Lethe : Between the Worlds

This edition gathers everything written about Laura Korinth between the July 2019 release of Gravity and the self-produced Lethe: Between the Worlds in 2026, in English, German, Spanish and Italian.

It is arranged newest first, so the story reads backwards: from an artist who now engineers her own records to the singer who once lent a voice to somebody else's track.

She argues in her own essay that memory rarely counts and documentation does. This is that argument applied to her own work.

Electronic Groove reports the arrival of Lethe: Between the Worlds as the next chapter of her ongoing mythic cycle. The piece stresses that no outside engineer touched the record, and ties its themes of transformation and self-liberation to her background in therapeutic pedagogy. It arrives alongside the Bride video and recaps her move from the Gold-certified Gravity into full independence.

Her own manifesto, syndicated across three Mixmag editions. She argues that a scene born in dark rooms and broken machines is held together not by feeling but by paperwork: contracts, metadata, credits, registration, timestamps. She warns against manufactured independence, names Marie Vaunt as an inspiration, and sets out Gaia as the bridge from raw energy to authorship.

Sergio Niño traces the line from lyricist on Gravity to an artist who now controls writing, recording, mixing and vocal production herself. The profile foregrounds her Arawak heritage and her use of an endangered Guianese language as cultural memory, and reads the Gold certification as recognition arriving years after the work.

A long profile of the years of writing that existed before any release. It covers the DeepMind 12D and Prophet 08 she inherited from her uncle, instruments she calls inherited voices. It takes in her academic work on discrimination against women producers, and a process that collects texts, melodies and fragments until a track begins to breathe.

The German feature follows how Arawak narratives, Greek and German myth and games fold into a single world, a connection she finds in her own surname. She describes integrating the near-extinct Lokono language as an act of resistance against forgetting, and talks through the Between the Worlds concept she first staged at Volksbühne Berlin.

Franz Beschoner builds the interview around Bride and the two Greek figures behind it, with Goethe's Bride of Corinth resonating underneath. It recounts the night outside a Munich club where she took a street musician's microphone, her science-fiction references, and her argument that depositing work in public archives is a way of making it permanent.

The long-form article the online editions pointed readers towards, published in Mixmag's June print issue. It is the source of the line her press materials have carried ever since, a description of the record as a soundscape that belongs to no single era.

A short news item announcing the single Bride and the Between the Worlds EP, and pointing readers to the June print feature. It introduces her with the four-word formula that has followed her since: mythology meets machinery.

RAVE! traces her path from an authoritarian religious community to the night in a techno club when she stepped up beside a street musician with no rehearsal and no plan, and from there to a self-taught producer who writes, produces and mixes alone on analog machines. The piece announces Transformation, out three days later, and relays her own image of energy: never lost, only converted, and needing friction before anything new can unfold.

An early guest chart for FAZEmag, filed under her Ultra Music credit. Among the ten selections sit her own Sail Away With Me and the Brejcha collaboration, a small document of where she stood the year after Gravity.

EARMILK's review of the Ultra Music single singles out the melodic breakdown roughly halfway through, where her vocal enters before the kick returns. The piece notes the extended original, the radio edit and Nick Schwenderling's piano version, the release that would later be certified Gold.

We Rave You covered the Ultra release on the day, naming her as the Berlin-based singer and songwriter on the record and describing a track that moves between minimal, IDM, electro and techno across its full nine minutes.