When you first press play on AUNCE’s new single “Come Back,” you’re not just listening to music — you’re stepping into a living, breathing atmosphere. The track unfolds like a memory suspended in fog; it’s less a song in the traditional sense and more an experience.

Emerging from London’s Townshend Studio residency, AUNCE (real name Anna Edith Daly Edgington) captures something few artists dare to even attempt: the sound of feeling itself. “Come Back” was born from experimentation, from curiosity — a serendipitous discovery on an ARP 2500 synth that blossomed into an intricate world of sound built from layers of Buchla Easel, MS-20, Prophet 6, and Moog Sub 25. But what makes it remarkable is what came after: the silence of grief.

Midway through the track’s creation, AUNCE lost her brother. What began as abstract sonic exploration became a vessel for something raw, sacred, and wordless. The vocals, improvised and unedited, became the emotional nucleus of the song — unstructured, primal, and real. There are no lyrics, yet every note aches with something deeply human. “Come Back” doesn’t explain grief — it inhabits it.

You can hear the lineage of Meredith Monk, Norma Winstone, and Bobby McFerrin in AUNCE’s vocal approach — that freeform, textural use of the voice as an instrument of pure expression. But you can also feel the pulse of the electronic underground — the spectral, fragmented sampling sensibilities of Burial or Hudson Mohawke. It’s a collision between avant-garde composition and modern electronica; a piece that lives somewhere between ambient art, modular experiment, and grief ritual.

There’s also a political and collective resonance buried in the song’s textures. AUNCE speaks of shared grief — not just personal loss, but the collective pain of our era: genocide, fascism, disinformation, and despair. The voice becomes both an individual and a crowd — intimate yet vast, trembling yet defiant. The track swells and collapses like waves of mourning, then rises again into light.

In many ways, “Come Back” feels like a rebirth — for AUNCE as an artist and for sound itself. The residency at Townshend Studio (home to a museum’s worth of rare synthesizers once belonging to Pete Townshend) gave her the tools to sculpt sonic worlds with near-scientific precision. Yet the outcome feels organic, even spiritual. It’s the meeting of analog circuitry and human fragility — the heartbeat in the machine.

What sets AUNCE apart is her refusal to fit within genre boundaries. She’s part electronic producer, part sound artist, part philosopher. Her past releases — Beep Beep, Evergreen, Silver Sun, and Zoo Friend — already marked her as a restless innovator, unafraid to dismantle pop structure in favor of emotional truth. But “Come Back” transcends even that. It’s less about structure or melody, and more about presence — a living document of love, loss, and transcendence.

There’s a reverence to the way she speaks about first takes — that unfiltered emotional moment before analysis sets in. You can feel that ethos here. The performance is unpolished in the best possible way — vulnerable, immediate, and impossible to recreate.

With every release, AUNCE proves herself not just as an experimental artist, but as a deeply human one — unafraid to use technology not as a shield, but as a mirror.

“Come Back” is the kind of piece that lingers long after it ends — a sonic monument to the unspeakable. It’s not meant to comfort, but to witness. For those who have known loss, it feels like recognition; for those seeking meaning in sound, it feels like discovery.

“Come Back” is available now on all major streaming platforms

Listen to AUNCE and other similar artists on our Spotify Playlist ‘New Music Spotlight - Electronic’

“Come Back”- AUNCE

“Breathe” - Serotone

“Fear and Control” - NIEVES