We Speak Music

Smag På Dig Selv Release A Viking Anthem For The Autumn Season- ‘Let’s Go!’

Published

7 months ago

October 30, 2025

Don Reed

Danish trio Smag På Dig Selv (SPDS) return with ‘Let’s Go!’, the second single from their upcoming album to be released in March 2026. The track is a Viking anthem wrapped in electronic chaos, throat singing and electro punch produced by hyped, charting Danish producer TMI Tammi.

‘Let’s Go!’ was composed in the October 2024, when the band retreated to Albert’s 200 year-old summer cottage in the idyllic landscapes of North Zealand for a writing week. Originally, the plan was to create techno, but the autumnal, Bon Iver-like atmosphere shifted the mood. Instead, the musicians leaned into simply being a band, playing together in silence and letting the music speak. What emerged was a compromise between their initial intention and a newfound urge to explore the idea of an “ambient Viking band” – all brought to life with Carmen’s unmistakably maximalist production.

Since their debut in 2018, Smag På Dig Selv, consisting of Oliver Lauridsen (tenor sax), Thorbjørn Øllgaard (baritone and bass sax, vocals), and Albert Holberg (drums), have established themselves as one of Denmark’s most uncompromising and captivating live acts. With their explosive mix of acoustic techno, punk energy, and 90s dance, they have played everything from Roskilde Festival over SummerStage in Central Park, New York to showcase festivals such as SXSW, The Great Escape and Eurosonic.

After their debut album ‘SPDS’ from 2024 cemented them as one of the most boundary pushing groups on the Danish scene, the trio is now ready for the next step: a new album in March 2026 followed by the spectacular Christiania World Tour, where they will present the material in the heart of the Freetown, where the band itself was formed. With ‘Let’s Go!’, Smag På Dig Selv continue their mission to challenge the simple set up and musical output made from two saxophones and drums.

We Speak Music

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

Published

5 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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