‘The Color Pulp’ is Juno’s Experimental Metamorphosis

If you were around for the peak of Cairo’s indie wave, you likely heard the music of Juno, the singer-songwriter and producer who carved out a unique space with her whimsical strain of dream pop, threading together jazz textures, indie rock, and flashes of techno.

In September 2025, she resurfaced after a year-long hiatus with news of a new EP, The Color Pulp, previewed by the single ‘Supersonic’. The project stretches beyond her familiar acoustic-led palette into layered, exploratory production, co-helmed by Juno and Belal Ali, and mastered by Heba Kadry, whose credits include Björk and Beach House.

Written between Cairo and Berlin, The Color Pulp unfolds as a self-reflection charting the emotional whiplash of starting over. Excitement gives way to fear, disillusionment, and quiet anger, tracing the complexities of navigating the West as an Arab expat. Her move to Berlin becomes both backdrop and catalyst, filtering into dreamy lyricism, ethereal vocals, and melodies fizzing with influences from the city’s indie and electronic undercurrents.

Aside from the lead single, ‘Supersonic’, one of the standout tracks that full captures the epitome of the record is the opener, ‘A Taste’, whose intro sounds almost like something of early-2000’s indie rock band, The Strokes’, as well as ‘Did It For Me’, which is fluorescently colored with slightly distorted psychedelic guitar passages. Meanwhile, ‘Moved’ is a slow-burning instrumental interlude that serves as a wordless meditation on the ache of leaving home.

The Color Pulp frames Juno as a talented introvert with a restless rationale for fun experimentation, unconcerned with where she fits. Instead, her sonic shift seems deliberate, less ornamental and more immersive, opening an intimate window into her personal life rather than projecting toward a scene.