We Speak Music

Maur Kii Drops New EP “MAURNB: THE YEAR WAS”

Published

2 years ago

October 14, 2024

View Park Records’ Maur Kii has had a busy 2024. He kicked off the year with an album, BIRTHDAY PACK: WELCOME TO 7. The music sensation is now back to close out the year with a new EP, MAURNB: THE YEAR WAS. The six-track EP is R&B-focused, borrowing from various eras and subgenres of R&B. Maur Kii cleverly and strategically arranged the songs on the EP to tell a story and its parts. The overall story is based off an interaction between Maur Kii and a woman.

The EP opens with the track, “STREETS.” The song is a chill, sleek record that has a modern R&B sound. The song depicts the initial interaction between Maur Kii and the women that is the subject of the EP’s story. Track two, “4 THE WEEKEND,” continues with the vibe of the previous record, but incorporates a more Hip-Hop/Rap sound. The track features renowned music artist Wontel. The song discusses Maur Kii courting the female love interest and his admiration for how hard-working the woman is. The next song, “NAKED,” has a unique arrangement and an eclectic beat yet still brandishes Maur Kii’s captivating R&B sound. The record dives into the internal conflict that the woman is feeling towards her new love interest, Maur Kii, and her current significant other. The end of the record marks the end of her current relationship.

The EP moves onto “DEEPER.” “DEEPER” goes deep into the lovemaking. It is a sensual, sultry record that touches upon the love/lust. The song features rising star Afterdrk (and appropriately so, given the topic of the song and the artist’s name). “OPTIONS,” the penultimate song, is up next. “OPTIONS” is a song that served as a lead single for the EP; however, Maur Kii altered the EP version of the song a bit. “OPTIONS,” on the EP, has an intro. The track has a swaggy vibe yet is a vulnerable piece. The song features budding music artist Randy White. The song is about how Maur Kii has options and him being honest to the woman, letting her know what she’s getting into. The track provides an intricate and intimate discussion about indecision, communication, and other topics that deal with love and relationships. The EP ends with the story’s end. “WHO CRIES IN A MAYBACH?” is a wavy record with dark tones. The romance and honeymoon phase seem to have faded. The song tries to reckon how the fun and extravagance weren’t enough to make the woman happy and the relationship last.

MAURNB: THE YEAR WAS is a terrific body of work from top to bottom – from the storytelling to the vocals to the production. The EP is perfect for all listeners, but especially great for fans of PARTYNEXTDOOR, Travis Scott, and Fridayy. MAURNB: THE YEAR WAS demonstrates why the year was Maur Kii’s.

Follow Maur Kii on Instagram: https://www.instagram.com/musiciskii.

This review was made possible by SubmitHub.

Related Topics:2024 album ep feature featured maur kii maurnb the year was music new music october R&B r&b/soul rnb rnb/soul soul view park records we speak media

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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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