“I’ve always been interested in what can’t be seen – the emotional undercurrents, the things people feel but don’t articulate. As an artist producing my own work, I wanted to escape into something that honoured that invisible space – bringing an unexplainable sense of ‘heaven ‘- or even a peaceful ‘undoing’ into my physical world through heavy times. Pressing the record on physical vinyl makes that desire all the more palpable, and hopefully, closer to being real.

“THE INTANGIBLE is my attempt to make the unseen audible. It’s an electronic album, but it isn’t cold. It breathes – built from vulnerability, distortion, restraint, and release. It’s about losing faith in the external world and slowly learning to build it within yourself instead.”

Intimate yet expansive, the record explores fragmentation, longing, wavering faith, defiance, and self-reclamation. THE INTANGIBLE constructs a textured sound world designed for intentional listening. It is not built for passive consumption, but for immersion. We asked Wrené to do an in depth track by track breakdown of THE INTANGIBLE for us. Read it below.

Archangel

‘Archangel’ opens the record as both homage and confrontation. Inspired by and sampling Burial’s Archangel, but with added lyrical narrative- the production leans into organic drum samples, fragmented atmosphere, and emotional restraint- echoing the UK underground textures that shaped its DNA.

It explores the oscillation between light and shadow in intimacy- in relation to others, as well as one’s self. Lyrically, it voices that figurative angel and the devil on one’s back when feeling love. It’s a bit of an anti-romance song: less about connection, more about navigating the complexities of projection, distortion, and self-sabotage. It’s when you’re unsure what is real- and so you choose simplicity instead. Ironically enough, most people’s response to this track in particular is sound focused and surface level. All this angst, but in a danceable song- the perfect image of denial. The substance underneath is not overt- It’s almost hidden within its own shadow.

No Flag

A cover of Visions of Trees’ ‘No Flag,’ this track anchors the album in longing and escape. The repeated line- “I’ve gone too far, now it’s too deep.” and “Don’t point your finger at me.”- becomes a confession of displacement and defiance. An expression of I DON’T BELONG HERE.

Within the arc of the album, ‘No Flag’ represents exile. The character stands isolated, imagining another life beyond the borders of their current limitations. It is the moment of looking outward toward a psychedelic, vast elsewhere- or the potential of colour, before taking the risk to move towards anything.

NSATW

‘NSATW’ marks a plunge into starkness. The title evokes a nervous system exposed- like a tree with many branches, all of its nerves stripped bare in cold air- at least, that was the image that inspired it! Sonically and emotionally, the track embodies isolation and a wavering faith, with the repeated phrase “too long, too long” reinforcing the feeling of being trapped in a psychological loop.

It is the moment where longing meets reality- colder and more surreal than imagined-yet there is defiance in it. Even stripped down and vulnerable, the figure faces the wind with bare skin anyway. It is the first emergence of the “No Skin Against the Wind” concept in the arc of the album.

The Depths of Your Insolence

Influenced by collaboration and title inspiration from avant electronic producer Kaleidokitty, this track erupts in rage and clarity. It captures the breaking point-the moment of realizing that someone has chosen comfort over truth, avoidance over authenticity. And the grief of inevitable separation that follows.

It feels like shouting across a void: calling someone to wake up while you yourself are falling. It is a confrontation with denial- both theirs and your own.

No Skin Against the Wind

The full return of ‘No Skin Against the Wind’ appears here as a stripped-back piano ballad, featuring contemporary pianist and composer Sam Fortin. Where ‘NSATW’ was distorted and fragmented, this version is clearer, spacious, and grounded.

It represents revisiting pain with awareness. The exposure is still there, but there is more room to breathe. The distortion has cleared, revealing strength beneath vulnerability. It is not escape- it is integration.

brightyellowlightwillweevermeet

This track acts as a threshold. The dream you have before you wake. Abstract and ambient, the dream-state functions between collapse and reconstruction – it’s the final breath of Side A before the sunrise of Side B.

It imagines a golden presence: perhaps a person, perhaps a future self, perhaps something divine or imagined. The longing here is subconscious-less desperate, more visionary. It is the liminal space between day and night, between despair and the warmth that becomes so palpable in that dream.

Tomorrow Will Come (Drip Drop)

Opening Side B, this track rises like sunrise- with the possibility of warmth carrying through in a way both rich in colour and weightless . Driven by deep 808 rhythm, it shifts the album’s emotional temperature toward hope and self-trust, charged with an ‘afterglow’ from the dream, or the trip that happened on the previous track

The lyrics, such as “If you break, I’ll cradle every damaged piece” introduces a new theme of nurturance, not in fantasy but in grounded resilience. It feels more embodied and forward-moving. The will to live fully, once abstract, begins to stabilize- an evolved perspective from since the beginning of the story.

Unconditional

A stripped-back piano ballad, ‘Unconditional’ delivers a quieter but sharper clarity. With Sam Fortin’s performance acting as it’s pulse- It explores the painful revelation of where love has been poured into places that could not hold it. This is the song of “unseeing” -the moment where illusion dissolves and truth becomes undeniable. It is both devastating and liberating.

whatyougavemightneverreturnbutyouwilltransform

Originally conceived as an earlier, electronic version of ‘Unconditional’, this track fit more appropriately with the context of the rest of the album as a transitional soundscape- bridging the raw piano clarity of ‘Unconditional’ into a more digital and electronic terrain. It exists now within the arc of the album as a contemplation of the track before it, and changes its temperature.

It represents the moment after acceptance: the recognition that while something given may never return, transformation is inevitable- or unavoidable! The emotion becomes less narrative and more atmospheric -a shift from confession into integration.

NO FLAG REPRISE

Structured like a theatrical reprise, this track revisits earlier themes as they begin to dissolve. A big theme overall on this album is the dissolution of self- The intensity of ‘No Flag’ reappears in shortened, immaterial form -like memory losing its sharpness, blurring into a distant abstraction. The lyrics from its earlier presence are cut, stretched, and manipulated- almost how your mind paints or is selective of what was ever said before.

It mirrors how experience becomes abstracted over time: what was once heavy and overwhelming softens into feeling without language- and becomes almost warm. Like how juvenile memories that were complex at the time are softened into being almost charming, out of sheer nostalgia. This is the sense that the story is nearing its close -not through resolution, but through integration.

I wander…

One of the album’s most expansive moments, ‘I wander…’ emerged organically in collaboration with Sam Fortin (who contributed his brilliant and expressive piano performance on all of the earlier tracks) during a long, immersive session. Unlike the heavier conceptual tracks, this one was more of a discovery.

Warm, groovy, and horizon-facing, it carries the energy of summer light, emotional openness, and psychedelic flow. Positioned later in the record, it offers relief – a reminder that joy and movement exist alongside depth. With rhythms and melodies that are repetitive, with an arc of progression- It feels like breathing again. There are no lyrics, only vowels are expressed, which suggests a peaceful silence away from words or thoughts carrying so much weight and edge and pain.  

There Are No Angels Born From Filth

An ambient meditation on doubt, this track confronts the fear of unworthiness. It explores the sudden spiral of believing one may never “arrive”-that heaven, transcendence, or redemption might be unreachable. Or simply the fear that a life worth living is somehow ‘not meant’ for you, maybe because of how you were raised, or what environments you were born into, or the separation of class. Essentially however one might be ‘othered’ in their life.

The title challenges purity narratives. It sits in the discomfort of questioning whether one can rise from perceived ruin. Rather than resolving the fear, the piece lets it echo — abstract, dissonant, and searching.

COME TO ME

Closing the album with a reinterpretation and cover of Björk’s ‘Come to Me’ brings the journey full circle. The song’s sensual warmth and maternal undertone feel like a long-awaited embrace.

After conflict, exile, rage, clarity, and doubt, the ending offers tenderness- not from an external savior, but from within. The longing that began the record resolves into self-held comfort. It is the mother’s hug earned that the self earns through continued survival.

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For Wrené, the story is deeply personal. Faith has often felt less like a gift than an impossible summit — a struggle shared by many who move through the world with raw sensitivity. Here, faith is not portrayed as a surface-level message to “just believe,” but as an individual, often grueling climb that can take many forms outside of religion. Within the narrative, the figure of the heroin user becomes both a mirror of society’s cruelty toward the open-hearted and a haunting glimpse of one path Wrené herself could have taken. “Too often, people are medicated or numbed just to exist, to be manageable, to conform,” she explains, “but No skin against the wind is about that deep susceptibility – the feeling of having no protection, feeling like you have no skin against the elements of the world. And it’s okay to feel that deeply. There is a place here for me, and a place here for you.”

The title itself reflects this image: a state of exposure, of frayed edges and a fragile nervous system. The opening lyric – “Cradle me, I’ve lost my leaves” -embodies the core of the story: not addiction as weakness or resilience, but the vulnerability of feeling deeply in a world that rarely makes space for it. The film shows one angle of this condition, offering viewers empathy, recognition, and the possibility of   transformation. Musically, ‘No Skin Against the Wind’ refuses to sit neatly inside a genre. While rooted in alternative and experimental influences, the track exists as part of a larger world that unites sound, story, and visuals into a single cathartic experience — equal parts music video, art film, and a microcosm into something much deeper.

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Wrené

Wrené is an artist, producer, and vocalist who defies conventions in her music. Her work invites listeners into deep emotional terrain through intimate vocals, original sound design, and raw, immersive storytelling. Passionate about the way music heightens and deepens your emotional experience, she creates spaces where beauty, discomfort, and truth collide.

Set against a backdrop of textured sound design and spectral synth work, ‘ARCHANGEL’ dives into the psyche of a narrator torn between longing for connection and fearing the mirror that love can become. Its ethereal rhythm pulses beneath a charged vulnerability, asking: what does it mean to surrender to love when the self you offer is fractured and unfinished?

Lines like “I fear me in you” and “the space between who I am and who you love” sketch a portrait of emotional exposure- poetically veiled, half-buried beneath a hypnotic beat. On the surface, it’s sultry and addictive; beneath it, a quiet ache persists- a cry for true recognition, disguised as a club track.

“This is not just another love song or a breakup song- it’s a reckoning. A whispered confession from a collapsing heaven. Not just music for background noise, ‘ARCHANGEL’ is both an escape and a confrontation. Something you feel in your bones before you fully understand why,” says Wrené.

Witkin

Los Angeles-based guitarist, songwriter, and glam-rock alum Witkin is stepping into her own spotlight with ‘Last Year’s Ashes,’ the fiery first single from her solo debut album Things I Might’ve Said, out October 10.

‘Last Year’s Ashes’ is a power-pop anthem that channels the wreckage of personal reinvention into soaring hooks and jagged guitars. Produced by Grammy-nominated Bruce Witkin, the track blends the crunch of Cheap Trick and the heart of The Lemon Twigs with a confessional edge all her own.

“This song came out of a moment that felt small—just me, finally cleaning after a long stretch of avoiding everything. I looked at this overflowing ashtray and thought, better clean out last year’s ashes. And right then, I knew it had to be a song,” says Witkin. “It captures what it felt like to start becoming something new—not polished or perfect, but real.”

ROMÆO

Showcasing her trip-pop sensibilities, singer-songwriter/producer/mix engineer ROMÆO returns with new single ‘All of Now’ off her upcoming EP Eternal Recurrence due in late August. ‘All of Now’ evolves from downtempo trip-hop to raging drum and bass as ROMÆO laments “I’m not asking for forever, only all of now”.

ROMÆO elaborates “Dredging through the liminal, I wrote All of Now at the collapse of a relationship. When everything is uncertain and impossible to know, I reach towards all that is possible now. By creating a long, slow-evolving song, I wanted to stretch my own capacity to sit in the expansive present.”

Mo Moon

London based indie pop artist Mo Moon returns with single ‘Text Me When Ur Home’. With haunting harmonies and poignant lyrics, ‘Text Me When Ur Home’ is a stirring commentary on the lived experience of women in the modern world.

Fuelled by the ever present urge to scream into the void, Mo Moon uses her alluring vocals and enchanting melodies to embrace the listener before we are hit with the galvanising power of her lyrics. The track hopes to illuminate the resilience of women and the strength of female friendship. “The song’s message is pretty heavy so I wanted to do it justice with raw vocals and a earnest sound”, Mo says of the track, that she recorded at Roundhouse, Camden. “I also hope people get a feel for what it’s like to hear me live. I promise to never stop bringing that sad boy energy… but I’m fun I’m swear”.

Yeija

Alt-pop artist Yeija releases her debut single ‘Spell on You’, marking the start of her artistic journey. The track leans into a whimsical, Disney-inspired pop sound, supported by orchestral textures, layered vocal arrangements, and an airy, dreamlike atmosphere. She chose it as the starting point for its sense of blossoming, both sonically and emotionally. While the music to follow will explore a wide range of moods and genres, this song offers a heartfelt first glimpse into Yeija’s upcoming debut album.

“I wrote this when I was in a relationship with someone who I wanted to change. He also wanted to change, so I stayed but I lost myself in the process,” Yeija shares. “This song is like waking up from a dream. I want it to feel like a hug, because it is okay to keep trying and fighting for love over and over again… but its also okay to leave.”

Through its lyrics, ‘Spell on You’ begins with compassionate understanding and a deep desire to help someone heal, but gradually unravels into hurt, frustration, betrayal, denial and ultimately a bold acceptance that embodies a sense of self-liberation.

Katie Nicholas

UK songwriter and producer Katie Nicholas returns with her long-awaited Chemistry EP. This 4-track collection of country-pop bops and ballads are songs the artist herself has reworked and produced, celebrating the music that kickstarted her career. Written between ages 16 and 19, these are her earliest and most cherished tracks by fans. In a bid to not leave them behind as she charges forward with her prolific catalogue of music, Katie vows that this is “the record my younger self would have dreamt of making”.

Katie says of stand out track ‘In Your Shadow’: “I’d say this is a song where the music alone tells the story of exactly how I felt when writing the song. Written when I was much younger, I revisited it as the producer I am today because the feelings remain simple and pure – and still cut through. “In your shadow I will fall – I’ll fall for the boy who doesn’t even call…” ending with “Please don’t call me yours, if you can’t call me at all”.

Olina

Olina is an indie songwriter whose work sits somewhere between sarcasm and sincerity. Originally from Greece, she moved to the UK in her early 20s, and her music blends punchy rock with existential dread. Her upcoming EP documents the fragmented experience of growing up in a foreign country, with a wry, poetic lens.

She says of her new single: “‘Newspaper Smell’ is a tongue-in-cheek coming-of-age anthem about dead-end jobs, underwhelming adulthood, and the weight of first-gen immigrant imposter syndrome. It’s upbeat, honest, and a little bit feral!

“Lyrically, the song explores what it feels like to “start over” in a new country, questioning your worth, your degree, and the strange jobs you end up in. But musically, it leans into big, catchy guitar lines and sarcastic self-awareness — like dancing around your bedroom while the world’s on fire.”

TIAHN

A defiant indie-pop anthem driven by hooky melodies and gritty guitar riffs, ‘Woman (On My Own Terms)’ is a sonic middle finger to the tired expectations placed on women to be quiet, pretty, and agreeable. Instead, TIAHN leans into her feminine rage and reshapes the narrative, encouraging listeners to unapologetically own who they are—on their own terms.

“I was literally asked what finishing school I graduated from,” TIAHN recalls. “That moment stuck with me. I realised how often women are told to shrink themselves or behave a certain way to be acceptable. This song is me saying: I’m done with conforming to those outdated expectations.” Produced by Harry Verity, the single blends rich pop textures with touches of R&B and soul, building a soundscape that is both fierce and emotionally resonant.

The track’s infectious energy—blending indie pop with fierce lyrical honesty—cements TIAHN as a fresh voice with something important to say. Whether it’s playing on repeat in your car or echoing through festival speakers, ‘WOMAN (on my own terms)’ isn’t just a song; it’s a movement.

Check out more of our recent submissions via the playlist below!

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