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Nathan Bryce and Loaded Dice Get Real With “Drunk Dial Baby”

Published

2 months ago

April 13, 2026

Emily

Nathan Bryce and Loaded Dice have released “Drunk Dial Baby”. It’s funny, it hurts, and most importantly, it sounds like three guys who’ve actually lived this exact situation one too many times.

The song opens with a loose, funky pocket that feels nothing like the heavier blues rock stuff Bryce and Loaded Dice usually throw down. Jerry Paswaters’ bass line is the real MVP here, locking everything down while Dylan Halacy’s drums stay just loose enough to feel like they’re having fun with it. It’s got swing. It’s got soul. And Bryce’s guitar cuts through like he’s been waiting to let this one out.

The lyrics are where this songs gets its teeth. “She only calls me after a couple shots of whiskey” is the kind of line that lands because you’ve either said it or heard it a hundred times. The whole thing walks this perfect line between laughing at yourself and acknowledging that yeah, this situation sucks. The bridge line “She just wants a little rock and roll to fill the holes in her soul” hits different, followed by that perfectly honest closer: “I’ll pick up that phone. Every. Damn. Time.” That’s the whole relationship right there in one sentence.

After three years backing up Taj Farrant and grinding it out on the road, it’s clear these guys have earned their chops. This track is them stepping out and proving they’ve got their own voice, their own story to tell. And on “Drunk Dial Baby,” they tell it really well.

You can listen here.

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Emily

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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