HYPERSPACE: Best Discoveries of the Week – Episode 168
Hey Space Travellers,
Are we ready for another incredible episode of Hyperspace?
Episode 168 landed, fasten your seatbelts and get ready to depart!
Richard Green – “Sad but Beautiful”
Richard Green is back on SpaceSour, bringing us a single that’s straight-up cinematic soul food. We’re talking about “Sad but Beautiful” released in 2024: this single will slowly wraps around you like a late-night thought you really can’t shake. The piano work from Irene Veneziano is absolutely gorgeous, soft but insanely expressive, while Archimia’s strings playing through the arrangement like they were born inside the emotion of the piece itself. The whole thing feels expensive in a “sad but beautiful” way, literally.
We can definitely hear how naturally Richard blends neoclassical elegance with modern melodic warmth. The subtle bluesy ache sitting underneath the composition gives it real human weight: it’s classy and never stiff.
To be fair, the trilogy concept is kind of fire. You can tell this wasn’t made as content for quick playlist skips.. it’s art with patience. This wonderful release feels like staring out a train window at night thinking about life, heartbreak, hope, all of it at once. Heavy, beautiful, timeless vibes!
Fanny Alexandra – “Zombie”
Some songs really try hard to grab your attention, but Fanny Alexandra’s latest single “Zombie” does the opposite. It stays quiet, keeps to itself, and literally ends up being the most memorable thing you hear.
This track is a whole mood. No huge production or obvious attempt to go viral. Just a dreamy atmosphere and a vocal performance that feels raw and honest from start to finish.
The wild thing is that the song doesn’t do a lot on the surface, but it pulls you in more every time you hear it. It feels like looking in the mirror and not fully recognizing the person staring back. The theme of emotional numbness is quite relatable here, and definitely doesn’t feel forced.
The production stays very simple throughout, and that’s what makes it work so well. Every pause, every breath, and every small detail hits harder because there’s nothing distracting you from the feeling.
“Zombie” isn’t the kind of sad song that falls apart emotionally, but more about that quiet sadness that builds up when you’ve been running on autopilot for too long.
Honestly, it’s the kind of track that sticks with you long after the first listen.
Barry J Walsh – “Star Ride”
If David Bowie, a box of vintage sci-fi comics, and a sunny afternoon road trip somehow got thrown into a blender, you’d probably end up with something that sounds a lot like the latest single of Barry J Walsh,
We are talking about “Star Ride”, and trust us when we say that this track is pure feel-good fuel. The jangly guitars are absolutely buzzing, the harmonies are stacked to the moon, and the whole thing has this infectious “screw it, let’s go for it” energy running through its veins! This is the kind of tune that just wants to grab you by the shoulders, point at the stars, and tell you to take your shot.
You’ll be surprised by how effortlessly fun it feels. The space imagery could’ve gone full cheesy, but Barry dives into it with such confidence that it becomes part of the charm. The Apollo-style countdown, the Mars-and-Venus romance, the glam-pop sparkle.. it’s all wonderfully over-the-top!
This single feels like chasing a wild idea you probably shouldn’t chase.. and doing it anyway. Catchy as hell, loaded with heart, and guaranteed to leave you grinning by the final chorus, that’s for sure!
Esvan Du Quador – “Yvette”
“Yvette” is the latest single of Esvan Du Quador, and that’s the kind of tune that just shows up, sits next to you, and slowly changes the air in the room. No vocals, no big flexes, just this quietly loaded instrumental that feels like it’s carrying something personal it never fully explains.
The track is built around minimal electro-acoustic layers and a slow, steady groove, moving almost like memory does when you’re not forcing it: a bit blurry, a bit fragile, but weirdly precise in what it makes you feel. The melody is the real hook here.. incredibly delicate, almost like it’s holding back words it doesn’t need to say.
A soft push-and-pull energy runs through the track, where warm ambience drifts over lush textures, like calm and anxiety sharing the same breath. This is the kind of tune that brings you on a journey you’ll hardly forget.
By the time it fades out, you’re kinda left staring at nothing, like “yeah.. that meant something”, but you can’t fully pin it down. And honestly, that’s the point, and it’s genius.
SLAPPER – “Disco Decoder”
SLAPPER brings us some retro vibes with “Disco Decoder”, and trust us, this track doesn’t spend time explaining itself.. it just hits play and gets the party moving!
From the jump, this thing is pure 80s energy: Punchy drums, lush synths, and a groove that just keeps trucking forward without letting the vibe drop for a second. This one got that retro-futuristic sauce all over it, but it never feels like a nostalgia trip. Instead, it sounds like electronic music got a software update.
The production is incredibly clean, and its melodies go through your mind while sparking something deep inside you. You can hear nods to the old-school legends, but SLAPPER isn’t busy cosplaying Kraftwerk or Moroder; he’s taking those influences for a spin and giving them his own twist.
This single is like a late-night transmission from a parallel universe where robots learned how to throw absolutely banging parties!
Floor Element – “Do The Funky Robot Remix”
Floor Element brings some chaos with his tune “Do The Funky Robot (Remix)”, but in the best way, like someone took a warehouse breakbeat, shook it up in a lab full of blinking machines, and hit export without asking permission.
Let’s start with the groove: breaky, punchy, wild, but still locked in enough to keep your head nodding without thinking about it. It has that kind of energy that easily grabs your attention and doesn’t let you go for a sec. It’s rough around the edges in a very intentional, “don’t worry, it’s meant to sound like this” kind of way.
The vocals are wild here: super distinctive, almost robotic but still oddly catchy, like they’re trying to start a dance craze while also glitching out mid-sentence. And weirdly, it sticks. You find yourself repeating it without meaning to!
There’s a proper UK warehouse vibe running through it, but it’s smashed together with some AI weirdness and breakbeat pressure, so it never feels stuck in one era.
Honestly, this one’s a bit mad, but in a positive way. It doesn’t sit quietly in a playlist.. it kicks the door in, does the robot, and disappears. Sick tune!
Pocket Lint – “Amethyst Cameo”
Pocket Lint brings us a song that moves all slow and hazy, like it’s not in any rush to impress you. We are talking about “Amethyst Cameo”, where everything’s got this dusty-glass vibe: soft synths floating around, guitars sitting way back in the room, drums ticking like they’re half-asleep but still locked in. It’s minimal, but not empty.. more like every sound was placed there on purpose and then left alone to just breathe.
The vocals don’t try to dominate anything either. They just sit in the mix, kind of calm, slightly distant, almost like a voice note you weren’t meant to hear but ended up replaying anyway.
What’s mad is the whole obsession angle actually comes through without it ever spelling it out. You can feel that “can’t stop creating” energy, but it’s not dramatic.. it’s more like a loop you fall into and don’t question.
This tune is incredibly interesting: there’s this DIY obsession running through it, but it’s controlled, not messy. More “focused fixation” than chaos.
And when it stops, it doesn’t resolve or fade dramatically; instead, it just cuts off like the moment someone finally puts the tools down and walks away without looking back.
R.Nelson – “Gravity”
R.Nelson comes up with a really smooth single called “Gravity”, and it’s giving that head-in-the-clouds R&B that doesn’t try to do too much.. it just locks you in, straight away, and lets the feeling do the talking.
The beat’s got that steady, heartbeat-type bounce: enough swing to keep it locked in while the bass sits deep and warm in the production. The whole thing feels weighty but airy at the same time, like you’re stuck between texting someone back and pretending you don’t care (when you definitely do!!).
Vocals are super controlled here, almost like he’s holding back on purpose: you can hear the emotion leaking through the cracks instead of being thrown in your face.
The lyrics are all about that pull-you-can’t-ignore type connection, the kind that stays in your head even when you’re trying to move on.
This is a smooth, a bit moody, and dangerously replayable tune. Not loud, not showy, just real sticky emotional energy.
Paul Louis Villani – “Who Do You Belong to Now? (Great Southern Land)”
Paul Louis Villani doesn’t come in trying to win you over or take a stance with his single “Who Do You Belong to Now? (Great Southern Land)”. This isn’t protest music, and it’s not trying to be clever about the world either. It’s just someone looking around and admitting they feel a bit displaced in it all. No drama and no slogans.. just that quiet discomfort of recognising something familiar has shifted and you’re not entirely sure when it happened.
The sound matches that mood. It’s rough-edged but controlled, with guitars that feel worn-in rather than polished, and vocals that sit right in that honest, slightly cracked space between speaking and singing. Can definitely feel tension during the track, but it never really releases.. it just lingers, like an unresolved conversation.
The production here is quite polished, with a clean sound and a carefully curated sound design. Nothing is pushed too hard, nothing is dressed up to sound bigger than it is. It’s like everything unnecessary has been stripped away until only the feeling is left.
By the end, there’s no conclusion waiting for you. Just that same question hanging in the air, a bit heavier than before, and no easy way to put it back down.
