The London via Valencia multidisciplinary artist returns with yet another brutal set of tracks. Propaganda and Roll the Dice take her signature nu-gabber production even further taking the listener on a rollercoaster of genres and rhythmical switches.
“Safety is an illusion. There’s no such thing” whispers Astrid over a wobbly synth before going into a beautiful melody strangely reminding of some metaverse-based Ace of Base on eccies. The track progresses further with melodic gabber, hardcore and industrial rhythms showcasing Astrid’s ability to juggle between genres both on vocals and production.
Roll the dice goes beyond past productions, showcasing her wide vocal range mixing operatic style vocals. Among the classic hardcore syncopated and frenzied melodies, a pitched vocal emotionally exclaims, “No you don’t get me. I won’t go gently. All of this racing and pacing with greed, burry me in the speed. I’m a dying breed“. Taking a jab at the materialist world view of a consumerist society that keeps burying everything in its “progress” towards collapse. A common thread on Gnosis’ music the heady core progressions are highlighted with a stoic lyrical attitude, punctuated by the hardcore kick drums.
“The main idea behind this track was to adapt and expand on Nitsche’s quote from The Birth of Tragedy ‘One puts to one’s lips what drives one faster into the abyss. These two tracks are both about desire and the tragedy of our relentlessly secular society, which leaves people alone and isolated in the privacy of their skulls. Our materialist world view has created a meaningless and depressive reality, where we are forced to see ourselves as assets or deficits.” – shares Astrid.
These new tracks mark her first drop via Heady Records – also home to the Spanish artist Lucia Gea – since her pre-pandemic 2019 single Quema Rueda.
Propaganda is released alongside another track called Roll The Dice that is currently available for sale as an NFT via Opensea.
Stream Propaganda HERE and don’t miss Astrid’s NTS show on December 22.
Francisco Terra’s 15th-anniversary collection for Maldito is a midnight ride through memory, a fever dream of teenage longing stitched into lace and rhinestones.
In a time of movement and uncertainty, Estelita Mendonça’s Spring/Summer 2026 collection questions what clothing means when stability feels like a luxury.
Take a look at C.R.E.O.L.E’s Spring/Summer 2026 backstage, captured by the lens of Spencer Stovell during Paris Fashion Week, in exclusive for Fucking Young!
Glenn Martens’ Maison Margiela Artisanal collection doesn’t just borrow from history, but it fractures it, reassembles it, and wears it like a second skin.
For Spring/Summer 2026, AV Vattev’s Bohème collection takes its cues from two iconic worlds: the effortless cool of French New Wave cinema and the raw energy of British music subcultures.
Concrete Husband talks about turning psychological collapse into industrial soundscapes, confronting darkness on Berghain’s dancefloor, and why dark techno is, above all, sexy.
We had the chance to catch up with Ohio-born, Brooklyn-based designer Kody Phillips in his Paris Fashion Week showroom where he unveiled his Spring/Summer 2026 collection.
Dean and Dan doubled down on their love of fashion’s most dramatic moments, remixing 80s power dressing, 90s grunge, and 2000s excess into something entirely their own.
Telekom Electronic Beats (TEB) and 032c are turning 25, and they’re celebrating with a capsule collection and an installation by Harry Nuriev. Titled All is Sound.
Cult Korean menswear brand THUG CLUB teamed up with designer IZZY DU for an unforgettable dinner and afterparty at the mythical Lapérouse during Paris Fashion Week.
Jonathan Anderson has always treated fashion like a carefully assembled collection, mixing the unexpected, trusting his instincts, and binding it all together with a strong point of view.
Turn the page. Breathe deep. Your pupils are already dilating. The high is coming.
Issue 26 brings together two electrifying covers that take the dopamine dive from Sadiq Desh captured by Cris Cerdeira to multidisciplinary visual artist and photographer Tomás Pintos’ cover story, Besos hasta agotar stock (Kisses Until Sold Out), developed from the live performance creating a space where glamour
meets exhaustion.
