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HAAi Names Her Third Album DIGITiSE, and the Choir From the Last One Never Left the Room

HUMANiSE faded out on a choir. DIGITiSE opens on the same one, mid-breath.

Most sequels tell you they're connected. HAAi just spliced the tape back together. The closing track of 2025's HUMANiSE faded out on a choir, and DIGITiSE — her third studio album, out 9 October 2026 on Mute — opens with that same choir picking up where it left off. It's a small production choice with a big implication: this isn't a new chapter so much as the second half of a sentence that got cut off a year ago.

HAAi has described the relationship plainly, calling DIGITiSE "HUMANiSE's bigger, ravey sibling" and adding that it "holds the hand of HUMANiSE and walks it to the club." That's a useful way to hear the two records against each other — one framed as reflective, the other built to move a room. The album was reportedly made with DJ sets specifically in mind, with HAAi wanting music that could stretch across an all-night set rather than sit still as one mood. Ten tracks that are meant to function like a set list rather than a mood board is a different listening promise than most "concept album" framing implies.

## A Full-Circle Tracklist, Built on Purpose

The choir handoff isn't the only structural symmetry here. Opener "RE-HUMANiSE" features returning collaborators Kaiden Ford and ILA — a title that literally rhymes with the previous album's name before the record has even started. The closer, "Talking Walls," features Skybreak and Cantoalegre, a children's choir from Medellín, Colombia, making the album's final sound a group of kids rather than a lone voice fading out alone. Between those bookends sit "Printerlude," "Ignition" (featuring new collaborator Echonomist), "Depth Perception," "Technology," "HUMANiSE Radio," "THANK U," "I Wanna Feel Like Someone," and — dead center at track five — the song that gives the album its name.

That placement isn't incidental. HAAi has called "DIGITiSE" "the nucleus of the whole album. It's a nod to the dance floor. A space of belonging and connection," and structurally it sits exactly where a nucleus should: not the opener grabbing attention, not the closer sealing the deal, but the thing everything else orbits. The title track, featuring Pat Alvarez, arrived as the album's first single on 24 June 2026 with an official video, months ahead of the full release — a fairly standard rollout beat, but one that now reads differently knowing where the song actually lives on the tracklist.

## Community as the Antidote, Not the Slogan

The album's stated territory is what it means to be human at a moment when digital life moves faster than most people can process — AI's pace, the divisions technology tends to open up, and community offered as the counterweight rather than a lecture about it. That's a familiar subject for electronic music in 2026, but HAAi's version of "the antidote is other people in a room" has some teeth to it, given the record was reportedly designed to be played live, loud, and communally rather than absorbed alone through headphones. A children's choir closing out an album ostensibly about digital alienation is the kind of detail that argues its own point better than a press line could.

Personnel-wise, the record splits cleanly between continuity and expansion. Pat Alvarez, ILA, James Messiah, and Kaiden Ford all return from HAAi's existing orbit, while Echonomist, Skybreak, and Cantoalegre are new additions — enough new blood to keep the "bigger" half of "bigger, ravey sibling" honest. Visuals are led by Martin Falck, whose prior work includes Fever Ray and The Knife, which at minimum signals an image-making pedigree built around mood and precision rather than a quick single-cycle rollout.

For anyone who wants a physical object out of this, Cult Hero Records is carrying a limited-edition yellow 12-inch vinyl pressing, complete with a poster insert and a reversible outer sleeve — the kind of pressing detail that tends to sell out before a general release date arrives.

DIGITiSE is HAAi's third album under her own name, following 2022's Baby We're Ascending, and it arrives from an artist — Teneil Throssell, Australian-born and London-based — who's spent that stretch building a catalog where each record answers the one before it directly rather than starting over. The real test in October won't be whether the "ravey sibling" framing holds up on record. It's whether a choir written to fade out on one album and open the next actually sounds like a return when it's coming through a club system instead of headphones.

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