to move deeper into themes of transformation, fragility, and musical intensity, without losing sight of the club-focused energy that defines his work.
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We Speak Music
Phoebe June Traces Love, Distance and Heartbreak on New EP ‘Kiss Me Over The Garden Gate’
For Phoebe June, some stories are easier to tell through music.
Her new EP, ‘Kiss Me Over The Garden Gate’, is an intimate collection that traces the emotional journey of a relationship from the exhilaration of falling in love to distance, uncertainty, heartbreak and, ultimately, learning to let go.
Inspired by artists including Gracie Abrams, Taylor Swift and Phoebe Bridgers, Phoebe June combines diary-like lyricism with melancholic ballads, subtle uptempo moments and an understated, emotionally honest production style.
At the centre of the project is ‘Thursday’, a bittersweet track about loving someone from a distance and holding onto the hope that the connection might survive.
Written after Phoebe left a country that held deep personal meaning, and left someone she cared about behind, the song looks back at the relationship from its beginning. Even its title is personal: the two first met on a Thursday.
The song captures the complicated feeling of walking away from something meaningful without believing that it necessarily has to be over. It’s about distance, memory and the possibility of finding your way back to someone, while recognising that hope only works when it goes both ways.
Across six tracks, the EP develops that story in sequence.
‘Everything You Are’ opens the project with the warmth of new love, while ‘Dead Sea’ explores the security of finding someone who helps you stay afloat through difficult times. As the story progresses, ‘Thursday’ introduces separation before ‘Getaway Car’ moves into the aftermath; unanswered questions, lingering attachment and the realisation that someone can profoundly affect your life while still being unhealthy for you.
‘One Day’ leaves the door open to the possibility of a future reunion, balancing hope with the understanding that some relationships may only exist in memory.
The EP closes with ‘Ophelia’, its emotional breaking point. Inspired in part by Friedrich Heyser’s painting of the same name, the track confronts the pain of feeling manipulated and unappreciated after giving everything to someone else.
The result is a project that deliberately moves from light to dark. Phoebe June considered not only the narrative but the emotional progression when sequencing the EP, allowing the brightness of its opening to gradually give way to the heartbreak of its closing moments.
Even the title reflects that feeling.
‘Kiss Me Over The Garden Gate’ takes its name from a flower, with the image of a gate separating two people becoming a metaphor for a love that remains beautiful but just out of reach. To reach over it requires effort, just as maintaining a connection across distance, uncertainty and changing circumstances does.
Ultimately, Phoebe June isn’t interested in simply documenting her own heartbreak.
She wants listeners to recognise themselves in it.
‘Kiss Me Over The Garden Gate’ is a collection about love, nostalgia, hope and regret and about what remains when something beautiful ends up on the other side of the gate.
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