-
Uzimoto – Hamischak & Hamalach Alhakar, Hasatan Bapratim
Uzimoto blends post-punk, new wave and dub into raw minimal-pop. Hamischak and Hamalach Alhakar mark the first glimpse of his debut album in his mother tongue.
Uzimoto has been collecting and toying around fragments of sound for nearly a decade. Some of his minimal-pop ideas lived only in his head; others were sung to himself like mantras, captured on handheld recorders after bike rides across Berlin or during solitary climbs up staircases.
From DIY Punk to Solo Identity
Formerly a member of several bands — among them EGONX, Tanning Bats and Skeleton Glove — he emerged from restless DIY punk circles that rarely lingered long in one place.
His roots gradually coalesced into this boundary-free solo persona. His music is a radiant mixture of post-punk, new wave and dub, blending analog synths, drum machines, tribal percussion and self-recorded textures. The result channels the spirit of an obscure minimalist searching for moments of illumination.
Hyper-Punk Meets Fragile Intimacy
On stage, he reveals a quiet contrast — ruthless hyper-punk energy paired with a tender and delicate inner voice. His compositions are performed live on samplers and Casio keyboards at his fingertips. Each piece offers an honest glimpse into his inner world — stitched together and delivered as raw as they were first captured.
2026 marks the release of a long-held creative bottleneck for Uzimoto. This year he unveils his first two singles in his mother tongue — the first glimpse into the world of his upcoming debut album.
Uzimoto – Hamischak (the Game) & Hamalach Alhakar, Hasatan Bapratim (The Angel’s On The Pillow, The Devil’s In The Details)
Details:
Release Date: February 20th, 2026
Post-Punk, Synth-Wave, Synth-Pop, Electro
Taged as/in; Berlin Music, Casio Keyboards, DIY Punk, DUB, EGONX, Electro, electronic music, Hamalach Alhakar, Hamischak, Indie Music, minimal-pop, New Wave, Post Punk, Sampler Performance, Skeleton Glove, Tanning Bats, Uzimoto#writtenby:
-
EMAF 2026 – Artist in Focus: Marwa Arsanios
Artist in Focus: Das EMAF zeigt Filme von Marwa Arsanios – zwischen politischer Imagination, Landkämpfen und feministischer Praxis.
In der Reihe Artist in Focus stellt das EMAF das filmische Werk namhafter zeitgenössischer Künstler*innen vor, teils auch im Dialog mit weiteren Filmen oder Beiträgen, die mit ihrem Werk in Verbindung stehen. In diesem Jahr präsentieren wir Arbeiten der im Libanon geborenen, in Berlin lebenden Künstlerin Marwa Arsanios (geboren 1978).
Damit würdigen wir eine international beachtete künstlerische Praxis. In dieser sind Film und Recherche, politische Imagination und kritische Intervention eng miteinander verwoben.
Film Still Who Is Afraid of Ideology? – Teil 2 von Marwa Arsanios Who Is Afraid of Ideology?
Im Zentrum des Programms steht die seit 2017 fortlaufende, inzwischen fünfteilige filmische Serie Who Is Afraid of Ideology?. Darin begleitet Arsanios feministische Kollektive und Initiativen im irakischen Teil Kurdistans, in Syrien, im Libanon und Kolumbien. Ihr Einsatz für die Vergemeinschaftung und Rückgabe von Land geht mit ihrem Kampf um Selbstbestimmung Hand in Hand.
In einem kontinuierlichen Prozess des Gesprächs und Austauschs portraitiert Arsanios Frauen. Diese Frauen praktizieren in ländlichen Regionen kollektive, antikapitalistische und antipatriarchale Formen des Zusammenlebens. Sie verteidigen überlieferte Formen der Landnutzung gegenüber Privatisierung und kolonialer Besatzung. Außerdem setzen sie sich für die Wiederherstellung von historischem Gemeineigentum ein.
Die Weitergabe von Wissen, Solidarität und gegenseitige Unterstützung spielen dabei immer eine Rolle und werden auch in der filmischen Arbeit mit reflektiert.
Film Still Who Is Afraid of Ideology? – Teil 5 von Marwa Arsanios Right of Passage
Der aktuelle, fünfte Teil der Serie, Right of Passage (2026), entfaltet sich in der Welt des Traums. In ihr sind jene Grenzziehungen, die Eigentum und Territorium begründen, die Menschliches von Nichtmenschlichem und Vergangenes von Gegenwärtigem trennen, suspendiert. Ihre Durchlässigkeit ermöglicht die freie Passage unterschiedlicher „politischer Tiere“, die Artikulation traumatischer Verluste und Bildung neuer Allianzen.
Im Dialog mit ihren eigenen Arbeiten zeigt Arsanios Filme von Simone Bitton, Mohammad Malas und Reem Shilleh, die ergänzt und erweitert werden durch Workshops, Lesungen und Gespräche. Weitere Gäste sind Ali AlAdawy, Haytham el-Wardany und Stefanie Baumann.
Sie orientieren sich an Fragen, die Arsanios folgendermaßen skizziert: „Wie können wir von Filmen lernen, die aus dem Land heraus entstehen, die in Landkonflikten verwurzelt sind und selbst zu pädagogischen Objekten werden? Welche filmischen Formen erwachsen aus der Topografie eines Ortes, seiner geografischen Beschaffenheit und seinen Böden? Und wie wird das Filmset seinerseits zu einem pädagogischen Raum für diese Konflikte?“
Zwischen dokumentarischem und fiktionalem Erzählen
Film Still Have You Ever Killed a Bear or Becoming Jamila von Marwa Arsanios Bereits in ihren früheren Arbeiten reflektiert Arsanios das filmische Bild. Sie beschäftigt sich mit ihrer eigenen Verstrickung in unterschiedliche Prozesse der Bilderzeugung. Diese bewegen sich zwischen dokumentarischem und fiktionalem Erzählen, militantem Filmemachen und künstlerischer Intervention.
In Have You Ever Killed a Bear or Becoming Jamila (2014) begegnen wir der legendären algerischen Revolutionärin Djamila Bouhired in unterschiedlichen medialen Verkörperungen. Arsanios untersucht von der ikonischen Figur Bouhired ausgehend. Wie haben sozialistische Projekte der Vergangenheit feministische Projekte befördert? Wie haben nationale Befreiungsbewegungen feministische Projekte marginalisiert?
In Amateurs, Stars and Extras or Labor of Love (2018) wird das Filmset zum Ort. Dort erscheinen jene unsichtbaren Formen reproduktiver Arbeit. Diese verleihen dem kapitalistischen System Stabilität und Dauer. In komplex gebauten, inszenierten und dokumentarischen Szenen sprechen Frauen in Mexiko und dem Libanon von Arbeit, Freizeit und Widerstand.
Zur Biografie:
Marwa Arsanios’ Arbeit kreist um strukturelle Fragen. Sie versucht, Raum innerhalb von und parallel zu bestehenden Kunststrukturen zu schaffen. Dieser Raum ermöglicht das Experimentieren mit unterschiedlichen Formen der Versammlung. Arsanios beginnt mit architektonischen Räumen sowie ihrer Transformation und Anpassungsfähigkeit. Es umfasst auch von Künstler*innen betriebene Räume und temporäre Zusammenkünfte.
In den letzten Jahren widmeten ihr u.a. das Haus für Kunst Uri (2026), die Joan Miro Foundation (2025), das Artium Museum (2025), BAK Utrecht (2024), der Heidelberger Kunstverein (2023). Mosaic Rooms, London (2022) und das Contemporary Arts Center, Cincinnati (2021) organisierten Einzelausstellungen. Sie war außerdem an zahlreichen internationalen Gruppenausstellungen beteiligt, wie jüngst der Documenta 15 (2022), der Sydney Biennial (2022), der 11th Berlin Biennale (2020) und der Gwangju Biennial (2018).
Ihre Filme werden regelmäßig auch bei internationalen Filmfestivals gezeigt. Film- und Kunstprofessionals können sich weiterhin hier online akkreditieren.
Festival: 22 – 26 April 2026 /
Exhibition: 22 April – 25 May 2026
OsnabrückWir freuen uns auf Euren Besuch!
Das Team des EMAF 2026Taged as/in; ausstellung, Diskurs, EMAF, Experimentalfilm, Feminismus, Festival, Filmreihe, Gegenwartskunst, Kollektive, Landrechte, Medienkunst, solidarität#writtenby:
-
John Tejada – Nightshift / The Innocents EP
John Tejada’s Nightshift / The Innocents blends rhythm, subtle melodies, and cinematic loops, balancing momentum and reflection with understated power.
With “Nightshift / The Innocents,” John Tejada presents two tracks built around movement and restraint. They work through rhythm first, with small shifts and understated melodic details gradually shaping the feeling of each piece. Recent work leaned more toward inward listening; here the focus is on forward motion and a more physical kind of energy, while still keeping things slightly left of center.
These tracks live in the spaces between sounds. Small, almost cinematic traces pass through tight, looping patterns and then fade again, so the emotion arrives slowly rather than being stated outright. The repetition gives the music its weight, while the atmospheres open up around it, creating a tension that sits somewhere between momentum and reflection.
Details:
Artist: John Tejada
Release: Nightshift / The Innocents (PAL098)
Label: Palette Recordings
Release Date: February 13th, 2026“Nightshift / The Innocents” feels both new and familiar. It carries echoes of earlier Tejada material but with a leaner frame and a clearer sense of purpose. The music strips back to essentials, lets groove do most of the talking, and leaves the rest unsaid.
Taged as/in; cinematic, Electronic, experience, groove, John Tejada, listening, melodic, momentum, Music, new, nightshift, Palette Recordings, Reflection, release, rhythm, techno, the innocents#writtenby:
-
Das Maxim Gorki Theater im Februar: HerHisStory Month
Mit einer Berlin-Trilogie von Hakan Savaş Mican, der Videoinstallation “SHISHA BAR” und dem Bühnenstück “DIE ZWILLINGE” im Black HerHisStory Month.
Der Februar am Maxim Gorki Theater steht im Zeichen großer Berliner Erzählungen, politischer Erinnerungskultur und neuer Perspektiven auf Identität und Herkunft.
DIE ZWILLINGE
Mit DIE ZWILLINGE von Lamin Leroy Gibba ist im Studio Я die erste und einzige Uraufführung des Monats zu erleben. In der Regie von Joana Tischkau entfaltet sich ein vielschichtiger Theaterabend über Zuschreibungen, mediale Dynamiken und die Unmöglichkeit eindeutiger Wahrheiten: Ein Zwilling ist schwarz, der andere weiß.
Als einer den anderen tötet, stürzt sich die Öffentlichkeit auf den Fall. Eine Drehbuchautorin versucht, die Geschichte zu erzählen – und verliert sich zunehmend in den Widersprüchen dessen, was geschehen ist und weiter geschieht.
Black HerHisStory Month
Autor Lamin Leroy Gibba steht selbst auf der Bühne, gemeinsam mit Sisi Bo’wale, Niels Bormann, Yanina Cerón und Ruby Commey. Die verbleibenden Vorstellungen am 20. Februar finden – ebenso wie blues in schwarz weiss am 28. Februar – im Rahmen des Black HerHisStory Month statt.
Berlin-Trilogie
Zentraler Höhepunkt des Monats ist die Berlin-Trilogie von Hakan Savaş Mican, die vom 26. bis 28. Februar erstmals und zugleich einzig vollständig zu sehen sein wird.
Mit BERLIN ORANIENPLATZ, BERLIN KLEISTPARK und BERLIN KARL-MARX-PLATZ zeichnet Mican ein vielstimmiges Panorama der Stadt – zwischen Herkunft, Klasse und urbaner Realität. Während BERLIN KARL-MARX-PLATZ weiterhin bis Juni im Repertoire bleibt, werden BERLIN ORANIENPLATZ und BERLIN KLEISTPARK im Rahmen des Trilogie-Wochenendes letztmalig gezeigt.
HERKUNFT UND KLASSE
Ergänzt wird das Programm durch die Buchpremiere der Stücksammlung HERKUNFT UND KLASSE am 27. Februar sowie eine TRILOGIE-PARTY am 28. Februar. Micans Berlin-Trilogie gilt als eines der prägenden Werke des postmigrantischen Theaters – und markiert einen bedeutenden Akzent in der sich dem Ende nähernden Intendanz von Shermin Langhoff.
SHISHA BAR
Vom 17. bis 22. Februar ist im Studiofoyer bei freiem Eintritt erneut die Videoinstallation SHISHA BAR von Ülkü Süngün zu sehen. Angehörige, Überlebende, Aktivistinnen und Expertinnen sprechen über die rechtsterroristischen Anschläge vom 19. Februar 2020 in Hanau.
Das Gedenken gilt Gökhan Gültekin, Sedat Gürbüz, Said Nesar Hashemi, Mercedes Kierpacz, Hamza Kurtović, Vili Viorel Păun, Fatih Saraçoğlu, Ferhat Unvar, Kaloyan Velkov sowie Ibrahim Akkuş, der am 10. Januar 2026 – sechs Jahre nach dem rassistischen Anschlag – an den Spätfolgen verstarb. #saytheirnames
DAS ROTE HAUS
Im Gorki Kiosk ist noch bis zum 15. März die Recherche-Ausstellung DAS ROTE HAUS: STRESEMANNSTRASSE 30 – EINE INVENTUR bei freiem Eintritt zu sehen. Die Ausstellung widmet sich dem ehemaligen Frauenwohnheim der Firma Telefunken und versammelt Arbeiten unter anderem von Emine Sevgi Özdamar, Filiz Taşkın, Melek Konukman-Tulgan und Serpil Yeter.
Das vollständige Programm finden Sie unter www.gorki.de.
Taged as/in; Hakan Savaş Mican, Joana Tischkau, Lamin Leroy Gibba, Maxim Gorki Theater, Panorama Bar, Shermin Langhoff, Ülkü Süngün#writtenby:
-
pdqb – Mutations, Modifications, and Other Alterations
Eight artists reshape pdqb’s sonic DNA into new forms. Mutations, Modifications, and Other Alterations is not a remix album—it’s evolution.
pdqb, the producer, whose name sounds like a coded message, has surpassed the need for introduction. It emerged from nowhere, becoming omnipresent almost instantly, leaving every electronic music producer eager – if not obsessed – to work with it. Its original tracks are raw and elegant with warm synth lines, pulsing rhythms, and melodies that feel like echoes from forgotten futures. They always carry a strange magnetic pull.
Presented here are eight stunning remixes of its already-released tracks. Each one its own universe, each one remarkable in its own way, each one crafted by an expert in their field. The eight pieces twist, stretch, break apart, and rebuild the originals. They transform into technoid creatures. Melodies dissolve into vapor. Rhythms reorganize themselves into something alien and alive. Yet each still holds a faint spark of pdqb’s DNA. This spark is buried beneath layers of transformation.
- white vinyls in a Gatefold-Cover
- mastered by the infamous Mike Grinser
- remixed by ice-cold legends
- cover with artworks by blue-ship artist Erwin Wurm
Listeners will understand: this isn’t just a remix album. It is an evolution — eight reinterpretations of the same musical core, each pushing pdqb’s world into a new dimension.
Details:
Artist: pdqb
Release: Mutations, Modifications, and Other Alterations
Label: Synaptic Cliffs
Release Date: February 13, 2026About pdqb
Some artists arrive gradually. Others seem to appear fully formed. pdqb belongs to the latter category.
Emerging almost out of nowhere, pdqb quickly became a name that spread through electronic music circles with remarkable speed. Its productions balance raw energy with refined elegance, combining warm synth textures, pulsing rhythms, and melodies that feel both futuristic and strangely familiar.
There is something elusive at the heart of pdqb’s music. Tracks unfold like coded messages from forgotten futures. They draw listeners into immersive sonic landscapes that are equal parts emotional, hypnotic, and forward-thinking.
The result is a sound that continues to captivate audiences and inspire fellow producers alike—a distinctive musical identity that feels instantly recognizable while constantly evolving.
Taged as/in; ambient, analog, artwork, club, collector, Electronic, Erwin Wurm, evolution, Experimental, future, gatefold, Leftfield, mastering, melody, Mike Grinser, Music, Mutations Modifications and Other Alterations, pdqb, Producer, record, release, Remix, rhythm, sound, Synaptic Cliffs, synth, techno, transformation, underground, vinyl#writtenby:
-
BFW AW26: Ritual Unions — Couture as Collective Ceremony
Ritual Unions AW26 turns couture into ceremony: structured silhouettes, sculptural draping, and live performance fuse fashion with ritual in Berlin.
In the heart of Berlin, Ritual Unions transformed RAUM.Berlin into a stage for living couture, curated by Fashion Council Germany. AW26 unfolded as a contemporary ritual: a meditation on freedom, presence, and collective experience in the city’s electric alternative scene.
At the center, a lavish dinner table installation—crafted with Flores y Amores—hosted a nude male performer, recalling da Vinci’s Last Supper through a modern, subversive lens. The image was decadent, absurd, and deliberately unsettling, confronting tradition while asking: who is celebrated, and why?
not the last supper…
The collection itself mirrored this tension. Post-bridal couture became ceremonial armor: structured silhouettes, visible corsetry, sculptural draping, and tactile embellishments balanced restraint with exposure. Fabrics embraced and framed the body intentionally, echoing the performance’s core message—clothing as both protection and statement.
A live audio excerpt set the emotional tone:
“I dress for alignment, not approval. For truth, not consistency. For the self I am today.”
Rather than a spectacle, the show presented fashion as living ritual—an act of gathering, witnessing, and shared presence. Berlin, where misfits build altars and community replaces convention, provided the perfect backdrop. Ritual Unions translated that spirit into garments that exist between ceremony and rebellion.
Every detail reinforced the concept: sculptural jewelry by Gina Melosi heightened ceremonial tension; hair and makeup, crafted by a multidisciplinary Berlin team, highlighted collective authorship; set design enveloped performers and audience alike in a narrative of ritual and intimacy.
AW26 is not just a collection—it is a living experience. Here, couture transcends display: it becomes presence, reflection, and participation. Ritual Unions continues to redefine bridal codes, forging a visual language of freedom, identity, and radical craftsmanship.
About: Ritual Unions
Berlin-based label Ritual Unions, founded by Karin Brettmeister, redefines bridal and evening wear through handmade, post-bridal couture that balances structure, draping, and vulnerability. Each piece is designed as a living garment—a ritual object that transforms the wearer, blending tradition with rebellion. Rooted in Berlin’s creative spirit, the brand celebrates individuality, emotional honesty, and craftsmanship, creating couture that is felt, experienced, and lived, not just worn.
Ritual Unions Atelier & Showroom:
Choriner Str. 3, 10119 Berlin
www.ritual-unions.deTaged as/in; AW26, berlin, ceremony, couture, craftsmanship, fashion, Flores y Amores, Gina Melosi, Identity, Karin Brettmeister, performance, Post Bridal, RAUM Berlin, ritual, Ritual Unions, Stefano Martiradonna#writtenby:
-
The Chord Memory Club – Recipe For Justice / Laser Scratch
Groovy midtempo heat: The Chord Memory Club drop Recipe For Justice / Laser Scratch on Noiseberry—analog bass, indie dance energy, out Feb 6 2026 Worldwide EP!
Fresh off the release of their recent EP From Filter To Filter on Riotvan, the band landed directly in Beatport’s global Indie Dance Selection 2025. It featured a standout remix by Johannes Albert and received airplay around the globe. The Chord Memory Club return on NOISEBERRY with their new two-track EP Recipe For Justice / Laser Scratch, out February 6, 2026.
The release delivers groovy, bass-driven electronic midtempo instrumentals that blend daft-housy textures with indie dance, electro, and downtempo elements. “Recipe For Justice” opens with a warm analog bass and a hypnotic, punchy downtempo pulse, drawing the listener into an immersive groove. In contrast, “Laser Scratch” sharpens the focus with crisp electro percussion. It features a throbbing sub-bass and snaking synth hooks. These elements inject indie-dance energy into a cool midtempo framework.
Each instrumental showcases analog warmth and dynamic, danceable beats, balancing musical zeitgeist with a subtle sense of trendsetting. The result is a modern, dancefloor-ready vibe that works just as well for late-night listening—a confident continuation of The Chord Memory Club’s signature sound.
Details:
Release Date: February 6th, 2026
Indie Dance, Electronic, Daft House
Catalog Number NB011
About The Artists
Hailing from Leipzig, Germany, The Chord Memory Club emerged in 2021 as an expressive electronic and house music project. Talented producers Philipp Kolbe (aka Workshop) and Tino Kulisch founded the duo. They have developed a distinctive sound. Seamlessly fusing analog warmth with groove-driven rhythms and emotional depth. Their music transitions fluidly between piano house, garage, deep house, and indie dance. This creates rich and dynamic soundscapes. These soundscapes resonate both on the dance floor and in introspective listening.
Their early releases on Riotvan earned attention from tastemakers across the scene, including support from figures associated with Ed Banger Records. As co-founders of NOISEBERRY, they’ve shaped a creative platform celebrating experimental electronic music, visual art and community, helping to spotlight kindred artists.
In live performance, The Chord Memory Club emphasize improvisation and emotional connectivity. They translate their studio craft into performances that feel intimate and expansive. Their evolving discography — from EPs like Rewind and Piano Lessons to recent Riotvan singles — highlights a commitment to pushing genre boundaries while staying rooted in the soulful essence of club music.
The Chord Memory Club (TCMC)
Instagram | Soundcloud | Bandcamp | Spotify
NOISEBERRY
Taged as/in; analog, beatport, club, Daft House, Electronic, EP, groove, Indie Dance, Midtempo, Noiseberry, The Chord Memory Club#writtenby:
-
BFW AW26: DAMUR — Fashion That Floats through space
DAMUR dissolves the runway into water. At Liquidrom, AW26 floats between skin, steam, and street—where fashion slows down and learns to breathe.
Winter in Berlin is usually gray. DAMUR turned it into liquid chrome. At Liquidrom, the iconic saltwater spa, AW26 unfolded as a living experiment: a runway that wasn’t observed—it was inhabited. Guests arrived in bathrobes, chrome, lace, and lingerie, barefoot or clutching slippers, moving freely between sauna, steam, and pool. Phones were down. Schedules paused. Fashion slowed.
“Fashion SPA Day,” subtitled Do You Wet Dream?, transformed the space into an ecosystem where heat, humidity, and water dictated form. The poolside presentation moved in three acts—Super-Human, Super-Athlete, Super-Cyborg—turning body mapping, cut-outs, and lingerie codes into a physical language. Skin was framed, not exposed; vulnerability became structure; intimacy, a silhouette.
Do You Wet Dream?
AW26 balanced opposites: streetwear tailoring against flowing organza, oversized volumes against second-skin pieces. Knits and jerseys stretched and clung, coated finishes caught the dome light, metallics shimmered. Then the defining moment: three models stepped into the pool. Fabric floated. Light danced. Gravity bowed to water. Fashion became ritual.
Beauty and footwear were functional, real: sleek wet-look hair by Paul Mitchell, movement-ready shoes by Wildling. Sound shaped the mood—from warm house to tribal techno—synchronizing bodies, clothes, and water into a single rhythm.
Damur Huang’s vision was clear: slow down, reset, feel again. “We can always adapt and move forward with better energy,” he said. In the spa, his philosophy was lived, not spoken.
AW26 is more than clothes. It’s a system, a state, a sensation. Body, environment, and fashion converge—alive, wet, and unguarded. For one night in Berlin, the runway floated, and fashion finally breathed. https://damur.fashion/
Taged as/in; Anastasia Spivak, Berlin Fashion Week, Body Mapping, Damur Huang, Fashion Spa, Gender Fluid, Lingerie Codes, Liquidrom Berlin, Performance Fashion, Streetwear Tailoring, Water Runway#writtenby:
-
South African Afro-House Duo Black Motion ‘Better Than That’
Black Motion drop a powerful Afro-House remix of Lisa Ramey’s “Better Than That”, infusing South African rhythms with her soaring vocals for a dancefloor hit.
Afro House aficionados Black Motion released a potent Afro-House remix of New York-based R&B singer Lisa Ramey’s hit ‘Better Than That’, on December 5th, 2025 via Lisa Ramey Music. Black Motion is a South African producer duo formed in 2010. The original members were Thabo “Smol” Mabogwane and Bongani “Murdah Bongz” Mohosana. They are now joined by Kabelo “Problem Child Ten83” Koma.
Renowned for their powerful percussion and rich African rhythms, they have released music on the prominent record label, Defected Records. They earned multiple South African Music Awards, including Best Duo/Group of the Year.
They were certified Gold on their LP Fortune Teller, and achieved platinum and won for Best Dance Album for Ya Badimo. Their 2024 album The Cradle of Art received four SAMA31 nominations. Additionally, they landed a performance on a NPR TIny Desk (Home) concert, cementing their status as one of South Africa’s most celebrated and influential dance music acts.
Hitting off with The Voice
Lisa Ramey first caught national attention as a finalist on NBC’s hit music competition show, The Voice, where she performed on Team Legend. She stepped further into the spotlight earlier this year. She was one of two vocalists on tour in the USA with Zayn Malik’s all-female seven-woman band.
After headlining alongside Ms. Lauryn Hill, she took her soulful rock artistry to the limit with her debut album Surrender (2020), which made it to #34 on Good Morning America’s Top 50 Albums of 2020. Ramey was included alongside artists like John Legend, Camilla Cabello and Common as part of the Global Citizen “Together at Home” concert series.
‘Better Than That’
‘Better Than That’ is taken off Lisa’s 2024 EP Foretaste, which has gained over 665,000 streams on Spotify alone. This release was produced by Joe Capo Kent, a three-time GRAMMY-nominated producer, with mixing by Sam Maul of Shock City Studios and mastering by Glenn Schick, all contributing their extensive experience to the project.
“When the challenge came to remix Lisa Ramey’s ‘Better Than That’, we were all in. We wanted to bring our own touch and feel to the song, giving her audience a taste of the South African vibe. With Spice Drums adding his signature feel, we hope people feel the same energy and joy we felt while creating it.”
Black Motion‘Better Than That’ is a stick of soul-pop dynamite, blending cinematic production, lush instrumentation, and intricate percussion beneath Lisa Ramey’s soaring vocals as she passionately laments a relationship’s downfall.
Black Motion’s treatment of the track is sure to ensnare fans of Shimza, Black Coffee, and Culoe De Song. It alchemises the track into a dancefloor-ready groove while retaining the original’s soulful potency. A percussive-focused instrumental carries Lisa’s powerful vocals, which are spliced, delayed, and soaked in reverb. The result is kinetic and hypnotic.
- ARTIST: Black Motion
- RELEASE: REMIX Lisa Ramey’s ‘Better Than That’ single
- RELEASE DATE: 5 December 2025
- LABEL: Lisa Ramey Music
- LISTEN: Lisa Ramey – ‘Better Than That (Black Motion Remix)’
- Stream / Download: Lisa Ramey – ‘Better Than That (Black Motion Remix)’
Lisa Ramey:
Website – Instagram – Facebook – Soundcloud – Youtube – Spotify
Black Motion:
Instagram – Facebook – Soundcloud – Youtube – Spotify
Taged as/in; afro house, Black Motion, dancefloor, energy, groove, Lisa Ramey, Music, percussion, release, Remix, South Africa, vocals#writtenby:
Wanna Sign in too?
Stay tuned with the arts!
Subscribe to our newsletter and stay informed about current exhibitions and other topics of the Berlin cultural scene.
Read more about the handling of your data here.
You must be logged in to post a comment.