We Speak Music
‘Miscommunication (Lost In Transmission)’ by Irem Bekter Is Where Language Fails, But Music Speaks
What happens when words stop working? For Irem Bekter, that question becomes the foundation of her latest single, “Miscommunication (Lost In Transmission).” It’s a song that thrives on the gaps between intention and understanding—those fleeting, often frustrating moments when meaning slips away.
Bekter’s approach is anything but literal. Rather than telling a straightforward story, she constructs a layered sonic experience where communication breaks down in real time. Voices overlap, languages shift, and clarity is replaced by rhythm and tone. It’s disorienting in the best way—like stepping into a conversation mid-sentence and trying to catch up.
Her background plays a crucial role in shaping this perspective. Born in Istanbul and having lived across multiple countries, Bekter brings a lived understanding of cultural and linguistic intersections. Her music reflects that reality, blending Turkish folk roots with jazz sensibilities, indie textures, and global influences.
The track’s collaborative spirit is equally important. Jean Massicotte’s arrangements provide a framework that allows each musician to shine, from Yves Desrosiers’ expressive guitar work to Olivier Bussières’ intricate percussion. Akawui’s Spanish rap adds another layer of contrast, reinforcing the song’s central theme of voices coexisting without fully connecting.
Comparisons to Lhasa de Sela and Ibrahim Maalouf feel apt, particularly in Bekter’s ability to merge storytelling with rich, cross-cultural soundscapes. But “Miscommunication (Lost In Transmission)” ultimately stands on its own—a reminder that even when language fails, music can still carry meaning.
“With ‘Miscommunication (Lost In Transmission),’ Irem captures the beauty and humour in human connection, where words flow freely but meaning can slip through the cracks. It’s playful, rhythmic, and utterly distinctive, showcasing her unique ability to blend cultures, languages, and musical traditions into something wholly original,” – music publicist Danielle Holian, Decent Music PR
“Balancing Act” by Vinyl Floor is a real treat. It is the sixth record from brothers Daniel and Thomas Charlie Pedersen sounds like it was made for right now and how they blend the ’60s and ’70s with modern elements never feels forced.
The production is clear and thoughtful. Every string, every horn, every vintage keyboard has space to exist. “Puppet Laureate” opens strong with real energy, while “The Swan of Eileen Lake” catches you off guard with folk warmth. “Adelaide” might be the best track, built on a lovely piano line with vocals that cut through cleanly. No hiding behind effects here.
The title track closes things out with the reflection the album’s been working toward. The core idea of finding hope in a fractured world could tip into despair easily, but Vinyl Floor stays honest about it. They’re not offering false comfort, but they’re not drowning either.
Progressive rock this restrained is rare. The arrangements serve the songs instead of overshadowing them. If anything, some moments could use more breathing room, but that’s small in a record made by people who clearly care about what they’re saying.
This is for anyone who wants rock that actually wrestles with real ideas. It counts for something.
You can listen here.
