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goodtoknow Unveils Debut EP ‘I’LL STAY’

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There’s something beautifully untamed about I’LL STAY, the debut EP from goodtoknow — a new collective born from a late-night studio session in Mexico City that unfolded more like a slow-burning revelation than a formal recording. Rooted in gentle indie-pop and alternative folk, the five-track project feels like a moment suspended in amber: soft-edged, emotionally rich, and unwilling to conform to industry polish. It’s not trying to be perfect. And that’s precisely the point.

The collaboration between Paula Prieto, Benjamín Walker, Sir Hope, and Mariano Gillio doesn’t feel forced or strategized. Instead, the EP offers a rare kind of alchemy — voices and instruments sliding into one another with a natural ease, like four perspectives converging on the same emotional landscape. It’s fluid. It’s intuitive. And above all, it’s honest. The production stays close to the ground — warm acoustics, minimal percussion, and an emphasis on lyrical closeness — all drawing the listener in rather than pushing outward.

What’s striking is the level of restraint. Rather than chase the peaks typical of a debut statement, goodtoknow is content to sit in the in-between spaces: the ache before the letting go, the questions that linger after the conversation ends. The arrangements breathe slowly, prioritising feeling over formula. Vocals often feel like they’re being sung from across a quiet room — present, but never imposing.

It’s this emotional subtlety that sets I’LL STAY apart. There’s a quiet courage in its refusal to over-explain or over-produce. The lyrics are intimate but elliptical, drawing you in through tone and texture more than narrative. You don’t need to know the backstory to feel the weight of the moment — these songs speak through mood, atmosphere, and delicate turns of phrase that linger long after the final notes fade.

As a debut, I’LL STAY doesn’t shout for attention — it whispers truths that feel lived-in and necessary. It’s a project built not on ego, but on trust, offering a compelling reminder of what happens when artists let go of the need to define and simply allow something to be. goodtoknow is not a side project — it’s a living, breathing space. And with this EP, they’ve made something that matters.

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Das Mörtal Announces Mini-Album DECVY I with Double Single “PARASITE” & “GHOST”

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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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