A voice can travel a long way while the person behind it takes a step back. For Mylène Schuler, years of dance collaborations carried her singing beyond Switzerland, before motherhood brought a pause in Pull n Way’s public activity. So Hard, released on August 7, 2026, belongs to the project’s return. Written by Anna Neale, the single places Schuler’s warm vocals within the indie electro-pop partnership she shares with producer Andy Prinz. It arrives with an immediate hook and an inviting premise: an established musical identity finding its footing again after everyday life has changed.
The circumstances give the comeback a personal dimension without needing to turn it into a dramatic reinvention. Schuler became a mother, Pull n Way grew quiet for almost four years, and the return now makes room for both parts of her life. That is a recognisable adjustment for anyone whose creative work has had to accommodate new responsibilities. An artistic identity can remain important during an absence, even when the hours available to express it become scarce. This chapter begins with the possibility of participation again, carrying the experience of the intervening years into a familiar collaboration.
Pull n Way’s history reaches back to 2016, when the project formed as a trio. Swiss radio attention for Anything and You & Me helped establish its early presence, followed by the debut album Colours in 2019. Schuler’s classical training as a singer and violinist provides another part of that background. Her voice has since worked across dance productions and more orchestral settings, giving the project an identity that can survive changes in musical surroundings. On So Hard, the emphasis falls on warmth and melodic accessibility, offering a direct way into a catalogue with several different electronic directions behind it.
Anna Neale’s writing supplies the song at the centre of that encounter. Bringing an outside songwriter into an established artist-producer partnership can be revealing, because the performance has to make the material feel inhabited. Schuler’s vocal identity gives the release its continuity with Pull n Way’s earlier work, while Neale’s contribution brings another perspective into the room. The hook is presented as a defining feature of the single, and that priority suits its radio-facing approach. A memorable refrain gives listeners something immediate to recognise, allowing a returning project to introduce itself without requiring familiarity with its previous releases.
Prinz brings three decades of electronic-music experience to the partnership, encompassing production, remixing and A&R work. His wider credits include work connected to Tatana’s Words, placing Pull n Way within a longer Swiss electronic history. That experience offers useful context for a project capable of moving between cinematic scale and club-oriented production. The challenge in either setting is to maintain a relationship with the singer at its centre. Schuler’s warmth provides an appealing point of contact, giving the electronic framework a human presence around which its detail and energy can gather.
The collaborations preceding this return show how widely that presence has travelled. Releases with Sunlike Brothers include Let Me Fly, One Last Time and Together As One, while work with Notalike produced Back From Broken and Without You. York collaborations added Spellbound and Diamonds On The Moon, the latter featuring Nourey. Elsewhere, Truth Unfolds, made with composer Imre Czomba, explored a neoclassical crossover setting. These connections help explain the project’s flexibility: Schuler has brought her voice into several musical environments, gathering experience that extends beyond any single version of dance-pop or a fixed expectation of what Pull n Way should make next.
That flexibility remains visible in the 2026 release run. Since June, the project has revisited Inside Out and Drifting, alongside Together With You, a collaboration with Alchimyst that moves into 140-BPM psy-trance. So Hard occupies a more immediately accessible position within that activity, giving the return another point of entry. The contrast is useful. A listener drawn to an approachable vocal hook can discover the project here, then follow the surrounding releases towards more intense club territory. The forthcoming Body Ground, featuring LAV X & MKEY, adds another direction to a year already defined by renewed momentum.
Radio has played a tangible role in that momentum. So Hard received Swiss attention before its release, and Spitalradio LuZ dedicated an hour to Schuler. Figures supplied with the campaign reported support across 110 stations in 42 countries by late September, alongside rotation on Radio Swiss Pop. Those numbers indicate that the song has travelled, but the more interesting development is how naturally radio belongs to Pull n Way’s story. It helped establish the project early on and remains part of the route back, placing a familiar voice before people who may remember its earlier appearances or encounter it for the first time.
So Hard makes a persuasive introduction to this phase through the relationship between singer, song and long-standing production experience. Its warmth and hook give the return an approachable focus, while the surrounding catalogue leaves room for listeners to explore further. The personal circumstances matter because the absence had a life inside it: motherhood, changed routines and a continuing artistic identity. Schuler returns with those experiences accompanying her. Pull n Way’s next chapter begins with a voice that has already travelled widely, finding somewhere newly meaningful to belong.
