An artist in constant definition, he has been a transversal force in British popular music in recent years. He reconfigures stylistic molds, perfectly capturing the urban neura – and its complex psychological states in a society in deep anguish. It turns catharsis into a cascade that feeds multiple possible courses. We don’t know exactly where this current flows, but we do know that it’s urgent to follow it. Above all, he seems aware of these times. He creates bridges rather than refuges from uncertainty. Transposing symbolic and abstract issues, he aligns himself with a generation of incredible people like Bianca Scoutt, Honour, Klein – or even the industrial poetry of Richie Culver. What they have in common is a real sense of vulnerability – and as strange as it sounds, an unexpected freedom.

If the trivialization of autotune has led many to release antibodies, there have been exceptions who have understood how to use the effect for innovative expressiveness. Rainy Miller is an example of this, not using it with exhaustion or laziness, but as an emotional channel. Cinematic in the way he evokes stories, dreams and certainly nightmares, he absorbs echoes of ambient music, rnb, hip hop or labyrinthine electronica that defy superficial understandings. The porous sound he works with allows him to reach microdoses of so many other references that, filtered through his mind, turn into an unrecognizable corporeal identity. Together with the duo Space Afrika, he signed a pertinent sound document called A Grisaille Wedding. It’s perhaps more than a collaborative album; it’s a statement of intent that brings together Voice Actor, Mica Levi, Iceboy Violet, Coby Sey and the aforementioned Culver. The name dropping is irresistible because it reinforces this communal parity with which the producer moves – and allows himself to be attached. “Breathe through the pain even though it hurts / what can I do, life is absurd”, is a key verse that jumps out at a certain point and crystallizes the extensive and fragmentary material to be found here.

Finally, it’s time to welcome him here. And he’s bringing a new album with him. Joseph What Have You Done once again takes us for a ride in one of the most promising works of this 2025. We’ll probably still have more questions than answers about Rainy Miller, but isn’t that the greatest reward? NA

redoma fulfills the miracle of multiplication in thoughts. The duo from Porto, formed by Carolina Viana (MALVA) and Joana Rodrigues, is presenting “santos da minha mente” (saints of my mind) for the first time in full-length format, in a work that surpasses the thematic and sound experience of the acclaimed “parte” (part) EP, released in 2022.

Since 2023, some of these “saints” have been unveiled with the songs “delírios II” (a new version of the single “delírios mensais”), “2572”, “lugar.” and the album’s title track. Throughout the album, you can sense a “remnant of faith” from someone who isn’t a believer, but is looking for a mental rest. In “saints of my mind”, the existentialist doubts conveyed by Carolina’s poetry form the fog that covers Joana’s innovative instrumentals, which traverse various emotional scales with skillful precision, culminating in a hip hop record that risks naturally bringing together musical elements from electronica, trip hop or soul.

The album’s virtue lies in the power of contradiction: between the lightness of flight and the weight of gravity (“voo lento”), the restlessness that sometimes yearns for shelter (“folia”), the redomas remain unperturbed in their incessant search for a place to belong.

The 10 tracks that make up the album were written by Carolina Viana (lyrics) and Joana Rodrigues (music production), with mixing by Luís Neto and mastering by Gonçalo Peixoto.