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Kaleidoscope Orchestra Drops New Single ‘Through the Clouds’

Published

7 months ago

October 27, 2025

Kaleidoscope Orchestra are back with a spellbinding new single, Through the Clouds, a track that effortlessly fuses orchestral grandeur with the textures of dream pop and electronic energy. This release marks a key moment in the lead-up to their debut album of original music, Moments Between, arriving later this year.

The story behind Through the Clouds is as compelling as the music itself. Composed by Steve Pycroft in 2019 during a flight from Aberdeen to London, the track was inspired by the awe and liberation of soaring through the skies. Longtime collaborator Alex Dee joined the project, writing lyrics inspired by witnessing his son open his eyes for the first time—a perspective that reshaped the song into a deeply emotional journey.

After months of experimentation with grooves and arrangements, the track was fully re-orchestrated in 2024, introducing a distinctive “4 over 6” drum groove and lush new recordings, resulting in a cinematic, emotive soundscape. The finished version is a perfect showcase of Kaleidoscope Orchestra’s signature ability to merge contemporary electronic influences with symphonic richness.

Through the Clouds is a testament to KO’s ongoing evolution as a collective. Known for their bold reinterpretations of artists such as Fred Again.., Avicii, and The Prodigy, and for collaborations with Cream, Skrillex, and Camelphat, the group now turns its visionary approach to original compositions. The single hints at an album exploring themes of joy, struggle, memory, and the human condition—an ambitious, heartfelt statement from a group already known for their cinematic musicality.

Kaleidoscope Orchestra are redefining what modern orchestral music can be, and Through the Clouds is proof that their journey is only just beginning.

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We Speak Music

Mané’s ‘The Goddess in the Room’ Turns Self-Discovery Into Sonic World-Building

Published

2 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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