We Speak Music
TSHEGUE Release New Video For ‘Muanapoto’
Thrilling emerging talent TSHEGUE today release the new video for ‘Muanapoto’, lifted from their debut EP ‘Survivor’ (out now), which has already drawn the Paris-based, French-Congolese band fans amongst the likes of i-D, Noisey and Mura Masa. Following head-turning appearances at last year’s Afropunk Festival in Paris (alongside the likes of Baloji, Ho99o9 and Songhoy Blues) and this year’s The Great Escape, TSHEGUE will shortly announce details for their first ever UK shows. Watch ‘Muanapoto’ here.
Shot in Abidjan, capital city of The Ivory Coast, the striking new video harnesses the primal energy of ‘Muanapoto’’s kinetic drumming loops, beneath the no-f*cks-given attitude of French-Congolese frontwoman Faty Sy Savanet’s rhymes, to articulate a story which is actually about silence and isolation. Speaking about the film, which tracks a profoundly deaf and mute young girl negotiating her way out of a world devoid of sound, Argentinian directors Pantera say; “From the moment we first heard ‘Muanapoto’ we knew we wanted to make something that did justice to its insane rhythm and trance feeling. ‘Muanapoto’ speaks for African immigrants in Europe who upon arrival are forced to deal with the unknown, surrounded by new customs, foreign languages, different food and climate, all of which can lead to feelings of alienation. ‘Muanapoto’ also feels like a release, a letting go, and that translates to the girl in our video, who feels the need to express something and is able to do so through dance and her body.”
We Speak Music
Vinyl Floor’s Balancing Act Proves That Honest Rock Still Matters
“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.
-
We Speak Electronic1 week agoAlivia Clark Drops New Electropop Song “Breathless”
-
We Speak Music7 days agoSuave-Ski drops “Burnin & Learnin” ft. Casual (Hiero)
-
We Speak Music1 week agoiSandi Reveals New Single ‘Joina’
-
We Speak Metal1 week agoRocky Kramer’s Rock & Roll Tuesdays Presents “Stoned” On Tuesday, April 21st, 2026 7 PM PT on Twitch
