Electronic
Rayhan’s “1f(one flew)” is a beautiful breakdown before the breakthrough
There’s something mesmerizing about a meltdown with a style that can make chaos feel like clarity and in Rayhan’s new single, “1f (one flew),” it all reaches its breaking point. A genre-blurring track produced by Charlie Weare, Rayhan’s “1f (one flew)” is a raw, self-aware firecracker of emotion and noise that merges the fog of shoegaze, the bite of indie rock, and the witty punchlines of alternative hip hop. This would be the soundtrack to spiraling. With the line, “Everyone gets tired of me / But I get tired of myself too,” Rayhan comes out swinging.
It’s a bit of brutally honest, sometimes sardonic, fully human dialogue. The track plays like a 3 a.m. journal entry shredded through a distortion pedal and blaring through blown speakers. “1f (one flew)” is a cleansing shifting between emotional confession and revolution. Rayhan can hold contradictions in his hands, exhaustion and exhilaration, control and chaos, sadness and swagger. The Charlie Weare production punches hard but without overpowering Rayhan’s voice. It’s sloppy in the most purposeful sense, with thick layers of fuzz and a vocal delivery that sounds like a sneer and a scream all at once.
Everything feels frayed around the edges and also deeply considered. It is music that reflects the mind of someone coming apart but doing so beautifully. With this track released in anticipation of Rayhan’s album release, “uDOPE,” we can tell he’s not here to play it safe. “1f (one flew)” is a warning shot, a wild opening, maybe even a last gasp before something big comes. For those who laugh while falling apart, and for people who draw strength for in their imperfection, Rayhan you just gave your tribe an song.
Album Review
Tangent return with “Disclosure,” a dark electronic journey through truth and uncertainty [album]
Dutch electronic duo Tangent returns after a 3-year hiatus with “Disclosure,” their 7th album, released today via n5MD. The album draws on ambient, electronic, and IDM sounds, revisiting the shadowy, dystopian atmosphere that has long defined the duo’s musical identity.
“Disclosure” references these themes: things long hidden, inner conflict, doubt, and facing what’s been kept out of sight for a long time, after a hard time and a long hiatus. Tangent creates a world where darkness and hope can live together across seven tracks.
The opening title track, “Disclosure,” sets the tone, tracing the slow arrival of uncomfortable truths. At its heart, the idea moves from creepy tension to a darker, heavier reality, with a growing sense of discomfort. “Absence of Force” explores the resistance of silence and the search for your voice through control and emotional control.
The next track, “Unfound Existence,” is introspective and concerns the search for identity and self-understanding. Its theme of entering uncharted personal or creative territory adds a further dimension to the album’s rumination on change and uncertainty.
“Denial” explores internal conflict in the face of difficult realities. The track explores the gap between what people know and what they are prepared to accept. “Vector of Acceleration” suggests a more primitive existential horror, the sense that things are slipping out of our control. Another way to look at this tension is “Sonoluminescence,” a track about hope, survival, and seeing the light after the dark. It’s an emotional breath of fresh air in the album’s dark world.
“Opposing Forces“ is the album’s closing track, and it leaves you with a feeling of tension and unresolvedness. It captures the eternal struggle between hope, darkness, and change, without a clear answer. Tangent is back in the sound with “Disclosure,” and each song approaches that territory from a different angle, creating a connected journey through hard truths, personal discovery, fear, and the possibility of moving forward. The album invites you to sit with the questions.
Album Review
Orshina turns personal grief into a powerful message of remembrance on “Requiem for “NOVA”” (album)
Orshina’s new album, “Requiem for “NOVA”,” is emotionally charged, turning personal pain into a message of remembrance, healing, and hope. The result is a blend of ambient and rock that explores the raw emotions of loss and reflection. The album is a journey through a very difficult creative process, crossing grief, rage, trauma, and collective pain, not forgetting the importance of remembering those who are no more.
The album was recorded mostly at Orshina’s home studio and features violinist Maianne Tur, drummer Roey Brosh, and vocalists Idit Eshel and Shiran Tzfira. Additional drums and mixing were done at Leon Sound Pro. The album opens with “Graveyard Blues,” which lays out the core themes of grief and loss. It serves as a reflective launchpad, drawing you into the project’s emotional weight.
“Bread & Circus” looks outward, exploring the dissonance between private grief and a world obsessed with entertainment. The song asks how easy it is to miss serious pain when the attention is elsewhere. With “Hell In Paradise,” Orshina explores the difficulty of carrying trauma in a world that can feel peaceful on the surface.
“Rest In Music” takes music to a place you can visit when it’s hard to understand or put feelings into words. The song is also about the creative process as a way to sit with complicated feelings and begin working through them. “Dressed up for the Devil” is a darker emotional journey, dealing with grief as well as anger, bitterness, and destructive thoughts.
The album moves from the personal to the historical tragedy with “Holocausts and Slavery,” the collective suffering. In a project of remembrance, Orshina places these subjects within a larger responsibility to recognize painful histories and link them to individual grief. Through “Requiem for “NOVA,”” the artist creates a musical statement about healing and the importance of keeping memories alive through a difficult creative process. “Requiem for “NOVA”” is a tribute to the lost, a reminder that hope can exist alongside sorrow.
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