A symphony of chaos and elegance where orchestral strings collide with dubstep growls and darkpsy undertones. The track sways between grandeur and madness, merging cinematic swells with relentless basslines. The unseen echoes of tradition and modernity reverberate in a haunting dance of sound.

When He Began to Sway (Echoes of the Unseen)

Restless, rebellious, and fiercely independent, aZzma Beh is not just a musician she’s a force of nature. Born in Turkey but raised in California, she has spent over three decades carving her own path in the music industry, refusing to conform to mainstream expectations. Raised by a mother who was both an artist and an activist, aZzma grew up surrounded by raw creativity and a deep sense of defiance against injustice.
She never knew her father, only carrying his name like a ghost of an untold story. But rather than seeking answers in the past, she poured everything into music writing, composing, and producing her own songs. Her journey has been one of relentless independence, navigating the underground and alternative music scenes while collaborating with artists across the U.S., Europe, and Africa.
Her music is a collision of pop, rock, indie, and alternative energy, often infused with electronic elements when working with DJs who seek a voice as haunting as it is powerful. Unlike industry-made artists, aZzma chooses her collaborations carefully, preferring projects that carry meaning, rebellion, and raw emotion.

The Bartenders is a band founded in Toronto, Canada, by two passionate musicians: Johnny D. and Stephaan Rayes. This dynamic duo has mastered the art of modern blues, infusing it with soulful grooves and a touch of rock. Their signature track, Hey Bartender!, quickly struck a chord with music lovers thanks to its infectious energy and catchy riffs. Known for their captivating live performances, The Bartenders turn every stage into a vibrant mix of rhythms, blending classic influences with a refreshing modern twist.

Maya Guzmania, alias Ghost Of Maya, est une artiste belge dont le parcours oscille entre l’ombre et la lumière. Avant de devenir autrice-compositrice-interprète, elle a longtemps œuvré dans la production musicale, sculptant les sonorités des autres sans jamais oser imposer sa propre voix.
À six ans, elle enregistrait déjà des bribes de mélodies sur de vieux magnétophones, convaincue que la musique était un langage secret. Adolescente, elle passait ses nuits dans les clubs underground de Bruxelles, absorbant les rythmes du breakbeat, du dubstep et de l’électro, en quête d’une alchimie sonore qui lui échappait encore. À vingt ans, elle plongeait dans l’industrie musicale en tant que productrice, affinant son art dans l’ombre des studios. Pendant des années, elle façonnait des morceaux pour d’autres artistes, effleurant l’idée d’écrire pour elle-même, sans jamais franchir le pas.
Puis, un soir, au détour d’un morceau inachevé, elle a compris que sa place n’était plus derrière la console, mais au cœur du son. La voix qu’elle modelait pour les autres devait désormais être la sienne. C’est ainsi que Ghost Of Maya est née, fruit d’un vertige et d’un besoin urgent de rattraper le temps perdu.
Aujourd’hui, elle prépare son premier album, une œuvre immersive où les spectres du passé rencontrent les pulsations du futur. Et demain ? Si le futur appartient aux âmes qui osent, Ghost Of Maya pourrait bien devenir l’un de ces mystères musicaux qui traversent les époques, insaisissables et hypnotiques.

Maya Guzmania, known as Ghost Of Maya, is a Belgian artist whose journey sways between shadow and light. Before becoming a singer-songwriter, she spent years behind the scenes as a music producer, shaping the sound of others while keeping her own voice in silence.
At six, she was already recording fragments of melodies on old cassette players, believing that music was a secret language. As a teenager, she wandered through Brussels’ underground clubs, absorbing the pulse of breakbeat, dubstep, and electro, searching for a sonic formula that remained just out of reach. By twenty, she had dived into the music industry as a producer, perfecting her craft in the shadows of recording studios. For years, she created for others, brushing against the idea of writing for herself but never taking the leap.
Then, one night, amidst an unfinished track, she realized her place was no longer behind the console but within the music itself. The voice she had shaped for others had to become her own. And so, Ghost Of Maya was born—from that moment of vertigo, from the urgency of reclaiming lost time.
Now, she is preparing her debut album, a hypnotic journey where echoes of the past merge with the rhythms of the future. And what lies ahead? If the future belongs to those who dare, Ghost Of Maya may soon become one of those musical enigmas elusive, timeless, unforgettable.

Lotus Pastel is one of those rare artists who seem to exist slightly outside of time. Her origins remain undefined, with brief chapters spent in Tokyo, Seoul, and Tangier before finally settling in Paris. This rootless journey shapes her music: delicate, ethereal, and quietly fearless.

With a voice both fragile and luminous, she creates songs that feel like secret confessions, half-whispered and half-sung. Her sound drifts between dreampop, poetic electronica, and intimate pop, always tinted with surreal imagery and a sense of soft resistance.

In 2025, Lotus Pastel unveiled not one but two striking albums. "Ma Vie, L’Univers" opens like a diary scattered in the wind: playful and dreamlike on tracks such as "La Machine à Café a Pété", tenderly reflective on Je suis là…, and cosmic in its collaborations with Dark Earl (L’Univers) and OldNEO (Echoes of a Myth). Later that year, "Ici, Daba et Ima" expanded her palette, weaving Franco-Japanese moods (Yuki no Shita), Moroccan shades (Daba, Sous le bleu de Chefchaouen), and fragile nocturnes (Que la nuit m’oublie).

Lotus Pastel does not chase anthems, she builds atmospheres. Each release is less an album than a landscape, pastel skies, blurred edges, words floating like fragments of a dream. And in that liminal space, she is already carving her own place in tomorrow’s music scene.

When He Began to Sway (Echoes of the Unseen)

90dB Project