[Citește în română]

CONSTANTIN BRÂNCUȘI, reinterpreted through urban art as part of the UN-HIDDEN CONNECTIONS project, which will take place in Belgrade, Serbia

Constantin Brâncuși continues to inspire new generations of artists and foster cultural dialogue across borders. Against this backdrop, a new cultural project, Un-hidden Connections, co-funded by the Romanian Cultural Institute through the Cantemir Programme, will bring to Belgrade a series of cultural activities dedicated to reinterpreting the sculptor’s work and legacy through urban art.

The project features an exhibition, two debates, two creative workshops and two multidisciplinary performances, offering the Serbian public a contemporary perspective on how cultural heritage can be rediscovered through contemporary artistic practices.

The exhibition showcases 14 works of urban art created in Romania by the artists Brothers of Light, Endo, Irlo, Kero, Lucian Hrisav, Meri the Zu, Obie Platon, Ocu, Ortaku, Sweet Damage Crew and Vhils, which draw on the sculptures, symbols and concepts developed by Constantin Brâncuși. The 18 panels on display are accompanied by curatorial texts explaining the links between the artistic interventions and Brâncuși’s work, highlighting how cultural heritage continues to inspire contemporary creation in public spaces.

The project includes two debates that bring together cultural managers, researchers, and artists from Romania and Serbia. The first debate, on the theme „Why Constantin Brâncuși matters today: Reinterpreting cultural heritage through European street art practices”, features Cristina Popa, Andrei Racovițan, Ljiljana Radošević, Aleksandar Djalek Đorđević and Jelena Popović Đorđević as guests. The second, ” Representations of Brâncuși and his works in contemporary urban art in Europe”, brings together the artists LUNĂ, Pisica Pătrată, Jana, TKV and Chenipe.

The participatory aspect of the project is complemented by two creative workshops led by Romanian artists Alexandru Ciubotariu (Pisica Pătrată) and LUNĂ, who will explore, alongside participants, the influence of Brâncuși’s work on contemporary art, from the Monumental Ensemble in Târgu Jiu to the motifs found in his sculptures.

The cultural activities will include two multidisciplinary performances organised in collaboration with musicians from Serbia, in which live painting sessions will interact with DJ sets, creating an artistic experience that blends visual art, music and cultural heritage.

Through this project, Romania and Serbia are strengthening their European cultural dialogue, demonstrating that Constantin Brâncuși’s work remains a living source of inspiration, capable of generating new forms of artistic expression and connecting communities through the universal language of art.

SCHEDULE
Friday 4 - Friday 18 September
-      Exhibition in Belgrade, Serbia (2 weeks)

Friday 4 September
-       Opening
-       Debate with cultural managers: Cristina Popa (RO), Andrei Racovițan (RO), Ljiljana Radošević (RS), Aleksandar Djalek Đorđević (RS) and moderator Jelena Popović Đorđević (RS)
-       Live performance with Pisica Pătrată + guest DJ (Serbia)

Saturday 5 September
-       Workshop 1 with  Pisica Pătrată
-       Workshop 2 with LUNĂ

Sunday 6 September
-       Debate with artists: LUNĂ (RO), Pisica Pătrată (RO), Jana (RS), TKV (RS), Chenipe (RS) and moderator Ljiljana Radošević (RS)
-       Live performance with LUNĂ + guest DJ (Serbia)

Learn more about the project and book your place in the workshops here.

This project is cofinanced by the Romanian Cultural Institute through the Cantemir Programme - a funding framework for cultural projects intended for the international environment.

The Romanian Cultural Institute cannot be held responsible for the content of this material.

Partners: Asociația Kruna (Street Art Belgrade)

Media partners: feeder.ro, digitizArte.ro, Un-hidden Romania, BSBSA (Belgrade Sofia Bucharest Street Art), Igloo, IQads.ro, La pas prin Brașov, Munteanu, PRwave, Revista Atelierul, Zeppelin, Ziarul Pozitiv

About Save or Cancel

Since 2009, Save or Cancel has been a platform for communication and dissemination of arts and culture, promoting and facilitating their role in contemporary society.

The multidisciplinary programs self-initiated by Save or Cancel aim to identify sustainable and adaptable opportunities for (re)valuing the existing through cultural and editorial projects.

[RO]

Un-hidden Connections în Belgrad, Serbia

CONSTANTIN BRÂNCUȘI, reinterpretat prin arta urbană în cadrul proiectului UN-HIDDEN CONNECTIONS, care va avea loc în Belgrad, Serbia

Constantin Brâncuși continuă să inspire noi generații de artiști și să genereze dialoguri culturale dincolo de granițe. În acest context, un nou proiect cultural, Un-hidden Connections, cofinanțat de Institutul Cultural Român prin Programul Cantemir, va aduce la Belgrad o serie de activități culturale dedicate reinterpretării operei și moștenirii sculptorului prin intermediul artei urbane.

Proiectul propune o expoziție, două dezbateri, două ateliere creative și două performance-uri multidisciplinare, oferind publicului din Serbia o perspectivă actuală asupra modului în care patrimoniul cultural poate fi redescoperit prin practici artistice contemporane.

Expoziția prezintă 14 lucrări de artă urbană realizate în România de artiștii Brothers of light, Endo, Irlo, Kero, Lucian Hrisav, Meri the Zu, Obie Platon, Ocu, Ortaku, Sweet Damage Crew, Vhils, care fac referire la sculpturile, simbolurile și conceptele dezvoltate de Constantin Brâncuși. Cele 18 panouri expuse sunt însoțite de texte curatoriale ce explică legăturile dintre intervențiile artistice și opera brâncușiană, evidențiind modul în care patrimoniul cultural continuă să inspire creația contemporană în spațiul public.

Proiectul include două dezbateri care reunesc manageri culturali, cercetători și artiști din România și Serbia. Prima dezbatere, cu tema „De ce este important Constantin Brâncuși în ziua de azi: Reinterpretarea patrimoniului cultural prin prisma practicilor europene de artă stradală”, îi are ca invitați pe Cristina Popa, Andrei Racovițan, Ljiljana Radošević, Aleksandar Djalek Đorđević și Jelena Popović Đorđević. Cea de-a doua, „Reprezentări ale lui Brâncuși și ale operelor sale în arta urbană contemporană din Europa”, îi aduce împreună pe artiștii LUNĂ, Pisica Pătrată, Jana, TKV și Chenipe.

Dimensiunea participativă a proiectului este completată de două ateliere creative susținute de artiștii români Alexandru Ciubotariu (Pisica Pătrată) și LUNĂ, care vor explora, alături de participanți, influența operei lui Brâncuși asupra creației contemporane, de la Ansamblul Monumental de la Târgu Jiu până la motivele prezente în sculpturile sale.

Activitățile culturale vor cuprinde două performance-uri multidisciplinare realizate în colaborare cu muzicieni din Serbia, în care sesiunile de live painting vor dialoga cu DJ set-uri, construind o experiență artistică ce îmbină arta vizuală, muzica și patrimoniul cultural.

Prin acest proiect, România și Serbia își consolidează dialogul cultural european, demonstrând că opera lui Constantin Brâncuși rămâne o sursă de inspirație vie, capabilă să genereze noi forme de expresie artistică și să conecteze comunități prin limbajul universal al artei.

PROGRAM

 Vineri 4 - Vineri 18 Sept

-      Expoziție în Belgrad, Serbia(2 săptămâni)

Vineri 4 Sept

-       Vernisaj

-       Dezbatere cu manageri culturali: Cristina Popa (RO), Andrei Racovițan (RO), Ljiljana Radošević (RS), Aleksandar Djalek Đorđević (RS) și moderatoarea Jelena Popović Đorđević (RS)

-       Performance live cu Pisica Pătrată + DJ invitat (Serbia)

Sâmbătă 5 Sept

-       Atelier 1 cu  Pisica Pătrată

-       Atelier 2 cu LUNĂ 

Duminică 6 Sept

-       Dezbatere cu artiști: LUNĂ (RO), Pisica Pătrată (RO), Jana (RS), TKV (RS), Chenipe (RS) și moderatoarea Ljiljana Radošević (RS)

-       Performance live cu LUNĂ + DJ invitat (Serbia)

Află mai multe despre proiect și rezervă-ți locul la ateliere aici.

Acest proiect este cofinanțat de Institutul Cultural Român, prin Programul Cantemir – program de finanțare pentru proiecte culturale destinate mediului internațional.

Institutul Cultural Român nu este responsabil de conținutul proiectului sau de modul în care rezultatele proiectului pot fi folosite. Acestea sunt în întregime responsabilitatea beneficiarului finanțării.

Parteneri: Asociația Kruna (Street Art Belgrade)

Parteneri media: feeder.ro, digitizArte.ro, Un-hidden Romania, BSBSA (Belgrade Sofia Bucharest Street Art), Igloo, IQads.ro, La pas prin Brașov, Munteanu, PRwave, Revista Atelierul, Zeppelin, Ziarul Pozitiv

Despre Save or Cancel

Din 2009, Save or Cancel este un mediu de comunicare și propagare a artelor și culturii, promovând și facilitând rolul acestora în societatea contemporană.

Programele multidisciplinare auto-inițiate de Save or Cancel au ca scop identificarea oportunităților sustenabile și adaptabile de (re)valorizare a existentului prin proiecte culturale și editoriale.

Vay Delivers a Bright and Personal House Anthem with “Lifeline”

Electronic producer Vay presents “Lifeline,” a vibrant new single that transforms a deeply personal message into an uplifting house record. Arriving through his independent label Stellar Beats, the release demonstrates his interest in combining melodic club music with direct and memorable songwriting.

“Lifeline” is driven by radiant piano melodies, crisp percussion and a bassline that maintains momentum throughout the arrangement. The production has enough energy for peak-time dancefloors, but its melodic character also makes it suitable for radio, streaming playlists and more accessible electronic audiences.

The vocal is essential to the track’s identity. Its main refrain describes the feeling of depending on someone who can provide strength and perspective when everything else feels unstable. According to Vay, the song is about the person who helps you reconnect with yourself, an idea that gives the release an emotional foundation beneath its polished club production.

Rather than choosing between underground credibility and crossover appeal, Vay positions “Lifeline” somewhere between the two. Elements of House, Tech House, Melodic House & Techno and Dance-Pop appear across the track, but the result remains cohesive and recognisably his own.

The arrangement builds with precision, allowing the vocal and piano motifs to return at the right moments while the rhythmic elements keep the energy consistent. It is easy to imagine the record working during an open-air sunset set, in a festival environment or as an uplifting moment inside a late-night club session.

“Lifeline” is a warm, effective and emotionally sincere release that confirms Vay’s ability to create electronic music with both immediate impact and lasting melodic appeal.

David Ramano Returns To When Stars Align With New Afro House EP ‘Pleasure’

When Stars Align welcomes back David Ramano for his three-track EP ‘Pleasure’, a deeply expressive collection moving between feel-good Afro House energy, darker rhythmic pressure, and uplifting melodic atmospheres. David blends intricate percussion, emotive chords, and immersive vocal textures across the EP, delivering a journey-led record built for both daytime and late-night dancefloors.

The EP opens with ‘Pleasure’, a warm Afro House cut driven by rich piano chords, layered synths, and ethereal vocals, carrying a sunlit energy that balances rolling groove pressure with a smooth, atmospheric flow designed for daytime and sunset settings, before moving into ‘Broken’, which shifts into deeper territory by combining Afro and melodic elements with a driving low-end bassline and hypnotic synth movement, bringing a tighter rhythmic focus and darker edge that delivers energy and depth for peak-time moments on the dancefloor.

Closing the release with ‘My Eyes’, which leans into a lighter, more uplifting direction led by a feel-good groove, warm melodic layers, and spacious vocals, it delivers a radiant, euphoric energy tailored for daytime parties and golden-hour transitions, carrying a strong sense of lift and connection.

David Ramano comments:

“For me, the best music exists outside of time. It doesn’t matter when it was made or what trends surround it, if it moves you, it matters. This EP was created from that mindset. I wanted each track to feel like a journey, balancing the energy of the dancefloor with something more personal and introspective. My hope is that listeners find whatever they need in these records, whether that’s joy, reflection, inspiration, or simply a moment to escape.”

Raised in London’s diverse musical landscape, David’s sound is shaped by soulful harmonies, emotional storytelling, and the influence of underground dance culture. From the 1990s pirate radio scene to performances across the UK, Spain, Sweden, and Canada, his journey has been defined by authenticity and movement. As one half of the Deepologists, he developed an immersive approach to music that connects the physical and emotional sides of the dancefloor.

David’s work continues to receive strong support from international tastemakers, including Damian Lazarus, Themba, CamelPhat, Shimza, Artbat, Cosmic Gate, and Don Diablo. His track ‘Fall’ remains one of his most-streamed releases, combining Afro percussive energy with emotive melodies and surpassing 400,000 streams while featuring on key Spotify Afro House playlists. Across platforms, his catalogue has now exceeded two million streams, with music reaching clubs, festivals, and radio shows worldwide.

With ‘Pleasure’, David Ramano delivers a focused, emotionally rich EP that showcases his signature blend of rhythm, mood, depth and atmosphere, marking a strong addition to the When Stars Align catalogue.

David Ramano – Pleasure EP

Official Release: 31st July, 2026

Label: When Stars Align

Stream & Purchase Here

Find Out More & Follow:

When Stars Align: Facebook | Instagram | TikTok | Beatport | Traxsource

David Ramano: Instagram | Spotify | Beatport | Traxsource

Hong Kong-born, Paris-tested: Wallace Woo just closed STALACTITE: Part I at Espace Temple, and he's already thinking in geological time. His practice, built on pigment left to fracture, settle, and find its own structure, treats the canvas less like a surface and more like a cave system waiting to be read.

We talked to him about letting go of control, the myth of the "day after," and why he'd drop everything for a collaboration with Björk.

The show at Espace Temple is now behind you. What does the day after a solo exhibition feel like?

Actually, there is no such thing as the "day after" an exhibition ends.

For an artist driven by creativity, an exhibition is merely a window for dialogue with the public. Once the works leave the studio and enter the gallery space, once they collide with viewers, that accumulated energy fulfills its social mission. I had originally thought that after an exhibition ended, there would be a stagnant vacuum, but real life is more relentless than geological movement.

I'm still being swept along by all kinds of affairs, still caught in that loop between "exhaustion" and "self-fulfillment." This contradiction is fascinating: I often complain about the suffocation of my schedule, yet once I come to a standstill, that emptiness expands like a hollow cavity underground. I later realized that this is simply the nature of life; there is never a perfect stillness, only unceasing flow and compression.

On the day after the exhibition ended, I didn't really rest. I went back to my computer. But when I opened the guestbook and saw that someone had written about how "the spine holds the body upright," I suddenly understood: my work had not ended just because the exhibition was over.

Those paintings had completed their physical form on the walls, but now they were entering the geological strata of the viewers' lives, reacting with their solitude, their inner structures. Seeing that readers could, within the "cave time" I had established, perceive the weight of their own existence, that made me feel that all those trivial follow-up tasks were, in fact, further reinforcement of that ongoing dialogue.

This is my life, both the surface layer of busyness for survival, and the "mineralization" process I must undergo in order to precipitate even a little bit of truth.

What shifted in your practice during the process of putting this exhibition together? Did the work surprise you?

If I could fully predict, at the very beginning of creation, how a work would ultimately land in the minds of viewers, then the entire experiment would have been a complete failure. Throughout the preparation for this exhibition, the biggest change I underwent was learning to "let the work determine its own structure." In the early stages, I might have approached the canvas with the stance of a director, trying to orchestrate the direction of every layer of texture. But this time was different; I treated the creative process as a kind of "geological simulation."

When I piled pigment onto the canvas and let it wander on its own, when those heavy materials began to fracture under the influence of gravity and time, I would step back and observe their "will." I discovered that when I stopped over-intervening and instead submitted to those physical inevitabilities, the paintings would take on a structural quality that I could never have simulated on my own.

After the works were exhibited, they did surprise me. The audience response was positive, but few people commented on individual pieces in isolation; instead, they spoke more about the overall feeling the entire exhibition gave them: the time and space to reflect on their own inner experience. This effect was so precise that it felt as if it had been waiting there all along to be revealed, rather than something I had created.

This is the fascination of stalactite aesthetics: it strips the artist of the arrogance of being a "creator," and even turns the audience into "excavators." They look closely at the fault lines on the canvas, feeling within themselves that sense of fragmentation and re-assembled order, and come to realize that there are many unrepairable wounds in life, and that it is time to properly address them.

The true meaning of geological abstractionism is not the pursuit of a perfect result, but rather the act of undergoing a process of losing control through the canvas. When the unexpected happens, how do you find the courage and wisdom to mend it, and learn to coexist with that "imperfection"?

This has been the attitude I have carried throughout the preparation of this exhibition, and it has been the most important lesson of all. And I offer this "geological awakening" to every visitor; I believe they have felt that raw, untamed awakening.

Street art, fine art, digital, the boundaries keep dissolving. Where do you see your work sitting in that landscape five years from now?

Regarding the blurring of boundaries between street art, fine art, and digital art, I think this is a very interesting phenomenon of our time. As for where my work will be classified five years from now, I don't claim to have any prophetic ability to predict that. But I am confident that in an age of such extreme void, human beings will always have a fundamental need to return to the most primal state to extract a sense of authentic existence.

And the very essence of "geological abstractionism" exists precisely to transcend these man-made labels. Whenever you need it, it remains within your reach. If my theory or manifesto can gain wider recognition within my lifetime, that would be a great joy to me.

For me, the classification of art forms is like a man-made map of the earth's surface—but my art explores the deep subterranean pressures and sedimentations. These physical laws do not change with the shifting of labels.

Even five years from now, I will still be creating with the same geological logic. If it takes the form of street art, it becomes an outcrop of mineral veins on the surface of the city. If it appears as fine art, it is a stratigraphic cross-section sedimented over time. Even if it were digital art, it would merely be a translation of geological transformation into an algorithm of velocity. When my core creative principle, stalactite aesthetics, is solid enough, any medium becomes merely a vessel for conveying it.

The art world five years from now will be even more dematerialized, and the public will crave, more than ever, a certain weight of the real, rather than mere visual stimulation. So my work will not compete for a position within any particular domain. It will become a kind of existential reference point.

Like a mountain, whether you view it from the foot, gaze down from an airplane, or scan it with digital instruments, it remains a mountain, nothing more and nothing less. If, in the future, people speak of my work not by debating which genre it belongs to, but by saying, "This work made me feel the compression of time," then the blurring of boundaries will no longer be an issue for me at all.

You've been building visibility across Europe. Is there a city, a space, a context you haven't shown in yet that genuinely excites you?

When it comes to distant desires, I feel a strong pull toward South America, Mexico, Colombia, Argentina. Perhaps it's because they are so far from Hong Kong, where I grew up. That vast geographical and cultural distance stirs in me a creator's urge to conquer, to push against my own limits. I am deeply fascinated by the landscapes there, and by the raw, fierce vitality of their cultures; it feels like another geological territory waiting to be decoded.

But when it comes to places where I truly want to stay and create, my criteria become very personal, even demanding. For me, art and life cannot be separated. I cannot engage in deep creative work in a city where I cannot sink into the rhythm of daily life. Currently, my top choice for a residency would be Japan, followed by Portugal.

Why these places? Because I value everyday life enormously. I'm not just looking for exhibition spaces; I'm looking for an environment that can converse with me. I need a diet I can settle into, a lifestyle I can savor. Creation is a form of consumption; life is what replenishes it. I want my daily existence in these places to resonate with my creative process; when I live there, eat the local food, feel the local climate, that process of sedimentation becomes purer and more focused.

For me, whether it's the conquest of South America or the choice to stay in Japan or Portugal, it all amounts to the same pursuit: authenticity. I don't want to be a passerby. I want to thoroughly fuse the local terrain and way of life with my own geological obsession. This is not just about building visibility; it is my process, as an artist, of searching for my second geological layer on the global map.

I also have a long-term wish: if I am fortunate enough to travel across the world, I would love to leave behind a dedicated series of works for each place I visit. Perhaps Romania, for instance; its geological formations and historical depth make it an exceptional site for experimentation. I am not merely traveling; I am collecting different strata from around the world, embedding them into my creative life. This is a long-term project I want to give to myself, and to the world.

What's the project you're afraid to make? The one that keeps coming back but you haven't committed to yet

To be honest, there isn't any project that I'm "afraid" of doing. What I truly fear is not having enough time and space to complete them. I am a demanding person; once I decide to do something, I will see it through, leaving no room for compromise. As for those projects that have yet to begin, it's really not because of fear.

It's because some plans simply "haven't reached their mature moment." To be frank, with my current schedule consumed by preparing for solo exhibitions, my calendar is packed to the brim. Under these circumstances, I can only work on smaller pieces, because large-scale works are incredibly time-consuming; they demand specific climates, specific spaces, and even a particular state of mind to sediment properly. I refuse to rush through a work just to meet a deadline; that would be unfair to the work and to myself.

I'm in no hurry. I believe that creation, much like life itself, never offers a state of perfection, but there can be a "best possible state." Some large works require a particular season, even a particular moment in time, to ferment properly. I still have a lifetime to bring them into existence, slowly and steadily; there's no need to force it now. I hope my audience can share that same patience.

Art is not fast-moving consumer goods; it is more like a mountain, built layer by layer over time. So for those projects that haven't yet started, I choose to wait until the right time, the right place, and the right conditions all align, and then I will bring them to life, beautifully and properly. That, to me, is the rightful attitude toward creation.

Do you work better in chaos or in routine? Has that changed over time?

I'm a typical Virgo. That means, no matter how chaotic the environment around me may be, I have an innate instinct to force myself to find a way out and establish order. I once worked backstage at fashion shows, an environment of split-second timing and near-chaos. But think about it: the moment a model steps onto the runway, she projects absolute poise and composure.

No one pays attention to the mess and urgency backstage. That is my work philosophy: chaos is the inevitable surface, while order is the underlying structure I must build behind the scenes.

As for my preference for working modes, I'm not really picky. My adaptability is almost frightening to myself; whether it's improvisation amid chaos or a rigorously disciplined rhythm, I can quickly tune myself to the corresponding frequency. However, as I've grown older, my mindset has indeed shifted. In the past, I would deliberately try to master chaos to prove myself; that was a form of resistance.

But now, I lean more toward letting go. I no longer demand that my environment be orderly; what I demand is clarity within. When you release those unnecessary attachments, you realize that even amidst turbulence, you can remain like a deep subterranean rock layer, preserving that rare stillness within.

So now, I don't insist on absolute order, but I do hope that my future self can become more at ease. When things feel lighter, it's not because the workload has decreased—it's because I have learned not to deplete myself in the midst of chaos. That is the state I am seeking now, even when the outside world is in turmoil, the inside remains as still and unshakable as a stalactite.

If you could collaborate with anyone - alive, dead, fictional, from any discipline - who would it be and what would you make together?

If I could transcend dimensions to choose a collaborator, I would without hesitation choose Björk.

It's not just because I've loved her since I was young, but because, in my perception, Björk's music is itself an "auditory geological phenomenon." Her voice carries an utterly primal vitality, especially in her earlier work; her vocals effortlessly soar above the instrumentation, while simultaneously being infused with a futuristic, technological texture.

I deeply long to engage in an improvised cross-disciplinary collaboration with her: she would spin live, using music to vibrate the space and the paint, while I would stand before the canvas, waiting and observing, responding to her rhythm with my own "geological interpretation." It would be an experiment in resonance.

I would treat her music as a physical force, guiding the accumulation and solidification of pigment—when the bass frequencies vibrate, the thick impasto on the canvas might fracture unintentionally; when the melody turns delicate, I would precisely carve into the finer, overlooked details. Those layered rhythms and sounds would be like strata constantly collapsing and reassembling in the atmosphere. Fascinating.

The work that emerged would no longer be simply my painting or her music—it would be an "energy field" co-created by both of us. A painting that sings, or a geological formation solidified by sound.

This is not merely an artistic collaboration; it is a process of transforming abstract emotion into physical form. In Björk's musical universe, I sense a quality that feels almost extraterrestrial, which resonates deeply with my own preoccupation with deep-time geology and the sedimentation of life. If we could create together, I am certain it would be the climax of our two souls resonating in unison.

What's something the art world gets consistently wrong, that you wish someone would just say out loud?

If there is one thing in the contemporary art world that has been persistently misread and has grown tiresome, it is that carefully capitalism-packaged "way of seeing."

What I want to ask is this: who exactly gave capital the right to define art? And who decided how human beings should look at a work of art? For too long, we have grown accustomed to this system, an artist's value determined by the size of their gallery booth, a work's merit measured by its auction price, and the way we see it guided by curatorial pamphlets or the jargon of critics. It is an absurd game. When everyone is led by the nose by these labels, the true experience of art is utterly diluted.

We live in an age that chases speed and high premiums. Art has been reduced to an asset allocation; a decorative piece hung in a living room to signal status. But this is not the essence of art; it is merely capital's "surface adornment." I believe the lie most in need of exposure in the art world is this monopoly over the right to define.

Why must we rely on a critic's interpretation before we dare say, "I understand this painting"? Why should a work with a soaring price tag be considered more valuable than one with depth?

As a creator, I keep returning to "stalactite aesthetics," those structures formed in dark caves by drips accumulating over tens of thousands of years. They never seek market approval; they simply exist, and through that extreme sedimentation, they radiate a compelling force. This is what art should be, in my mind: a pure accumulation of life, unpriced and undefined by the market.

I am not standing up to fight against capital, because resistance itself is also a form of attachment. I simply want to remind the world that we need to reclaim the right to define art.

When you stand before my canvas, do not look at the market labels, and do not rush to find a curator's statement to validate your feelings. Try using your own body to feel the compression, the fractures, the solidification of those pigments. If you see in them a scar from some moment in your life, or if you sense a resonance with something like the "weight of existence," then this artwork is priceless to you.

The value of art should not be granted by those who define it; it should be determined by the "awakening" that occurs in the moment of collision between the viewer and the work. If there is still someone in this world who needs to point this out, then I am standing here. I hope that in the future, the art world will have fewer "ways of seeing" manipulated by capital, and more reverence for the essence of the work.

When we learn to let go of our obsession with price, when we learn to see independently and truthfully, only then will art be liberated from capital's chains, and truly become that mountain in every person's life that holds up their soul.

What comes next? And how much of that answer do you actually know right now?

What's next? The answer has always been clear. I am fully devoted to a creative series titled AFTERALIVE.

This is not for personal prestige in the art world, nor for the sake of exhibitions. This series was born from an intensely private and romantic vision: I want to set a coordinate for my soul through these paintings, so that when life transcends dimensions and I am reborn in my next life, the person I love most in this life, my husband, will be able to recognize, at a single glance through the textures and resonances on these canvases, that it is a message left by me.

I have been asked whether my art is about Zen, physics, or philosophy. But when I return to the core of my creation, all those grand concepts recede. What I truly want is simply to sustain that powerful magnetic resonance between him and me. The fate we share in this life is fleeting, but geological sedimentation is eternal. I am using these pigments and structures to carve, across the river of time, a mark that only he can read.

If you ask me how much of the future I have mapped out, what I hold is not the market, but this obsession. I have "mineralized" all the awakenings and emotions of this life into these paintings. I even have a small hope: that this interview, these words, these works, might transcend our lifetime and endure into a farther future. When time fades, and the world changes, if someone at some future moment reads this and encounters these words, that would be my greatest consolation.

For me, the greatest function of art is to give the soul a way home. I don't need to define the future. I only need to ensure that this feeling, this resonance, can cross the boundary of death and continue to vibrate. That is everything I am doing now, and that is the truest promise I, as an artist, leave for the future.

Where no one looks, deep in the shadows, Lewis sees what no one see.

Lewis Friends is our annual compilation. Every year, our dear friend Lewis, the label curse, digs into the deepest corners of the internet in search of artists with the most peculiar musical ideas. For this second volume, Lewis brought together producers from Canada - Algeria, Mexico, and Argentina, each contributing their unique vision of electronic music.

The Cassette

Recorded in our studio and crafted by hand, the cassette served as the ideal canvas to bring all these musical stories together, imparting the signature analog warmth of magnetic tape.

We were also truly grateful to have our compilation on sale throughout 2025 at a key meeting point, a vinyl shop, bookstore, and upcoming radio station: MAAD store the project opened its doors to showcase our cassettes in a space dedicated to promoting both, local and international electronic music. In this ecosystem, physical spots like vinyl shops and radio stations are fundamental for supporting independent projects, offering labels a permanent venue to show their releases beyond the digital realm.

Finally, we gathered online for a short chat about music with some of the featured artists to catch up on what they’re currently working on.

Shaped Music

He presented us with “Enigma,” a very solid track with a crisp, clean mix that showcases his skill in crafting minimalist atmospheres.

How is this style of music (Minimal / Micro House) perceived in Argentina?

In Argentina, Minimal and Micro House are growing. The listener base is steadily expanding, and new spaces are gradually emerging where this music can evolve and express itself. It’s wonderful to watch a scene take shape where you can feel understood and truly resonate with this sound.

What was the starting point for "Enigma"?

It all started by experimenting with the beat. I created the drums and bass first, and then I just let my imagination take over. I began adding supporting sounds like the pad, which gives the track a lot of character along with synths, textures, and subtle details. Eventually, I came across the vocal sample and played with it using different effects.

Any track, EP, or album you’ve been listening to lately?

A track I really love and have been playing a lot recently is Viaje a Dos Neuronas by Baltazar.

Jo!

Jo! is one of those eclectic and spontaneous artists. Spanning everything from rock and blues to hip-hop and  micro house, his deep love for music turns every beat into a complete sonic journey. Having known Jo! personally for a couple of years now, talking music with him is always a pleasure. This time, we wanted him to share a bit about his creative process, musical tastes, and upcoming projects.

Your tracks feature a unique approach to vocals and their nuances. Could you tell us a bit about your process when composing vocals?

I love improvising vocal designs and then modulating them with my favorite effects. I like freestyling hip-hop lyrics based on whatever I’m feeling at the moment. I also enjoy writing when inspiration strikes while admiring the lake near my house.

What projects are you currently working on?

Right now, I’m working on an album and exploring all kinds of electronic music. I’m also developing a collaborative project with a distinct style of its own.

Can you recommend a track, album, or EP you’ve been listening to lately?

Matthew Herbert – The Audience. It’s a track that motivates me to give my listeners the best version of myself.

Smooth Selektor

He’s an old friend who started his career in Puebla and is currently based in Mexico City.

In your track “Finding The Places,” we noticed a turn toward the atmospheric and ethereal sounds of ambient music. Is that a major influence on how you produce this type of music?

I think around that time I was experiencing a duality in my creative process. On one hand, I wanted to capture a melancholic, emotional feel through melody, paired with heavy modulation and delays that gave a sense of movement. On the other hand, there was that house side, basically built around 909 and 808 sounds. From there, I started solidifying both sides into what I’d now call "my sound."

What projects are you currently developing?

Production-wise, I’m working on a 7-track LP or album that reflects the sound I’m currently comfortable with. Making this album involved a lot of emotional growth—ranging from tracks I needed to get off my chest to tunes built specifically for the dancefloor. It’s important to me that it sounds honest. I don’t have a label for it yet, but I’ve even considered self-releasing it.

Recommend an album, EP, or track you’ve been listening to lately.

It’s a few years old now, but it’s by Alexander Skancke on one of his Quirks releases, Silverplan. The B-side features a 4-minute breakbeat track called For Those Who Lost Someone. It’s a heart-wrenching melody because you can feel it was made with someone specific in mind, which is why it connects so deeply. Sometimes you just miss someone, and that’s all there is to it. It's one of my all-time favorite songs.

Finally, from your perspective, how do you view the current Mexican electronic music landscape?

I think it has grown immensely over the last few years, largely thanks to community building. We’re basically friends of friends hosting parties and bringing different concepts to life across the country—Guadalajara, Mexico City, Monterrey, Cholula, and many other emerging local scenes. Ultimately, we’re united by the music, which I believe is the driving force behind us getting together to release tracks or throw events. Promising, to say the least.

For this year our VA compilation is available as "Name Your Price" so you can support us with whatever you can. You can also download it for free. Huge thanks to all the artists, everyone who supported the release, and those who continue to support it!

Figura Negra on Bandcamp: https://figuranegra.bandcamp.com/album/lewis-friends-volumen-2-fign50

Hot off the heels of their tantalising 2026 remake of the club classic ‘Sueno Latino’ by Sonic Soul Orchestra, Mishell Ivon and Mr. V, SSO’s People Watching label keeps the summer heatwave rolling with a scorching new remix package from Groove P and Matt Gillespie. Groove P brings his unmistakable party‑people energy, delivering a percussive, rhythm‑driven groove powered by a warm, driving bassline and beautifully crafted breakdowns designed for maximum impact on the dance floor. Matt Gillespie brings a taste of the underground, serving up bouncing swing groove, powered by a deep bumping bass and energetic beats wrapped in hypnotic synth melodies that flow with the vocals to create a sublime treat for the dancers.

Two of the finest falsetto voices in soulful dance music, Leee John (the iconic lead singer of British band, Imagination) and Byron Stingily (the renowned voice behind American dance legends, Ten City), have joined forces on the uplifting and inspiring new single 'Proud & Bold,' a Discofied, powerful musical statement celebrating self-belief, resilience, unity and hope. Written and produced by Leee John and Dee Vaz for LJ Music Ltd, 'Proud & Bold' combines empowering soulful vocals, inspiring lyrics and contemporary production to create an anthem designed to uplift and connect, encouraging listeners to embrace their individuality, stand confidently in their truth, and support one another through life's challenges.

Powered by an irresistible Disco soundtrack teased with funky guitar licks, sweeping strings and infectious drums, 'Proud & Bold' sports an impressive lineup of musicians and producers including, Shumya (string arrangements), Crispin Taylor (drums), Isaiah Brown (bass), Yves Erson (guitar), and Toby Baker and Dee Vaz, (keyboards). Add to that a momentous coming together of two of the most distinctive and celebrated soulful voices on the planet - Leee and Byron's unmistakable tones beautifully unite with their heartfelt and inspiring message for the masses. The release also includes remixes from respected figures across the Soul, House and dance music communities, including DJ Destruction (Ross Emmins), Ernie McKone of Boogie Back Productions, and the legendary Erique Dial of Raze.

‘Proud & Bold' will be released on all platforms on July 24th 2026 on LJ Music Ltd.

https://bfan.link/proud-and-bold

P La Cangri Releases Bilingual Dance Anthem 'Free Ride'

New York recording artist, DJ, producer and songwriter P La Cangri releases her new single 'Free Ride', a bilingual dance anthem arriving as she lands in Ibiza for a week of performances. Blending commercial dance production with effortless English and Spanish vocals, the single captures the energy of summer, Ibiza and dance floors around the world.

Built for beach clubs, rooftop parties, festival stages and unforgettable summer nights, 'Free Ride' combines sleek commercial dance production with bilingual English and Spanish vocals to create a record designed to connect with audiences across cultures. Equal parts playful, confident and seductive, the single celebrates attraction, chemistry and living completely in the moment, while carrying a subtle message beneath the surface: the best things in life, and success itself, never come as a free ride.

Released independently through Gutierrez Enterprises, 'Free Ride' marks another step in P La Cangri's artistic evolution as she continues to blend Latin influences with contemporary dance music for a global audience.

P La Cangri comments:

“I've always believed music should make people feel something. 'Free Ride' is about letting go, living in the moment, and enjoying the journey, but also remembering that the best things in life are earned.”

The release arrives on July 31st, the same day P La Cangri lands in Ibiza for a week of performances. The timing reflects a natural connection between the record and the island that is the global home of dance music. With 'Free Ride', she continues her journey, not by chasing trends, but by creating music designed for real dance floors, unforgettable moments and audiences looking for the soundtrack to their summer.

Born from New York energy and Latin roots, P La Cangri is a recording artist, singer, songwriter, DJ and producer blending Latin culture with contemporary dance music. From commercial dance and House to Amapiano and Reggaetón, she creates high energy records built for clubs, festivals and audiences around the world. 

'Free Ride' delivers P La Cangri’s most confident and internationally focused release to date. Blending Latin influences with contemporary dance production and bilingual songwriting, the single stands as a celebration of freedom, connection and living in the moment, while reinforcing her position as an independent artist with a global vision.

P La Cangri - Free Ride

Official Release: 31st July, 2026

Label: Gutierrez Enterprises

Stream & Purchase Here

Find Out More & Follow:

P La Cangri: Website | Instagram | Facebook | Spotify

Stefan Rose Continues His Rise With New Single ‘Closing In’ On Music is 4 Lovers

American-born, Europe-raised artist Stefan Rose continues his rise within electronic music with his latest single ‘Closing In’, released via the U.S. -based label Music is 4 Lovers. Following a series of standout releases, label signings, and growing international recognition, ‘Closing In’ marks another milestone in Stefan’s evolution as an artist, showcasing his approach to melodic and club-focused electronic music.

Stefan Rose has developed a distinctive sound that merges warm organic elements with darker synthetic textures. His productions combine the intensity of dance floor percussion with elegant melodic composition, creating a unique style that glides between Melodic Techno, Indie Dance, and House music influences.

His journey into electronic music commenced at a young age when he started DJing in clubs while growing up in Europe, developing an early fascination with House and Techno. In recent years, he channeled a period of personal loss into a creative catalyst, expanding his focus towards music production to pursue a lifelong dream.

To date, Stefan’s accolades and milestones include his 2025 debut EP ‘Abyss’ via Dear Deer, which reached number three on the overall Beatport chart, establishing him as an emerging force within the Melodic House & Techno and Indie Dance scenes. Swiftly following up the release with another EP ‘This Feeling’ via Nihil Young’s Frequenza imprint, which featured a collaboration with vocalist Sophie Joe, he then signed with Tube & Berger’s ZEHN Records to unveil ‘Not Right’, further cementing his growing reputation among artists and labels within the global electronic community. More recently, he also remixed the Timo Maas track ‘Macumba’ for Selador, the imprint co-founded by Dave Seaman and Steve Parry, and released ‘Sardegna’ with UGENIUS, the Australian label run by The Journey.

Stefan Rose comments:

“My latest release ‘Closing In’ represents another step forward in my artistic journey, perfectly capturing the melodic atmospheres, powerful vocals and fulsome percussion that comprise my current sound. It’s a hypnotic single that will rock a dancefloor in the moment but also stay with you long after the night is over.”

Beyond his own original productions, Stefan has also built momentum through a series of notable edits, including his rework of Swedish House Mafia’s ‘Leave The World Behind’ and his acclaimed reinterpretation of David Guetta’s ‘The World Is Mine’. These edits have further highlighted his ability to bring a distinctive melodic and dance floor-driven perspective to recognisable records, and have been getting strong support across the electronic industry.

Now splitting his time between New York and London, Stefan continues to expand his international profile, supported by a strong presence in both cities. His latest single ‘Closing In’ arrives via Music is 4 Lovers, adding to a rapidly developing catalogue that reflects his continued growth as an artist and his dedication to pushing forward his signature sound.

Stefan Rose’s ‘Closing In’ arrives via Music is 4 Lovers on July 31st, adding another standout release to his growing repertoire and further demonstrating the unique blend of melodic depth and club energy that defines his artistic story.

Stefan Rose - Closing In

Official Release: July 31st, 2026

Label: Music is 4 Lovers

Purchase Beatport | Pre-Save Spotify

Find Out More & Follow:

Stefan Rose: Website | Instagram | Spotify | Beatport | Traxsource

Music is 4 Lovers: Website | Instagram | Beatport | Traxsource ​

The Fari Islands Festival returns from 13 to 15 August 2026, bringing together Patina Maldives, Fari Islands and The Ritz-Carlton Maldives, Fari Islands for a second edition. The festival expands its 2026 programme with the addition of Milind Soman, DJ FS Green and National Geographic, joining festival headliner Rosamund Pike alongside an exceptional collective of artists, chefs, designers and cultural voices from around the world.

Spanning three days and two resorts, the festival continues its exploration of art, wellness, gastronomy and nature, moving through a natural daily rhythm from sunrise rituals and ocean experiences to thought-provoking conversations, communal gatherings and performances into the night.

Globally recognised designer and cultural tastemaker Sean Wotherspoon, known for iconic collaborations with Nike, Adidas, Porsche and Gap, will lead a collaborative art residency during Fari Islands Festival, bringing his vibrant, sustainability-focused aesthetic to the islands.

At the centre of the residency is a large-scale, reef-inspired sculpture, built collectively across the festival as guests contribute to the piece under Sean's direction. Once complete, the installation will be placed in the Fari Islands lagoon as part of ongoing coral regeneration efforts, continuing to evolve as marine life takes hold over time

Sean will also take over the Fari Artist Atelier with a dedicated pop-up, featuring an exclusive Fari Islands merchandise collection alongside limited pieces designed especially for festival guests from both resorts.

Joining Sean is the endurance icon Milind Soman - a national swimming champion turned one of India's most recognisable public figures, Soman has spent three decades pushing at the edges of what endurance means.

For the Fari Islands Festival, he's teaming up with iRunners, the Maldives' leading running community, to host a morning 5km and 10km Charity Island Run on 13 August.

The collaboration centres on iRunners' flagship event, the Maldives Half Marathon. Since 2022, it's drawn runners from across the region and beyond to cover 21.1 kilometres through Malé, with the Indian Ocean as a constant backdrop. But it's never really just been about the race, the volunteers, supporters and local residents lining the course make it feel more like a citywide celebration. Each edition runs under iRunners' Protect the Reef campaign, and in 2026, proceeds will fund a coral restoration project in Villingili, so every kilometre run ends up doing something for the marine environment that makes the Maldives worth visiting in the first place.

2026 Festival Lineup

Joining this year's music programme alongside Sébastien Tellier and NOTEP is internationally acclaimed Dutch DJ and producer FS Green, one of Amsterdam's finest talents. He began making beats at the age of 15, quickly developing a serious career that saw him win the StateAwards for both ‘Best Producer’ and ‘Best DJ’ in 2010. Rooted in hip-hop, his sound moves fluidly between electronic music, Afrobeats, dancehall and house, with a versatility that has made him a specialist across genres – from UK bass to Jersey club. His production credits include collaborations with artists such as Mahalia, Blanco, Sevdaliza and Major Lazer.

FS Green will headline the final evening with a special beachfront performance, transforming the shores into an open-air celebration beneath the stars. Also featured is Thai multidisciplinary artist NOTEP, whose immersive performances blend music, nature and storytelling to create moments of reflection and connection.

This year's programme also welcomes a visiting National Geographic Explorer, offering guests a unique opportunity to explore the natural world through the lens of observation, storytelling and conservation. Alongside Olive Ridley Project, experiences throughout the festival will centre on the Maldives' remarkable marine ecosystems, biodiversity and ongoing conservation efforts.

The festival's culinary and wellness programme brings together an equally impressive line-up. Michelin-starred chef Samuel Lee of Parisian neo-bistrot SENsation joins Tokyo's WAGYUMAFIA for standout dining experiences, while Dry Wave Cocktail Studio, No. 5 in Asia's 50 Best Bars 2025. joins Michter's Whiskey for narrative-led cocktail experiences, alongside curated spirits sessions from Sei Bellissimi's Danilo Pozone.

Wellness by Bamford returns as the festival's wellness partner for a second year, with sound healer Stephanie Waxberg and aromatherapist Louise Riby leading immersive wellbeing experiences, joined by Noble Panacea for sessions centred on longevity and holistic wellbeing.

Together, these collaborations reinforce the festival's ambition to create experiences that extend beyond entertainment, encouraging guests to engage with ideas, people, and the place in meaningful ways.

"The festival has always been about curiosity - bringing together remarkable people whose work inspires fresh ways of thinking and connecting," says Anthony Gill, General Manager, Patina Maldives.

“As the festival draws closer, the excitement continues to build,” says Oscar Postma, General Manager of The Ritz- Carlton Maldives, Fari Islands. “This year’s exceptional programme has come together beautifully, and we can't wait to see it all come to life across Fari Islands as we welcome guests for another unforgettable edition.”

Reserve a stay at Fari Islands Festival at The Ritz Carlton Maldives or Patina Maldives.

Experience the journey on Instagram or visit fari-islands.com.

Mark Pashley’s New Lounge Single “Water Birds” on Inspirational Recordings

Pre-order available now on Traxsource | Exclusive release: 17^th July 2026 | Worldwide digital release: 31^st July 2026

Mark Pashley returns to his record label, Inspirational Recordings, with his latest lounge single, Water Birds. The release is available to pre-order now on Traxsource, with an exclusive release on 17th July 2026, before arriving on all major digital stores and streaming platforms on 31st July 2026.

Featuring both an Original Mix and a Radio Edit, Water Birds is a beautifully crafted lounge production that blends deep drums with rhythmic percussion, warm bassline, lush ambient pads, spacious synthesizers, and delicate mallet melodies. Inspired by the calming sounds of nature, the track seamlessly weaves birds and insects, and cascading waterfall effects into its rich sonic landscape.

Designed to evoke a sense of peace and escape, Water Birds offers a soothing yet uplifting listening experience. Whether you’re unwinding after a long day, enjoying a sunset, or simply looking to lose yourself in atmospheric sound, Mark Pashley’s latest release provides the perfect soundtrack.

This August Bank Holiday, Into The Wild Festival will once again transform Chiddinglye Farm in West Sussex into one of the UK’s most inspiring celebrations of nature, music, creativity and community.

Taking place from 28th to 31st August 2026, the four-day gathering brings together world-class musicians, artists, naturalists, craftspeople, storytellers and changemakers in a beautiful landscape of ancient woodland and wildflower meadows. What began as a small grassroots event has grown into one of Britain’s leading nature-based festivals, while staying true to its original vision: helping people reconnect with nature, themselves and one another.

With more than 200 workshops, talks and immersive experiences, Into The Wild is far more than a music festival. Visitors can learn traditional crafts, discover the art of foraging, hear inspiring speakers, explore movement and wellbeing, encounter remarkable wildlife, dance beneath the stars and experience a rare sense of belonging in the natural world.

Into The Wild Festival founder Huw Williams comments:

“Into The Wild is about stepping away from the constant noise of modern life and rediscovering presence, connection and community in a natural setting. It’s about learning, being with nature, and remembering a more grounded way of living.”

Nature recovery is woven throughout the festival. Organisations including WWF, the Captain Paul Watson Foundation, the Woodland Trust, South Wealden Badger Group, Ecotalk, Ecotricity, Zaytoun CIC, Fox Angels Foundation and many others will be sharing inspiring projects, practical ideas and opportunities for people to become involved in restoring the natural world.

The 2026 programme spans three stages alongside a wide range of cultural spaces, presenting live music, performance, workshops and participatory experiences. The World Stage will host acts including BCUC, Fulu Miziki, Mr Williamz (Ignition High Power), Northern Poet & The Urban Druids, Sika, Subhadra Desai, Tashi Lhunpo Monks from Tibet and The Egg. The Sun Stage and Electronic Music Stage offer a diverse mix of emerging and established artists spanning acoustic, folk, global sounds, electronic music and late-night DJ sets, featuring performances from artists including Azaria Franco, Gabriella Frances, The Butterfly Wheel, Super Claud, Kristian, Heiko and Miss Lightbeam, alongside a programme of live sets and performances into the night.

The festival also supports the work of Wilderlands CIC, a community interest company dedicated to restoring habitats, creating space for wildlife and helping reconnect people with nature through practical conservation, education and rewilding initiatives.

Into The Wild has earned a reputation as one of the UK’s most original festivals by bringing together extraordinary music, inspiring ideas, traditional skills, indigenous wisdom, creativity and a deep love of the living world. Whether visitors come to dance beneath the stars, learn an ancient craft, hear remarkable speakers or simply spend a weekend surrounded by nature, the festival offers an experience that is both joyful and deeply enriching.

Taking place from 28th to 31st August 2026 at Chiddinglye Farm, West Sussex, Into The Wild invites festival-goers to reconnect with nature, embrace creativity, find a sense of community and experience a diverse programme of workshops, wellbeing and music.

Into The Wild Festival 2026

Tickets available: Here

Date: Friday, August 28th, 2026 – Monday, August 31st, 2026

Address: Chiddinglye Farm, East Grinstead, West Sussex

Find Out More & Follow:

Into The Wild: Website | Instagram | Facebook

Sit+Read POP—UP Fair aduce la Timișoara două zile dedicate creației independente și artiștilor locali

În perioada 1–2 august 2026, între orele 12:00 și 19:00, Indecis Artist-Run (Bastion 3, str. Hector nr. 1) găzduiește Sit+Read POP-UP Fair, un eveniment care reunește artiști, designeri și creatori locali într-un spațiu de întâlnire, descoperire și dialog.

Sit+Read POP—UP Fair invită artiști, designeri și creatori independenți să se alăture unui târg dedicat publicațiilor independente, obiectelor de autor și formelor diverse de expresie vizuală.

Căutăm creatori care dezvoltă proiecte originale și obiecte realizate în serii mici sau ca piese unicat: ilustrații, ceramică, bijuterii handmade, obiecte upcycling, fotografie, cărți de artist, fanzine, printuri, textile imprimate, accesorii, decorațiuni și alte creații independente.

POP—UP Fair este un spațiu de întâlnire între creatori și public, o ocazie de a prezenta proiecte personale, de a intra în dialog cu vizitatorii și de a susține scena creativă locală într-un cadru relaxat și accesibil.

Dacă vrei să participi cu lucrările tale, completează formularul de înscriere până la 27 iulie 2026:

https://forms.gle/D27YEmxLqYePAz8n9 

Sit+Read POP-UP Fair
📅 1–2 august 2026, 12:00–19:00
📍 Indecis Artist-Run – BASTION 3, str. Hector nr. 1
🎟 Intrare liberă

Pe 1 august, între orele 12:00 și 16:00, va avea loc și atelierul making zines: PLANTS+PRINT, dedicat tuturor celor interesați de publicațiile DIY și tehnicile experimentale de print.

Pornind de la plante, texturi și imagini, participanții vor experimenta cu colaj, desen, stencil, xerox și alte tehnici de reproducere pentru a crea propriul fanzin inspirat de lumea vegetală. Atelierul este deschis tuturor, indiferent de experiență, iar toate materialele necesare sunt asigurate de organizatori. Locurile sunt limitate la 10 participanți, iar donația recomandată este de 100 lei.

making zines: PLANTS+PRINT
📅 1 august 2026, 12:00-16:00
📍 Indecis Artist-Run – BASTION 3, str. Hector nr. 1
✔ Materialele sunt incluse
✔ Donație recomandată: 100 lei
✔ Locuri limitate (10 participanți)

Înscrieri pentru atelier:

https://forms.gle/ooWkYHUPDWqKoxBa6

Organizat de Asociația La Figurat.

Parteneri: The Secret Garden, Indecis Artist-run, Local Design Circle, Paper Traffic, Facultatea de Arte și Design – UVT.

Finanțat de Municipiul Timișoara prin Centrul de Proiecte Timișoara. 

Eveniment organizat de în parteneriat cu Municipiul Timișoara, prin Centrul de Proiecte.
#spatiipentrucomunitate

SOUL IN THE HORN CLOSES A LEGENDARY CHAPTER WITH ACT 4: REMIXES & BONUSES — THE FINAL INSTALMENT IN ITS ACCLAIMED SERIES

New York City's globally celebrated music movement and cultural institution Soul In The Horn proudly unveils the final chapter in its beloved compilation series: Soul in the Horn Act 4: Remixes & Bonuses, arriving digitally on July 17, 2026, followed by a deluxe double vinyl release on August 21, 2026.

More than just a compilation, Act 4: Remixes & Bonuses is a celebration of the sound, spirit, and community that have made Soul In The Horn one of the most respected platforms in contemporary soulful music culture. Curated by founders DProsper and Natasha Diggs, the release brings together an all-star cast of musical innovators for a stunning finale packed with exclusive remixes, dancefloor weapons, and future classics.

Spanning 18 tracks and featuring an extraordinary cast of artists, producers, musicians, remixers and vocalists from across the global soulful music community, Soul in the Horn Act 4: Remixes & Bonuses is a masterclass in modern dance music craftsmanship. Rich in soul, groove, musicianship and club energy, the collection seamlessly weaves together house, jazz, Afro-Latin influences, deep rhythms and timeless songwriting, delivering a listening experience that is as powerful on the dancefloor as it is at home.

Born in New York City as a groundbreaking dance party and live music experience, Soul In The Horn has grown into a global lifestyle, music, technology, and entertainment brand dedicated to uplifting collective vibration through music and culture.The movement has become synonymous with musical excellence, community, and cultural connection, earning a devoted following from New York to dancefloors around the world. Act 4: Remixes & Bonuses serves as both a celebration of that remarkable journey and a fitting conclusion to one of the scene's most respected compilation series.

Adding further weight to the release is a roll call of contributors that reads like a who's who of soulful dance music, featuring respected names including Karizma, Josh Milan, Bilal, Timmy Regisford, Coflo, Ian Friday, Merlin Bobb, Pat Lok, Mark Francis, Masaki Morii and many more alongside the extended Soul In The Horn family. The result is a project that honours the movement's roots while continuing to push its sound forward.

• Artist: VA
• Title: Soul in the Horn Act 4: Remixes & Bonuses
• Label: Soul In The Horn Records
• Cat No: SITH002
• Format: 2 x Vinyl, Digital & Streaming
• Genre: Soulful House / Deep House / Afro / Hip Hop
• Release Date: Digital - 17th July 2026 // Vinyl - 21st August 2026
• Buy / Pre Order: TBA

Web / Social Media Links:

@Soulinthehorn

BOGDAN RA KICKS OFF US RECORDS WITH AN IBIZA-INSPIRED RELEASE

US Records by US Ibiza arrives with a clear sense of direction, launching with a fresh new four-tracker from rising Lisbon based house act Bogdan Ra.

The release is held together by a single concept - Bogdan Ra’s personal take on Ibiza’s unique atmosphere.

He gets there by digging across decades, pulling from 70’s disco, early 00’s pop, and electro-clash, and folding it all into four house tracks that work their magic at different points of a night.

Welcome to the next generation of Balearic dancefloor providers!

YOU + WE = US

• Artist: Bogdan Ra
• Title: US 001
• Label: US Records
• Cat No: US001
• Format: 12''
• Genre: House
• Release Date: 17/07/2026
• Buy / Pre Order: https://yoyaku.io/release/us001/

Web / Social Media Links:

https://www.instagram.com/us.ibiza

Change the Beat, the global non-profit organisation dedicated to supporting women and gender expansive artists in electronic music, expands its mission to create pathways for artists through education, mentorship, industry access, live events and release programmes.

As the organisation enters its next phase of growth, Change the Beat announces new milestones focused on increasing representation across electronic music. Its objective is to increase the percentage of women and gender expansive artists signed to electronic music labels by creating meaningful routes to label opportunities. The organisation aims to support 300 women and gender expansive artists in securing label opportunities within two years, 600 artists within five years and 1,500 artists within ten years.

Sydney Blu comments:

“Over the course of my career, I've learned that talent alone isn't always enough. Artists need access to mentorship, industry relationships, education, and opportunities to be seen and heard. Change The Beat was created to help provide those pathways.

We're not here simply to talk about the challenges facing women and gender expansive artists - we're here to be part of the solution. Our focus is on creating real opportunities through education, mentorship, industry access, and artist development. Every signing, mentorship, contest winner, showcase slot, and industry introduction helps move the needle and creates a stronger future for the next generation of artists."

Following the recent relaunch of its flagship Remix Contest Programme, Change the Beat will also launch ‘The Demo Room’, a new initiative designed to increase access to label opportunities and strengthen connections between emerging artists and the electronic music industry.

The recently relaunched Remix Contest Programme builds on a proven model that has created official remix and release opportunities for emerging artists in collaboration with leading electronic music labels and artists. Since its relaunch, the programme has partnered with SIPPY and DeadBeats, with upcoming collaborations including Westend and Trace Amounts, alongside Sara Landry's HEKATE Records. Previous partners include Drumcode, mau5trap, Armada, Anjunadeep, Anjunabeats, HE.SHE.THEY, Insomniac Records, Nervous Records and Toolroom Records. Artists connected to the programme have worked on projects involving deadmau5, Nicole Moudaber, Eli & Fur, Crystal Waters, Ultra Naté, Maya Jane Coles, DJ Minx, VNSSA, Giorgia Angiuli and Azzecca.

‘The Demo Room’ will see participating labels showcase their sound and A&R priorities, giving the Change the Beat community a direct route to submit music, receive feedback and connect with industry decision-makers.

Sydney Blu shares:

“We've already helped facilitate more than 100 label signings, but we're only getting started. The goal of 300 signings by 2028 is ambitious by design, but it's also achievable because we're creating opportunities every month through our Remix Contest programme, The Demo Room, and artist development programmes like Going Global.

We've already seen labels, artists, managers, brands, and industry partners rally behind this mission, and many have discovered incredibly talented artists through our community. We invite the wider electronic music industry to join us in creating more pathways, more opportunities, and a stronger future for the next generation of talent.”

Founded by electronic music artist, producer and industry professional Sydney Blu, Change the Beat was established to address the underrepresentation of women and gender expansive artists within electronic music. Originally launched in 2021 as 23by23 with the support of Native Instruments and in partnership with Beatport, the organisation has since evolved into an international artist development platform, building a community of more than 1,200 members and facilitating over 100 label opportunities and signings. Alumni have gone on to release music with labels including Armada, Drumcode, Anjunadeep, Anjunabeats, Toolroom, Insomniac Records, HE.SHE.THEY, Dirtybird, mau5trap and REALM.

Through workshops, masterclasses, mentorship, club events, industry partnerships and career development programmes, Change the Beat provides artists with practical support across music production, DJ performance, branding and music business. The organisation continues to expand its activities through events, showcases and educational programmes across the UK, US, Canada and Europe, creating further opportunities for women and gender expansive artists to develop their careers and connect with the global electronic music industry.

With the relaunch of its flagship Remix Contest Programme, the introduction of ‘The Demo Room’, and its artist development programme Going Global, Change the Beat is continuing to expand its work creating greater access to label opportunities for women and gender expansive electronic music artists. Through its growing network of artists, educators, labels and industry partners, the organisation invites the electronic music community to support its mission of building a more inclusive and sustainable future for the next generation of talent.

Change the Beat: Website | Instagram | Facebook | Discord

Sydney Blu: Website | Instagram | Facebook | Spotify | Beatport ​

Acclaimed South African singer songwriter, poet and DJ Sio joins forces with Soul Quest Records for the deeply emotive new EP, Losing Sleep, a four track collection exploring love, reflection and the restless thoughts that emerge long after dark.

Marking her first collaboration and release with Soul Quest Records, Losing Sleep brings together Sio's unmistakable voice, rich songwriting, intricate harmonies and poetic lyricism with the label's signature blend of deep soulful house, broken beat and jazz infused electronic grooves.

At the heart of the EP lies a shared musical language between Sio and the Soul Quest crew, resulting in a body of work that feels both intimate and expansive. Across four tracks, themes of longing, self discovery and emotional evolution unfold against a distinctly London backdrop, shaped by some of the capital's most exciting producers.

Opening the release is "Serious", a deep, soulful and Afro tinged house cut produced by Sean Green and From London. "Somewhere", produced by Max Sinàl, KingCrowney and Sean Green, blends house and broken beat influences into a warm, reflective groove, while "Hello", produced by Max Sinàl, Sean Green and Slxm Sol, delivers a shuffling broken house rhythm beneath Sio's heartfelt vocals. The EP closes with an extended version of "Serious", allowing its hypnotic energy to fully unfold.

Speaking about the project, Sio explains:

"As a chronic insomniac, I used to mourn the loss of sleep, but now I relish the quiet reflective space the night provides. This EP reflects the way matters of the heart cause sleepless nights in ruminating on what was, what could've been and what will become, on a bed of groovy soulful house production I've missed in my sound."

Widely regarded as one of South Africa's most compelling contemporary voices, Sio has built an international reputation through her fearless storytelling, emotional honesty and genre defying artistry. Her collaborations with respected producers across house, soul and electronic music have established her as a uniquely powerful creative force.

With Losing Sleep, Sio and Soul Quest Records deliver a sophisticated and deeply human collection that bridges continents, cultures and sounds, uniting heartfelt songwriting with the warmth and depth of modern soulful dance music.

• Artist: Sio
• Title: Losing Sleep
• Label: Soul Quest Records
• Cat No: SQR023
• Format: Digital & Streaming
• Genre: Soulful House / Deep House
• Release Date: Traxsource & Streaming - 17th July 2026 // General - 31st July
• Buy / Pre Order: https://ffm.to/sqr023

Web / Social Media Links:

https://www.instagram.com/iam_sio

https://www.instagram.com/soulquestrecords/

Pe 16 iulie 2026, de la ora 19:00, la Hotel Caro din București, are loc vernisajul expoziției personale de pictură „Valentin m-a trezit! – CORPUS”, semnată de Noni-Emil Iordache.

Uneori, cele mai importante călătorii nu sunt cele pe care le facem în lume, ci cele pe care le descoperim în noi înșine.

După succesul primei sale expoziții, „Valentin m-a trezit!”, artistul Noni-Emil Iordache revine cu un nou proiect artistic, mai profund, mai personal și mai introspectiv: CORPUS.

Jurist prin formare și pictor prin chemare, Noni-Emil Iordache continuă să demonstreze că arta nu are nevoie de reguli pentru a spune adevărul. Dacă prima expoziție a marcat momentul trezirii sale artistice, CORPUS reprezintă pasul firesc către explorarea ființei umane dincolo de aparențe.

Corpul devine aici un simbol al vulnerabilității, al memoriei, al transformării și al speranței. Fiecare lucrare este o invitație la introspecție, o conversație tăcută între artist și privitor, în care culoarea, forma și spațiul construiesc emoții mai mult decât imagini.

Stilul lui Noni-Emil Iordache rămâne liber, intuitiv și neconvențional. Nu urmărește tendințe și nu se lasă încadrat în definiții. Fiecare tablou este creat sub impulsul momentului, iar fiecare privitor este liber să descopere propria poveste în fața lucrărilor.

Organizată de Galeria de artă Soleil, „CORPUS” este o expoziție despre ceea ce purtăm în noi, despre fragilitate și forță, despre absență și prezență, despre ceea ce rămâne atunci când renunțăm la toate măștile.

Intrarea este liberă.

Relații media: contact@galeriadeartasoleil.ro, 0722 369 083

Manuel Guzman – Astra EP [Chichi Music]

A refined journey through hypnotic minimalism, warm analog textures and subtle dancefloor functionality.

Release date: July 15, 2026
Label: Chichi Music
Artist: Manuel Guzman

For almost a decade, Chichi Music has steadily established itself as one of Southern Europe's most consistent independent imprints dedicated to underground house, minimal and stripped-back club aesthetics. Founded in Palermo by Arturo Gioia (Artu), the label has cultivated a catalogue where groove, musicality and timeless functionality prevail over short-lived trends. Rather than chasing peak-time formulas, Chichi Music continues to favour records designed for selectors, vinyl enthusiasts and DJs who appreciate carefully crafted productions with lasting value.

The forthcoming "Astra" EP welcomes back Manuel Guzman, an artist whose productions reveal a mature understanding of rhythm, restraint and sonic balance. Across two original cuts—"Astra" and "Whatever"—Guzman delivers an elegant statement rooted in contemporary minimal house while embracing the warmth and fluidity often associated with analog-oriented production.

Instead of relying on dramatic drops or excessive layering, the EP builds its identity through subtle modulation, carefully programmed grooves and intelligent use of space, rewarding attentive listeners and DJs alike.

Track by Track

Astra

The title track immediately introduces the EP's aesthetic with a restrained yet confident rhythmic framework. The kick drum sits comfortably in the centre of the mix, providing a solid foundation without overwhelming the surrounding frequencies. Around it, a constellation of finely sculpted percussion gradually unfolds, creating continuous forward motion through micro-variations rather than obvious structural changes.

The bassline displays remarkable discipline. Rather than dominating the low-end, it interlocks organically with the kick, allowing each transient to breathe naturally. This interaction reflects careful arrangement choices and demonstrates a production philosophy where groove emerges from precision rather than density.

Melodically, Astra embraces atmospheric textures and understated harmonic elements. Pads, filtered synth movements and subtle delays generate a sense of spatial depth that evolves organically throughout the progression. Nothing feels forced; every element enters and exits with purpose, maintaining the hypnotic tension essential for extended club play.

From a DJ perspective, Astra is remarkably versatile. Its controlled energy allows it to function both as an opening statement and as a sophisticated bridge within longer sets, particularly in intimate venues where subtle dynamics become more impactful than explosive arrangements.

Whatever

While remaining coherent with the EP's overall sonic identity, Whatever introduces a slightly more playful rhythmic attitude.

The groove becomes more syncopated, with percussion assuming a greater narrative role. Ghost hits, shuffled hi-hats and carefully placed percussive accents generate continuous movement without compromising the track's elegant minimalism.

The production reveals an impressive command of negative space. Rather than filling every frequency range, Guzman deliberately leaves room between musical events, allowing each sound to acquire greater definition. This breathing quality contributes significantly to the track's dancefloor efficiency.

Subtle vocal fragments and processed textures enrich the arrangement without ever becoming dominant hooks. Instead, they function as additional rhythmic components, reinforcing the hypnotic character while preserving the understated sophistication that defines the EP.

Whatever feels particularly suited to late-night moments where gradual evolution and sustained groove become more important than immediate impact.

Production Analysis

One of the most convincing aspects of the EP lies in its production philosophy.

Rather than pursuing loudness or exaggerated processing, Manuel Guzman opts for balance. Every element occupies its own frequency space with remarkable clarity, resulting in a mix that feels open, natural and highly functional inside professional sound systems.

The drum programming demonstrates meticulous attention to timing. Micro-grooves and subtle velocity variations prevent mechanical repetition, giving both tracks a distinctly human feel despite their electronic construction.

The synth work favours texture over melody. Warm pads, filtered movements and restrained modulation create emotional depth without distracting from the rhythmic core.

This production approach aligns perfectly with today's underground minimal scene, where sonic refinement often speaks louder than complexity.

Mixing

The mixing displays notable technical maturity.

Stereo imaging is carefully controlled, with low frequencies remaining focused while higher percussive elements expand naturally across the stereo field. This balance preserves mono compatibility while maintaining width and openness.

Transient definition remains crisp throughout the previews. Kick and percussion retain sufficient punch without becoming aggressive, suggesting tasteful compression choices rather than excessive limiting.

Equalisation appears exceptionally well judged. No frequency range feels overcrowded, and the overall spectral balance remains consistent, allowing every layer to contribute without masking neighbouring elements.

The result is a transparent, club-oriented mix that translates musical subtlety into physical movement.

Mastering

Although this evaluation is based on promotional previews, the mastering presents itself as clean, dynamic and respectful of the production's natural character.

Rather than maximising perceived loudness at the expense of depth, the master preserves transient information and dynamic contrast. The low-end remains controlled while high frequencies retain detail without harshness.

This measured approach should translate particularly well on large sound systems, where dynamic integrity often becomes more valuable than excessive volume.

Artwork

The artwork perfectly complements the EP's understated musical identity.

Designed as a minimalist vinyl centre label, it revolves around Chichi Music's now recognisable dog emblem positioned against a dark textured background. The restrained typography and monochromatic palette reinforce the label's visual consistency while evoking classic underground vinyl aesthetics.

Instead of relying on elaborate graphic concepts, the design communicates confidence through simplicity—mirroring the music itself, where subtle refinement replaces unnecessary ornamentation.

It is an artwork that feels timeless rather than trend-driven, reflecting the philosophy behind both the release and the label.

Chichi Music

Since its foundation in Palermo in 2017, Chichi Music has steadily built a catalogue that values musical longevity over commercial immediacy.

Its roster consistently showcases artists capable of delivering sophisticated underground house and minimal productions characterised by tasteful sound design, analog sensibilities and DJ functionality. Whether released digitally or on vinyl, the label maintains a recognisable identity centred on groove, elegance and craftsmanship.

In an increasingly saturated electronic landscape, this consistency has become one of Chichi Music's greatest strengths.

Final Thoughts

Astra is not a record seeking instant gratification.

Instead, Manuel Guzman constructs an immersive listening experience where every sonic decision serves the groove with patience and precision. Both tracks demonstrate mature production values, refined engineering and a deep understanding of contemporary underground dance music.

For DJs searching for elegant transitions, hypnotic moments and carefully balanced rhythmic tools, Astra represents another strong addition to the ever-growing catalogue of Chichi Music.

Quietly sophisticated yet unmistakably effective, this is the kind of release whose true qualities reveal themselves over repeated listens—and even more convincingly through a properly tuned club sound system.

Rating: ★★★★☆ (4.5/5)

Words by Romanian Noise

Set to push the boundaries of endurance and live performance with the launch of BPMATHON, Miami electronic artist and entrepreneur Eddy Palermo announces a world-first challenge to complete a 50-kilometre run while DJing live.

Taking place on Saturday 8th August 2026, BPMATHON will see Eddy attempt to complete a 50K run while performing a continuous live DJ set, combining two of his greatest passions, music and endurance sport, in an event designed to inspire and create meaningful impact.

BPMATHON will take place at The Underline, Miami’s 10-mile linear park and urban trail stretching from Brickell to Dadeland. A landmark public space beneath the Metrorail, The Underline has become a vibrant corridor where millions come to move, live and grow together. To make the challenge possible, Eddy will perform using a custom-built, self-pushed DJ rig on wheels, allowing him to run and DJ live simultaneously throughout the full 50K challenge.

The initiative will raise money for Friends of The Underline, a Miami-based nonprofit dedicated to transforming public space into opportunities for healthier, more active living. In a world increasingly shaped by AI, screens and social media, Friends of The Underline’s mission is to encourage people to be active, move their bodies, and decompress from the stresses of modern life through running, biking and walking. The BPMATHON aims to help more people build healthier habits and reconnect with the outdoors through accessible, community-driven movement.

During BPMATHON, Eddy’s event brand ZENSKI will also activate along the course with a live pop-up party experience on the route. Designed to transform sections of the race path into immersive music moments, the activation will bring together runners, spectators, and Miami’s local music community through sound, movement and energy. Founded by Eddy in 2024, ZENSKI has evolved into a Miami-based events platform known for immersive decor, inclusive experiences, and a commitment to female-forward lineups within electronic music culture.

Eddy Palermo Comments:

"BPMATHON is the fusion of endurance running with the magic of music. The idea came about when I saw videos online of people running 5Ks while DJing, and I said to myself, "why not run 50K?". This is a real challenge for me because just running 50K without DJing is difficult, and just DJing for seven hours without running is difficult. Doing both at the same time will definitely push me to a new limit.”

Estimated to take seven hours, BPMATHON is as much a mental challenge as it is a physical one. Running 50K alone is a major feat. DJing continuously for seven hours requires intense concentration, stamina and energy. Combining both simultaneously creates an entirely new level of endurance.

Born in Miami to Cuban and Italian parents and raised in Weston, Florida, Eddy's life has long been shaped by music, sports, and passion. From discovering his love of electronic music as a teenager at Ultra Music Festival, then later spending hours at Club Space, to building a career in events, sales and entrepreneurship, he has consistently pushed himself beyond conventional limits. Between 2020 and 2025, Eddy completed 14 endurance races, including 7 Ironman competitions and 7 marathons, using endurance sport as a foundation for discipline, resilience and mental strength. Those same values now sit at the heart of BPMATHON.

Eddy Palermo Shares:

“The deeper purpose behind this is that music and running are both huge passions of mine, and there's nothing more I want to do than make a positive impact on the world through music. If this inspires even just one person to get out there and pursue their passions, or start running, this is a huge success. We’re raising money in support of Friends of The Underline, helping to encourage more people to get outside, be active, and step away from the stresses of modern life through running, biking, walking, and movement.”

At its core, BPMATHON is about proving what can happen when passion meets discipline. It is a challenge built not only around pushing boundaries, but around inspiring others to pursue ambitious goals, prioritise wellbeing, and redefine their perceived limits.

BPMATHON marks the first chapter in a wider global movement uniting music, endurance and wellness, created to inspire communities, promote positive lifestyle choices and encourage people to push beyond their perceived limits, with plans to curate further BPMATHON events globally.

Official Partners for BPMATHON include:

Location: The Underline Inter Stage, 805 SW 1st Ave, Miami FL, 33130

Date: Saturday August 8th, 2026

Start Time: 6:30pm

Donate Here

Find Out More & Follow:

BPMATHON: Website | Instagram

Eddy Palermo: Instagram | TikTok | Spotify | Beatport | Traxsource

The Underline: Website | Instagram | Facebook | X

Lello Di Franco aka L.D.F. leans fully into his curatorial instincts here, and the result is less a traditional “producer ep” and more a cohesive, late-night DJ narrative. World Beats Vol. 2 doesn’t try to grab you instantly it unfolds, patiently, like a deep set in a small, packed club where the focus is on groove rather than spectacle. The collaborations are the real backbone: Byron the Aquarius injects looseness and jazz DNA his touch is immediately recognizable in the swung rhythms and slightly off-grid keys. These moments feel alive, almost jam-session-like. Tilman brings polish and restraint. His contributions tend to be more hypnotic, smoothing transitions and keeping the flow meditative. Trinidadian Deep adds emotional weight his Afro-deep sensibility introduces warmth and a sense of space that elevates the project beyond pure club functionality. Fire Drums II close the ep, an electronic/percussive track with a tribal and hypnotic feel. It combines intense drum rhythms with dance and worldbeat sounds, creating an energetic and ritualistic atmosphere. World Beats Vol. 2 is a refined, deeply musical project aimed at listeners who value texture, groove, and atmosphere over instant hooks. It’s less about standout singles and more about immersion.

• Artist: L.D.F., Byron The Aquarius, Tilman, Trinidadian Deep
• Title: World Beats Vol. 2
• Label: World Beats
• Cat No: WB02
• Format: Vinyl and digital
• Genre: House, Deep House
• Release Date: July 9th
• Buy / Pre Order: https://basicframe.it/home/645-WB02.html

Web / Social Media Links:

https://www.instagram.com/ldfmusic78/