We Speak Music

Liv Hanna Debuts New Track “lonely”

Published

3 years ago

November 26, 2023

Liv Hanna kicked off the summer with the fiery track, “Back To Hell.” The songstress now returns to close out the fall with her new single, “lonely.” Similarly to “Back To Hell,” Liv Hanna puts her unique, distinctive twist on the Pop genre. “lonely” may best be viewed as an Alt-Pop/Dark Pop record, but the song is more eclectic in nature as it features synths, the ebb and flow of up-tempo and downtempo sounds, and has elements drawn from Electropop, Pop Rock, etc.

The subject matter of “lonely” may be gleaned from the title, but the song is actually deeper than the title suggests. The song is about the seemingly perfect life that is more so imperfect. “‘lonely’ takes you behind the scenes of someone’s life that people think is perfect.” Liv Hanna continues, “It highlights the club scene and life of a socialite who’s always out on the town, but actually feels immense loneliness.” “lonely” illustrates how many put up a facade, or use a party or an ostentatious lifestyle to hide their pain, fear, angst, etc.

The song cleverly uses the contrasting sounds to perfectly depict the story that Liv Hanna penned through the mix of flashy, wavy sounds and soft, somber tones. Renowned producer Jake Sonderman was enlisted by Liv Hanna to craft the infectious record. “lonely” really demonstrates the versatility that Liv Hanna possesses, and showcases her creative, introspective/extrospective songwriting and powerful, mellifluous vocals.

“lonely” may be a standalone single, but it is a prelude of what’s to come. Liv Hanna already has multiple releases scheduled to set off the new year. At only 20 years old, the rising sensation is just getting started. Press play and put “lonely” on repeat.

Follow Liv Hanna on Instagram (@livhannaaa) and TikTok (@livhannasongss).

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We Speak Music

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

Published

4 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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