Mikey La Luna’s “Hallelujah • הללויה • الحمد لله” arrives as a nocturnal ceremony disguised as tribal tech-house. With the best of mantra-electronic sounds, the song revolves around a single word spoken across three languages and belief systems, turning something familiar into a shared pulse.
The track opens with a grounding, hard-hitting beat, while the soundscape stretches out wide and immersive, hovering between tension and release.
The accompanying video, filmed in Tel Aviv, Jaffa’s Greek Market, occupies psychedelic symbols, bohemian styling, candlelight, and slow, meditative movement unfolding against spiritual street art, turning the city itself into a backdrop of coexistence, coaxed. It’s defiant of exclusivity and ownership.
Mikey stands there and lends his voice, which whispers eerily, echoing as if drifting through a dimly lit hall of worship. Hebrew and Arabic phrases for holy scriptures surface as ritual sounds woven into rhythm. The bass runs deep and steady, anchoring the trance, while the electric guitar hums beneath like a distant memory.
Daniela Dvash’s voice lifts everything into another realm. Her high, angelic refrain of “hallelujah” is hypnotic and psychedelic, looping like a mantra until it stops feeling like a word and starts feeling like a vibration. It can be soothing and spellbinding, riding that fine line between stillness and motion. You can tell the influences of Pink Floyd’s cosmic patience alongside the emotional, communal drive of Faithless.
“Hallelujah • הללויה • الحمد لله” is building a space. A place where prayer meets bass, ritual meets movement, and the dancefloor becomes common ground.
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Review by: Naomi Joan