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Premiere: Tender Ender – Darkness

Today, Negative White proudly hosts the premiere of "Darkness", the new single by Swiss artist Tender Ender.

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Gurry Wurry – Polaroid of Pain | One of Five Ep. 7

YouTube video by Negative White

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The Cure for Weltschmerz

Missing The Cure once was painful enough. A day at Paléo Festival was the chance to finally make it right—and get wellness for the soul.

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The Cure for Weltschmerz

Missing The Cure once was painful enough. A day at Paléo Festival was the chance to finally make it right—and get wellness for the soul.

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Leyla Ebrahimi – Planet You Forgot Me

6 minutes and 2 seconds. That’s how long the EP’s title track, _planet you forgot me_ , runs. In itself, a small sensation in a time of attention shortage. The crisp guitar howls in a heavy-metal fashion before retreating into a mellow flow that escalates back to full-blown alt-rock when it needs to. There are no real verses, nor a repeating chorus. It’s a stream that only knows one direction: forward. * * * Last year, I accidentally stumbled upon Leyla Ebrahimi and her single nobody matters but You. And I was immediately enthralled by the crisp beat setting the tempo, the galactic synth painting the melody. It’s an uplifting alt-pop hymn, full of powerful moments and grand gestures. And yet, it feels immediate and raw. Ebrahimi breaks the rhythm, increases pressure, and ultimately explodes into an excellent crescendo. * * * What _nobody matters but You_ already revealed back then, Ebrahimi now fully demonstrates on this debut EP: an irrepressible zest for experimentation, a refreshing aversion to conformity and lockstep, and a desire to subvert expectations. Whilst _planet you forgot me_ flirts with a generous dash of opulence, _i’m a little flower_ skips airily over plucked guitar strings. Yet what begins so light-heartedly soon takes on a leaden bass groove, muffled beats and a wistful guitar. Then there’s _I’m Sorry Maria_ , perhaps the most classic track on the EP. With restrained thoughtfulness, Ebrahimi whispers: “Do you miss me, Maria? Are you sad that I’m gone?” Beneath it all lies a sombre arrangement, from which a rebellious pulse gradually emerges. And as Ebrahimi’s voice grows ever rougher and louder, the weight of a thousand worlds falls from one’s shoulders. Perhaps the brightest will-o’-the-wisp is kindled by _I Know You’re The Moon_. A typical ballad that tenderly takes you by the hand, protectively enveloping your broken heart, but then suddenly bursts into this pop-punk riff and ends in utter despair. The ballad-like quality inherent in all the songs on _Planet You Forgot Me_ reaches its peak with _this graveyard is for lovers_. With a broken, pain-filled voice, Ebrahimi opens: “Oh my god, I really lost my mind this time.” All the anguish is laid bare, exposed to the elements, whilst the song gradually builds from a simple, quiet structure to a raw culmination of emotional outburst. And following this raw, heart-wrenching song, the EP closes with the short reprise _you forgot me (Planet Reprise)_. “Maybe in another life I’ll get to have you.” * * * Of course, this non-linearity, this apparent lack of conformity, has a structure of its own. At some point—though we don’t know exactly when—this twist arrives. Sometimes it’s starkly contrasting, as in _I Know You’re The Moon_ ; sometimes it creeps up on you, as in _I’m Sorry Maria_. But people watch horror films knowing that a jump scare is coming at some point. It is the anticipation that makes this EP so compelling and stimulating. Together with Alexander 23, who has also worked with Olivia Rodrigo and Renée Rapp, Leyla Ebrahimi has created a powerful heartbreak EP that skilfully navigates around clichés with authenticity. Yes, there are grand gestures and emotional grandeur. But they sound honest and personal, underpinned by compositions that aren’t overproduced. Imbued with powerful, unadulterated poetry, the images and verses recur, tying all the songs together. The graveyard, the moon, the little flower. Full of rough edges and with artistic maturity, _Planet You Forgot Me_ is a work that is constantly evolving and skilfully defies categorisation. #### Leyla Ebrahimi – __Planet You Forgot Me__ ****Release:**** 5 June 2026 ****Tracklist**** 1. planet you forgot me 2. i'm a little flower 3. I'm Sorry Maria 4. I Know You're The Moon 5. This graveyard is for lovers 6. you forgot me (planet reprise) Listen here

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Auch Schweizer Songs für KI-Musik-Training verwendet - 10 vor 10 - Play SRF

Das US-Magazin «The Atlantic» hat riesige Datensätze aufgedeckt, die von KI-Entwicklern zum Komponieren von Musik genutzt wurden. Sie enthalten weltweit über 20 Millionen Songs, darunter auch Stücke v...

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Chelsea Wolfe – Death Is Not The End | One of Five Ep. 5

YouTube video by Negative White

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Offbeat #5 – Redemption is coming

On November 19, 2022, The Cure played in Switzerland. I bought my ticket months in advance and pinned it above my desk. However, I’d entered the concert into my calendar on the 20th instead of the 19th, and I only found out when I saw everyone’s Instagram stories before going to bed. That’s an embarassment you don’t forget. Three years later, with Songs of a Lost World, one of the most extraordinary albums in recent memory, I’ll finally get my redemption at Paléo Festival in Nyon on July 22nd. Three years late. But I’m so looking forward to it, also experience artists like Witch Club Satan, Bound by Endogamy, and Sylvie Kreusch on that day. * * * **Next week already,** our photographer Phillip Weiler will report from Openair Frauenfeld, Europe’s largest hip-hop and rap festival. He’ll also post some stories on our Instagram, so make sure to follow. **This week,** there won’t be a classic Weekly5 edition but a special update to Capacitor, our electronic music playlist, coming later today. A drum and bass earthquake with a Down Under epicentre. A declaration of love with galactic proportions. Techno-punk provocateurs sniping dystopian one-liners. That’s what’s coming your way this afternoon, if you’re a Negative White Supporter. Here’s a short amuse-bouche for you: From Down Under to Germany and back: Luude’s collab with ÄTNA’s singer Inéz, remixed by Australian brothers Ekko & Sidetrack, completes a full circle, and the result is relentless. Reality-bending bass wobbles, Luude’s signature flute sounds, Inéz’s unmistakable vocals. The remix takes the sparse original and rebuilds it with unhinged momentum. It’s delivering life like a needle of pure adrenaline straight to the heart. * * * **And whenever you like,** you might wanna take a deeper dive into one of our Weekly5 picks in our free podcast, One of Five. The latest episode explores Adna’s new single I’ve Been Here Before, including some snippets from my 2015 interview with the Swedish-Bosnian artist. One of Five is now also available on our YouTube channel, not just our website. * * * Until next week,

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Adna – I've Been Here Before | One of Five Ep. 4

YouTube video by Negative White

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Offbeat #4 – James Blake Is Wrong (And So Is the Question)

„Can‘t trust a review because blogs/mags stopped making money, so journalists now get paid off by labels.“ This was a statement, UK artist James Blake recently posted on his Instagram. And I don’t even have to get too deep into why this is bullshit, Drowned In Sound already did it greatly. The gist being that Blake himself greatly profited from praising media coverage to kickstart his career. I can only support DiS editor Sean Adams in his conclusion: > _At a time when The Guardian, The Sunday Times and The New York Times as well as NPR and Pitchfork are cutting back on reviews and music journalism is being defunded everywhere you look, it is the exact time that our profession needs to be defended by those whose careers have benefitted from it. We hope to see more artists and the industry speaking up for our craft as few have done so in response to Blake’s post this week which has now gone semi-viral._ The world Blake implies doesn’t exist, at least I have never wandered its plains. _Never_ has a label or PR agency offered Negative White money for a review—or any sort of coverage. And even if it were to happen, it’s diametrically opposed to our journalistic values. However, even if Blake fails to produce any sort of credible evidence for his claims, it’s easy to see how he might have arrived at his conclusion. The number of positive music reviews seems to increase constantly. Also, here on Negative White, you have to look hard for a negative music review. There’s one simple reason: As someone writing and running an independent music blog on a voluntary basis, I don’t want to spend my limited time with something I don’t enjoy. I go even further and say: Why would I steal your attention for something I do not recommend? Don’t get me wrong, writing a sassy tear-up is fun, and can be a fun read, too. But the time when reviews were buying advice is long gone; on streaming, we vote with streams and skips, not with our wallet. You don’t need me or any other music journalist to know what _not_ to stream. Now, there’s a great opportunity to wax philosophical here. About how good and bad only mean something in relation to each other. About objectivity and taste. About underground and mainstream music. But frankly, who gives a hoot? It’s a discussion interesting enough to get lost in, but one that spirals forever because there’s no single correct answer. But I offer a provocative perspective: We don’t need traditional „music critics“ anymore, when there’s an endless flow of new music every day. We need curators with sharp taste, we need advocates for independent artists, and we need critical reporting on the music business. * * * ### **This week on Negative White** 🎧 One of Five: Ella Ronen – At Seventeen**** In the latest episode, we explore Zurich-based Ella Ronen’s cover of _At Seventeen_. Where the original gently aches, Ronen fiercely refuses every comfort and uncovers the true pain of exclusion. * * * Until next week,

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Weekly5 #189 with Panic Shack, Josh da Costa, and more

In today’s edition, we’re recommending fresh tracks by ANYX, Olive Black, Josh da Costa, Panic Shack, and Sweeping Promises.

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Win 2x2 Guest List Spots for Sofia Isella

Sofia Isella, a 20-year-old musical prodigy, has developed an impressive artistic identity in recent years, characterised by dark lyrics, captivating melodies and fearless social commentary. A classically trained violinist and poet, she draws inspiration from Sylvia Plath and Anne Sexton, whilst her musical influences range from Nine Inch Nails and Radiohead to Fiona Apple and Lana Del Rey. Her background in literature and music creates a style that combines profound storytelling with multi-layered, cinematic production—a duality of discipline and raw expression that has become her trademark. Her song _Hot Gum_ blew up on streaming services, cementing her growing global fanbase. But Isella does not only convince on record but also delivers celebrated performances on stage, honed in front of large audiences as support act for Taylor Swift and Glass Animals. ### **Win 2x2 Spots on the Guest List** On 7 May, Sofia Isella is playing live at Club X-Tra in Zurich, presented by Gadget Entertainment. Find all information about the show here. Negative White is giving away 2x2 spots on the guest list. Here is what you need to do to enter: * Fill out the form below by Friday, 17 April 2026, at 1 pm. * Keep your fingers crossed.

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Grassroots Levy in Switzerland: Yes, but how?

More than two years after the first reports on fake AI-generated songs hitting artist profiles on Spotify without consent, the biggest streaming platform finally dragged its ass on doing the right thing: letting artists review what shows up on their profile beforehand. Truly groundbreaking stuff, but better than nothing, I guess… Whenever I read up on the wider trends and developments in the music industry, I ask myself: Did we hit rock bottom yet? And can we now start thinking constructively and collectively about solutions? I don’t know if we’ve reached the end of the line. But two things have sparked some optimism lately: WEMUSIC’s ideas and approach to “Apprenticeship & Music” and the PETZI manifesto. It’s not that there’s nothing to be sceptical about or even to criticise. However, broadly speaking, I admire these efforts for pushing towards solutions. ## **Headlines** ### **WEMUSIC aims to combine apprenticeship and music-making** As part of the m4music Festival, the association WEMUSIC presented initial ideas and a roadmap for the “Apprenticeship & Music” project. The team was inspired by sports, particularly the “Sport-KV” scheme. This involves training as a commercial clerk; although the education lasts a year longer, it allows sufficient time to pursue a professional sporting career. The same principle should now apply to aspiring musicians. Dive deeper with our overview report. * **Why it matters:** Compared to college students, apprentices are at a significant disadvantage regarding honing their music craft and gaining experience and knowledge in the music industry. * **Reality check:** The educational pillars don’t rely solely on artistic aspects; they also aim to teach organisational and project management skills to address the music industry’s needs. ### **PETZI publishes manifesto “The Foundation of Swiss Live Music”** Celebrating its 30th anniversary, PETZI, the national federation of over 200 music venues and festivals, has published a manifesto outlining core values, structural problems, and rough solutions across several key areas, including work conditions, infrastructure, business models, and media. The manifesto is available in German and French. * **Why it matters:** The PETZI Manifesto is the first significant attempt in recent years to move from the problem space to the solution space, offering broad strokes of direction. It’s generally great to see some movement and action. * **What needs to happen:** Outside stakeholders should either be approached or they should reach out to PETZI themselves to further shape and define the proposed solutions. Negative White has already done so regarding the manifesto’s media aspects. ### **Young and Aspiring is shutting down** As Young and Aspiring communicated in an email and later on its website on 16 March, the artist agency is shutting down by 31 May. They state: „The constant pressure, the feeling of being “always online and available”, the rapid technological developments and the resulting distancing of art from its human element gradually became a heavy burden for us.“ * **Why it matters:** Mental health issues are plaguing the music business ever more. It doesn’t only affect artists but businesses alike. Both the effects of an always-online, metrics-driven world and the precarious financial situation of the industry’s majority take a toll. * **To consider:** Offering short-term solutions to relieve burnout is important, but ultimately isn’t a substitute for addressing the underlying structural issues. ## **Also Noteworthy** * 808 rap festival prohibited smartphone cameras with positive feedback * Gadget Entertainment AG published their Sustainability Report 2024 * 300 people lose their appartements in buildings owned by Musikvertrieb AG (Paywall) * New artistic leadership for SUISA Songwriting Camps * Fondation Suisa, SONART, and Swiss Films collaborate to support Swiss film music composers * Awards Galore: The Swiss Music Awards, the IndieSuisse Awards, and the m4music Demotape Clinic were awarded. ## **Parliament Watch** Jaqueline Badran, Socialist Democratic member of the National Council, submitted an interpellation to the Federal Council in the aftermath of the vote on the “Halving Referendum”. It’s a rather amusing read, with the well-known spice in its wording—as one comes to expect from Badran. I’m particularly curious about the Federal Council’s answer to question number five: > _“In what way does the Federal Council see the benefit of scaling back the SRG’s entertainment offering for the public and for creative professionals in the film, music and entertainment industries?”_ Naturally, we’ll keep you posted once the answers are in. ## **Grassroots Levy in Switzerland: Yes, but how?** “We all need more money, but where the heck is it coming from?” asked Beverley Whitrick, COO of the UK’s Music Venue Trust, at the start of her presentation. Announced as “30 Years of PETZI – Live Music in Transition”, the m4music panel with Wittrick, PETZI’s Anya della Croce and moderator Valentin Brügger went on an extended deep-dive on the concept of a Grassroots Levy. And naturally, a potential implementation in Switzerland. ### This post is for subscribers only Become a member to get access to all content Subscribe now

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