FOR IMMEDIATE RELEASE

Five songs. Five parallel worlds. One unfinished story.

EP release date: 23 June 2026  

Singles “Unparalleled,” “Havoc,” , “Toque, Tortura” and “You Learned From The Best”

BRDN build from a specific premise: that love doesn’t end so much as it branches. Their second EP, Maybe in Another Life, maps five of those branches — five moments where something was left unresolved, suspended, or quietly undone. It is not a breakup record. It is a record about the versions of things that never quite finished, and about what it means to carry those versions forward anyway.

The duo describe their music as an intricate merger of melancholy, bass, and poetry — a description that understates both the precision of their craft and the emotional weight it carries. Maybe in Another Life is a record built in layers: modern synthesis woven around analogue drum recordings, live congas and atmospheric cymbals pressing against clean electronic architecture, vocal arrangements that treat the voice as structural material as much as expressive instrument. Every element has been shaped, tested, and reshaped. Nothing here arrived by accident.

Their reference points — HVOB, Moderat, Massive Attack, The xx, Son Lux, Fever Ray, James Blake, Purity Ring, Asap Rocky, Ry X and Madonna among others — point toward a tradition of producers and songwriters for whom mood is not decoration but foundation. BRDN are working in that lineage, but the results are distinctly their own: more interior, more patient, more willing to let tension accumulate without releasing it on schedule.

THE SONGS

The EP opens with “Havoc,” a meditation on the shadow a person leaves behind after they are gone — not absence as emptiness, but absence as a new and permanent presence. The line you were my bandage / you are my wound sits at the song’s emotional core: the same person, past and present tense, healing and harm collapsed into one. What gives “Havoc” its particular texture is the decision to weave a stanza from Giorgio Caproni’s poem Ah Giovinezza into its structure — a passage about the fragility of youth and the way voices dissolve through the branches of memory. The poem doesn’t illustrate the song so much as deepen it, pulling the personal into something longer and more universal.

“Unparalleled” is the EP’s clearest articulation of its central theme — the parallel timeline held open, the moment that never became anything. The song holds completely still inside a charged, unresolved possibility: two people suspended in what could be, bodies described as vessels, the smile that hits with a force that stops the universe. What makes it ache is precisely what it withholds. There is no answer. There is no resolution. There is only the suspended second before the story branches.

“Toque, Tortura” is the most physically immediate and structurally daring track on the record. Desire and resistance coexist in the same breath — a person pulled toward touch while simultaneously convinced they are unworthy of it, pushing the other away to protect them from something they cannot name. The song’s bilingual structure, moving between Spanish and English mid-thought, enacts rather than describes this split: two languages for two states that cannot be reconciled. Rhythmically, the track builds through restraint rather than escalation — pressure accumulating beneath a surface that never fully breaks.

“You Learned From The Best” arrives like a cold front. Where the earlier tracks are suspended and ambiguous, this one is forensic. The narrator has finally identified the pattern — the poisoned words, the indifference deployed as armour, the snake eating its tail — and delivers that reckoning with precise, almost clinical clarity. The emotional turn is notable: but I’ve grown resistant. This is not a song about being destroyed. It is a song about having survived long enough to understand what was happening.

“Ink” closes the EP as a kind of inscription. Scars become art. Words that were meant for letters dissolve into notebook scribbles, into stains on bedsheets, into something pressed permanently into skin. The track’s mantra-like structure — phrases cycling back, accumulating weight with each return — makes it feel less like a finale and more like a seal pressed into wax. The EP ends not with resolution but with mark-making: this happened, and here is the evidence.

SOUND AND PRODUCTION

The production on Maybe in Another Life is built around a deliberate collision of the organic and the constructed. The rhythmic foundation combines live recorded drums with programmed elements — sometimes layered on top of each other, sometimes spliced together at the sample level. Hi-hat textures, for instance, were assembled from the duo’s own recorded material merged with samples from the Ovi on the Drums pack, creating hybrid sounds that sit in an intentionally ambiguous space between a live kit and a programmed one. Congas recorded live anchor “Havoc” and “Toque, Tortura” in particular, giving both tracks a physicality and warmth that the more electronic elements push against.

The synthesizer palette is specific and considered. A Moog Sub37 provides the EP’s sub-bass — deep, analogue low-end movement that functions as a compositional element rather than a supporting one, carrying emotional weight that the lyrics sometimes leave unspoken. The Sub37’s arpeggiator also drives several of the record’s lead figures, a mechanically precise pulse set against the more diffuse textures elsewhere. The Arturia Microfreak appears prominently on “Havoc,” its capacity for unusual, unstable timbres making it a natural fit for a song about dissolution and the traces things leave behind. Across the EP, Arturia Pigments handles much of the sound design work — evolving pads, harmonic texture, the kind of synthesis that shifts slowly enough to feel like atmosphere rather than gesture. The Arturia software recreation of the Yamaha DX7 contributes its characteristic FM character: bright, slightly brittle, a tonal quality that has aged into something distinctly emotional.

Vocal arrangements are stacked for texture rather than conventional fullness — harmonies that thicken the air around a melody without competing with it, voices treated at points as pure sonic material. In “Ink,” repetition and layering push the voice toward something closer to incantation. In “Toque, Tortura,” the switch between Spanish and English becomes a sonic device as much as a lyrical one.

Recording, mixing, and mastering were handled entirely at Interface2 Studios. The production process was one of sustained accumulation and deliberate subtraction — building layers until the weight felt right, then stripping back to find what was actually essential. The EP’s identity lives in that gap between what was recorded and what was kept.

THE VISUAL WORLD

All five music videos for Maybe in Another Life have been shot and are currently in post-production. The visual programme has been conceived with the same structural logic as the music: each song receives its own visualizer, built as a fully distinct world rather than a variation on a shared aesthetic. Where most EP campaigns treat visuals as supplementary content, BRDN treat them as a parallel track of the project — equally considered, equally constructed.

In addition to the individual videos, all five pieces will be edited together into a single longform work — a short-film-length piece that unfolds the EP’s parallel timeline concept as a complete cinematic narrative. The five worlds do not simply follow one another; they speak to each other, building toward something that only becomes visible when the whole is assembled.

Maybe in Another Life is the work of a duo with a precise and uncompromising vision of what they are making — and the craft and patience to make it fully. It is a record that earns its ambition.

01  Havoc  — single out now

02  Unparalleled  — single out now

03  Toque, Tortura  — single out now

04  You Learned From The Best

05  Ink

Press contact

info@brdnmusic.com

www.brdnmusic.com

+4915259901976