HYPERSPACE: Best Discoveries of the Week – Episode 173
Hey Space Travellers,
Are we ready for another incredible episode of Hyperspace?
Episode 173 landed, fasten your seatbelts and get ready to depart!
Zmbya – “Wendapi”
Zmbya opens this fantastic new episode like a manifesto that learned how to dance before it learned how to speak. This is his latest single “Wendapi”, not trying to “blend” genres in the usual polite and playlist-friendly way; instead, he redraws the map entirely. The beat behaves like a system of belief, constant and insistent, pulling African percussion and electronic architecture into the same gravitational field until they stop sounding like separate ideas.
Incredibly confident in that fusion, the African rhythmic core isn’t treated as decoration for EDM, and the EDM structure isn’t treated as a Western overlay. This is like both languages are being spoken at once, without translation, and we can feel some kind of tension in that, especially when the track leans into its more euphoric sections: it doesn’t resolve into familiarity; it expands into something slightly unfamiliar but instinctively physical.
This incredible single isn’t asking where it belongs in the existing ecosystem of Afrobeats, Afro House, or EDM. It’s pushing past categorisation entirely, insisting that a new language is already forming, and the only thing left is to listen before everyone else catches up.
Blac Narc – “Simon What”
“Simon What” is the track that doesn’t ease you in.. it comes in sharp, direct, and already mid-argument. Blac Narc brings us some UK rap in full confrontational mode, built on weighty production that feels gritty, industrial-leaning in texture, but firmly rooted in hard-edged lyricism and grime-adjacent energy.
The beat hits with that cold pressure, but it’s really there to frame the writing rather than overshadow it. Blac Narc’s vocals are the centre of everything here: tight, focused, and loaded with intent. Every bar is aimed somewhere specific, with no wasted motion or filler energy.
Yes, this song is extremely deliberate: even when the sound gets heavy and abrasive, it never loses structure. Definitely not chaos for effect: it’s precision under pressure, built to carry weight without sounding aggressive.
The lyric is unapologetic. It goes straight at industry gatekeeping and exploitation without softening the edges or trying to make itself more digestible. It’s not interested in being liked.. it’s interested in being heard clearly.
And that’s the core of this track: not asking for space, not fitting into expectations, just speaking with force and leaving the impact to land where it lands.
Carl De Villa – “Good Enough”
Carl De Villa is back, bringing us some great energy with “Good Enough”! This single doesn’t really burst in the room.. it’s more like it walks in, clocks the vibe, and just settles right into it. Extremely confident, not forced, and just naturally put together.
The production is super clean, warm, catchy, and has that rolling groove that keeps everything moving. Carl’s vocals match that energy perfectly here: smooth, relaxed, almost effortless, like being fully in control without needing to show off. It’s the kind of delivery that feels simple on the surface but actually holds a lot of intent.
The emotional tone here is crazy! It sits in that relatable space of not being fully “there” yet, but also not doubting yourself the way you used to. More like checking in with yourself mid-journey, rather than trying to resolve everything at once.
This track really ends up feeling like a quiet flex in its own way. Not loud, not dramatic.. just self-aware, chilled out, and comfortable sitting in that messy middle where things are still becoming.
Titus Maz – “Midnight Station”
“Midnight Station” is the latest project of Titus Maz, which builds this record like it’s already in motion when you arrive: no grand introduction, no clean reset point, just the feeling of catching something real that’s been unfolding before you got there. It’s got that loose energy where everything feels played by people in the same room, feeding off each other, not assembling parts in isolation.
There’s this raw energy running through the whole project, in that “this was actually played, felt, lived” kind of way. You can tell it wasn’t built to be over-polished or flattened into something algorithm-friendly. It tells you a story. Sometimes it swings, sometimes it drifts, sometimes it just sits there like a thought you didn’t finish having.
Jazzy, groovy, broken rhythms and little flashes of electronics make this project alive; none of it is trying to impress you by shouting. It’s more like a musician thinking out loud, except the thoughts have really good timing and taste.
This is the kind of project that’s not trying to be your focus. It kind of becomes your environment. And that’s the trick.
R.J. Augustine – “To My Favorite Person”
R.J. Augustine comes here with a project that’s like someone opened a phone full of notes, voice memos, and late-night thoughts from a relationship and shaped it into a full R&B sound without sanding down the emotion.
“To My Favorite Person” features 20 tracks: it definitely has some serious length, but it doesn’t read like filler. Instead, it moves through distinct emotional phases: the rush of early connection, the confidence and excitement of things clicking, the slow creep of tension, and then the quieter, heavier space where everything starts to unravel in your head. It plays out like a full relationship timeline rather than a collection of singles stitched together.
The production is quite clean, leaving space for vocals that sit very close to the listener. With an intimate and conversational delivery, it keeps everything grounded even when the emotions get bigger. And when the runtime stretches or certain emotional ideas reappear, the writing never goes into anything overly manufactured.
We can say that this album operates as a long-form emotional document: unfiltered, slightly messy in structure, but consistent in intention. It doesn’t reinvent modern R&B, but it commits fully to personal storytelling and sustains that direction from start to finish.
Keesha Blair – “Access Declined”
Keesha Blair isn’t in the business of making noise here; she basically walks in, takes the mic, and tells everyone to start moving.
“Access Declined” sits in that soul-pop lane, but it doesn’t play like a “message song” trying to teach you something. It plays like someone who already learned it, moved differently, and stopped entertaining anything that drains the battery. No drama, no spiralling, no emotional fireworks.. just a clean cut in how access works from now on.
The sound is smooth, hypnotic, but there’s this kind of tension under it, like the calm you get right after you stop replying to things you used to overthink. Vocals are confident, controlled, and nothing is pushed for effect: it’s all placement and timing.
This isn’t “I’m setting boundaries because I’m hurt”.. It’s more like “I’m not available in that way anymore, and I don’t owe a press release about it”. That’s the whole vibe.
And that’s why it hits. Not because it’s loud or emotional, but because it’s final without being messy. It doesn’t argue. It doesn’t explain. It just doesn’t open the door, and it does it with some crazy groove and serious confidence.
Mick J. Clark – “Anuther Sunny Hulliday”
You know those songs that make you think about summer holidays before you even pack your luggage? Yeah.. “Anuther Sunny Hulliday” is one of those.
Mick J. Clark is back, and he’s not trying to reinvent summer anthems here. He’s just bottling up that whole holiday buzz: counting down the days, soaking up the sun, chilling by the pool, and then dragging your suitcase home wondering how a week disappears in five minutes. It’s proper postcard music, and honestly, that’s the charm!
The groove is light on its feet, with bouncy guitars, cheerful melodies, and a chorus that’s impossible not to latch onto after a couple of spins. Even the quirky spelling of the title makes sense once Mick starts singing, giving the whole thing a bit more personality instead of feeling like a trick. Everything carries a laid-back and easy-going energy that never tries too hard.
The whole thing has that “windows down, no plans, just vibes” kind of spirit. It’s bright, wholesome, and completely unapologetic about chasing a good time. Sometimes that’s all a summer song really needs.
27 HILL – “Beef W/ Her Friends”
“Beef W/ Her Friends” is the latest track of 27 HILL, and trust us, this one will drop us straight into a thought mid-motion, expecting us to keep up.
This is a solid rap song where the structure deliberately resists convention. Drake-inspired vocals and deep low end create this immersive sound that prioritizes mood over predictability. Everything moves in a natural way, making the track feel like an internal monologue.
The writing moves the same way. It goes between a girl caught in constant social drama, friends falling deeper into street life, and the artist observing it all while half-involved, half-detached. Nothing is framed cleanly, so every switch hits like another thought interrupting the last one.
At the end of the track, nobody comes out clean: not the girl, not the friends, not even the narrator. Everyone is caught in their own contradictions, performing versions of themselves while calling it truth.
It doesn’t really try to convince you of anything. It simply lays the contradictions on the table and lets you decide what to make of them.
Dalinda – “The Nile”
“The Nile” is the latest single by Dalinda. As soon as you press play, and before you even clock it, you’re already in it.
It has that quiet, slightly heavy mood where nothing is dramatic, but everything still hits a bit deeper than expected. Not sad in a big way.. more like that calm kind of sadness where you’re just sitting with your thoughts and not really fighting them.
The production is clean, with real instruments: It’s spacey in a natural way, like nobody was trying to “build atmosphere”, but just happened because everything was left honest and open.
Her incredible voice sits right in the middle, not pushing or showing off. Just there, leading the vibes. And that’s what makes it unique. It doesn’t sound like she’s performing at you, more like she’s letting you overhear something she’s already lived through.
Also, there’s this subtle global vibe running through it, but it’s not labelled or highlighted. It’s in there, in how it moves, in how it breathes.
When the song ends, you’ll be left in a quieter headspace than you were before, like the track did some magic trick on you and you didn’t even notice it happening!
800cc – “hands so cold”
Most love songs go chasing the big movie scene. 800cc does excactly the opposite. “hands so cold” is obsessed with the awkward bits nobody posts online: the silence after the conversation dies, the scrolling instead of talking, the weird distance that can exist even when two people are sitting right next to each other.. We are pretty sure you know what we’re talking about here.
The crazy part is how the production tells half the story. Beautiful guitars, stunning vocal harmonies, and incredible electronic textures keep popping up in the background, almost daring you to run the track back just to catch what you missed. It’s experimental, but in a very unique and interesting way.
We can hear the old-school inspiration, but this is not trying to be vintage. It has one foot in psychedelic rock, the other in modern indie, carving out a sound that genuinely stands apart from the rest. Charlie Andrew and Kevin Kline have cooked up something that’s messy in all the right places.
This incredible single will slowly gets under your skin until you realise you’ve been thinking about it long after it finished. That’s the real flex.
