We Speak Music

Young Zee returns with “Hold It Down” (Prod by Psych Major)

Published

2 months ago

March 29, 2026

Lyrical outlaw Young Zee (The Outsidaz) and production malcontent Psych Major have dropped a new single. “Hold It Down” (available via all streaming services now) is among the filthiest in terms of verbally and sonically in Zee’s long catalog and booms at a rate rarely accomplished in the 21^st century.

Listen to “Hold It Down”: https://youtu.be/HgRWZfuXzLw

Part of an EP’s worth of music from Young Zee and Psych Major to be rolled out a single at a time, “Hold It Down” follows the duo’s first leak “Get Down” (which also has a guest verse from Psych Major). A video was shot for Zee’s verse (link below).

Watch official video for “Get Down” (Zee verse): https://youtu.be/uIekItgzEJg?si=uU0ctro5rw0vpqea

Stream “Get Down” in full: https://distrokid.com/hyperfollow/youngzee7/get-down-feat-psych-major-keylow-mix

In addition to these new tracks, the two have worked together previously including Psych Major producing “Nobody Gon’ Die” for Zee’s Da Bros album (2023) and Zee appearing on two tracks on Psych’s 2023 EP The Late Starter.

More Info: https://www.instagram.com/youngzeebars/

https://www.instagram.com/psychmajorbeats

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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