We Speak Music

The Here And Now Share New Song “Riptide”

Published

6 months ago

December 9, 2025

Emily

Brixton’s The Here And Now have just released “Riptide”, and it’s worth talking about where this track sits in their trajectory. Having built their reputation through consistent gigging around London since 2020, there’s a sense they’re reaching for something more defined here.

The track wastes no time getting started. Jason Bond’s guitar comes in with immediate purpose, setting up the heavier framework that carries through the whole thing. Cherry Terzza’s vocals do interesting work here, moving between more vulnerable moments and full throttle intensity. It’s not groundbreaking as a technique, but there’s enough authenticity in the delivery that it doesn’t feel like a box being ticked.

Thematically, “Riptide” explores that familiar pull toward something you know isn’t good for you. The metaphor is pretty direct, which might feel a bit obvious on first listen, but sometimes that directness connects better than trying to be overly clever about it. Most people have experienced that feeling of being drawn into something destructive, so there’s relatability there even if the approach isn’t particularly subtle.

The rhythm section deserves mention. Rich Sackey Addo keeps the drums purposeful without overplaying, while Callum Lowe’s bass provides solid grounding that lets the other elements breathe when they need to. The production strikes a reasonable balance between polish and grit, though it leans slightly more toward the cleaner side than some might expect.

You’ll hear echoes of Paramore, Queens Of The Stone Age, and Royal Blood throughout, which the band isn’t really hiding. They’re pulling from those influences and trying to shape them into something that feels like their own. Whether they’ve fully arrived at a completely distinctive sound is debatable, but “Riptide” suggests they’re moving in that direction.

The track’s strength is its focus. It knows what it wants to be and commits to that vision. At the same time, it’s not reinventing the wheel. This feels like a band getting clearer on their identity rather than making a dramatic leap into new territory.

You can listen here.

Related Topics:Fresh music Riptide The Here And Now

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Emily

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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