Notable Artists and Albums From the Past Year
With the end of the year approaching and “Best of …” lists starting to circulate, I began to consider my own favorites from the past year. Even though we were all still largely living under quarantine, and perhaps to an extent because of it, there had certainly been no shortage of new music to wade through.
For someone who listens to as much music as I do, I’d be hard-pressed to pick a definitive selection of favorites across the board. But as I started to think about the albums or artists that had stood out to me the most or left a stark impression, I noticed a substantive contribution of such coming from women (*all women*) and female-driven groups.
As a nonbinary individual, who if anything identifies as more inwardly masculine, it’s not necessarily like me to think in gender categorizations. Still, in my off-the-cuff perception, it was hard to ignore this seeming streak of ingenuity, vision, and inventive musicianship.
So, partly for the sake of theme and in large part because all of these releases heartedly deserve sharing, here is a selection that I’ve found inspiring and enriching over the past year:
1. Victory Belongs To Those Who Fight For A Cause– Taqbir (Hardcore Punk)
This hardcore from Tangier is a must to check out. Going as either Self-titled or Victory Belongs To Those Who Fight For A Cause; simply put this 7″ rips.
Taqbir sings in Moroccan Arabic (Darija). The band name derives from the Arabic term for the phrase Allāhu Akbar, which translates as “God is greatest” or “God is greater.” As such, this group falls under the Islamic punk header Taqwacore. Taqwa means “piety” or “god-fearing” in Arabic. Understandably some don’t want to be pigeonholed under this subgenre, but it might potentially be of interest to those looking to explore further. The usage stems from a fictional book about Muslim punks in America, The Taqwacores by Michael Muhammed Knight.
Naturally, I support the right to religious freedom — but I also support individuals being able to critically examine the society, structure, and culture where they’re from, through their own experience. And here, Taqbir is expressing an aggressive fervor for the need for freedom from religion. Being highly critical of strict versions of Islam and what they view as severe oppression through the inability to live their lives freely, the group prefers to remain anonymous for reasons of personal safety.
Their vocalist has said that she’s currently estranged from her family. It’s unclear where the group resides, but they seem to be living somewhere in Europe for the time being.
“Released via bandcamp and YouTube this enigmatic recording turned heads and got many people speculating about this absolute rager of Moroccan origin. Four months later the physical version of this recording sees the light. Simply put, it was just too good to be a digital-only endeavour.” And as such was pressed by La Vida Es Un Music Discos.
No known photos of the group existed. Then eventually a few live performance clips cropped up, if anything sparking more curiosity. Maximum Rocknroll was able to secure a brief, but insightful interview with them. Taqbir can be followed on Instagram and Bandcamp.
2. Circa 1983– Camlann
(Disco-Inspired Darkwave)
Taking their name after the final, legendary battle of King Arthur — Camlann resides in Jakarta, Indonesia, and is comprised of Only Godfrey (vocals), Fauzan Pratama (synthesizer), and formerly Bayu Triyudanto (bass).
Both their first album, The Forgotten Lost Fragments, and current release, Circa 1983, were put out on Cold Transmission Records. The group self-describes as dark disco, but is inspired by acts like Xmal Deutschland, Siouxsie and the Banshees, and Clan of Xymox.
Their songs ring as deeply emotive and personal. Ony’s gripping vocals are reminiscent of Elena Fossi of Kirlian Camera (e.g. “Eclipse” & “Blue Room”) and, perhaps abstractly, to the resonance of Stevie Nicks. Stevie might not be the most gothic reference, but I feel they share in that unique ‘hauntingly reverberating, commanding of attention, powerhouse‘ quality.
As far as I know, this teen band was still in high school at the time of writing their last album, which I might ordinarily find irrelevant and mildly patronizing, but for to point out they’ve only just begun. Camlann has just recently become a two-piece, but the industrious group has already finished a third album and have a new single releasing January 14th. There was certainly already a disco element present, but the new release promises to lean more in that direction, pulling from influence ranging from: Grace Jones, Bee Gees, and Prince- to Saâda Bonair, Kraftwerk, and Depeche Mode. Reinterpreted through their own dark vision and sound, naturally.
The band was still in high school at the time of writing their last album, which I might ordinarily find patronizing to mention, but for to point out they’ve only just gotten started. Camlann has recently become a two-piece, but this busy group has already written a third album that promises to push further in a disco direction.
Recommended for fans of acts like She Past Away, Selofan, Lebanon Hanover, and Astari Nite. Camlann can be found on Instagram, Bandcamp, Spotify, and Youtube.
3. Here in Heaven– Flesh Of Morning
(Far from Minimal-Minimal Synth)
Flesh of Morning consists of Faiza Kracheni and Travis Benson. Atmospheric, sentimental, and fun. Residing between infectious bedroom pop and moody darkwave— their songs feel quite a bit like rifling through a diary and getting carried through fizzing inner worlds.
The cinematic air to their album, Here in Heaven, makes sense given the following:
“Named after the 1953 Stan Brakhage film, the duo is influenced by cinema, art, and moving images to create cold atmospheric minimal beats and pulsing synths coupled with ethereal vocals. Faiza’s lyrics explore calls for social justice, human isolation, and destruction.”
Here in Heaven is available through their Bandcamp and out on Blind Rage Records. More can be read in a previous In Shred’s interview, by Aaron Grey.
4. Midnight Train– Jorja Chalmers
(Electroacoustic Synthwave/Cinematic Electronic)
Jorja Chalmers is an Australian-born, London-based saxophonist, keyboard player, songwriter, and vocalist. Previously most often known as a member of Bryan Ferry’s touring band, though she’s performed globally and extensively in various other groups.
After a robust touring career, her solo work is in the vein of early female synth pioneers, but elegantly branches from that lineage into a stylish synergy of sophisiti-pop & electronic.
The noir-tinged sophomore album, Midnight Train, was released on Italians Do It Better.
“The album has been described as an ethereal masterpiece with Jorja’s signature at the center. Fogged-out synthesizers chase locomotive rhythms in a duel to the death between her siren wail and her saxophone. Nocturnes for the 21st century.”
5. Temporary Requiem– MJ Guider
(Experimental Shoegaze/Ambient)
MJ Guider‘s sound varies fairly between releases and, generally defying traditional boundaries as is, is subsequently hard to describe.
“Under the name MJ Guider, Melissa Guion constructs spacious, meditative dream-pop songs using ticking drum machines, a bass guitar, and mountains of echo and other effects. Her blissful, otherworldly compositions are inspired by her New Orleans surroundings as well as science fiction.”
Her latest release, Temporary Requiem, might at first seem like a slow burn, but it’s deceptive. It grows in a quiet magnitude, building in multilayered depth before you even realize it’s overtaken you in an amorphic wave. I think what makes her music feel unique, at least for me, is that she somehow crafts a sonic proximity to drone.
I hear a nebulous overcast or interweb of contact with what sounds like, dare I say, feminine drone. Not because she’s a woman, but in that it feels delicately and sharply explorative, nuanced, and more richly creative than I feel I’ve heard comparable to. Soft, but forceful. Like water that effortlessly cuts through stone as if it was its intended course.
A two-track recording, Matanzas, based on manipulated and reworked sound recordings taken in her mother’s native Cuba, was also put out this year.
6. Memorials– Rosa Damask
(Hazy Post-Punk)
Rosa Damask is the post-punk moniker of DJ Nastia Reigel.
“Reigel started out by throwing illegal dance parties in Siberia. That tenacity and dedication later found her in St. Petersburg, launching the first-ever queer parties in the city called Грань (Grahn’). Later events found its new home in main Mutabor club in Moscow.” – RA
Reigel built herself a successful career as a DJ. Over time she expanded as a musician: from writing music for several art-house films to other experimental audio and visual projects. She now creates post-punk as Rosa Damask. Memorials was released on DKA Records.
“Memorials” reminds me of a dirgey Tropic of Cancer, but Reigel expands in further directions and there is a lot of tonal variety on this album. A following track, “We Should Disappear,” startles with vocals akin to Karen O of the Yeah Yeah Yeahs on fuzzed-out, noisy, shoegaze steroids. After that, we get a kickier, colder number with “Burned in the Mirror”.
The album is said to mirror chapters of Reigel’s life and this can certainly be imagined in the varied and continuous change of mood and even volume between different tracks.
7. Reverse Circumcision: The Remixes– Patriarchy
(Gonna go with Hypno Goth or “Snuff-Metal”)
Patriarchy is the creation of musician and visual artist, Actually Huizenga. At first glance, Huizenga comes off as something akin to if Danzig had had a secret lovechild with an 80s metal video goddess— who, herself, would grow up to become a vampiric, dark-pop icon.
Topically full of shock & schlock, but Patriarchy isn’t all surface tension. Beyond a kitschy, albeit self-aware, and ghoulish aesthetic— Huizenga uses the realm of horror as a vehicle to intelligently analyze and dissect certain delicate and often cast-out areas of discussion.
Tropes from this sphere usually reflect the stereotypes, predicaments, and dilemmas women find themselves in or on the other side of. But taking a note from female-revenge classics, like Ms. 45, Huizenga either overtly confronts or flips the script on women being ‘receiver’.
— If you were a creature of the night would you hesitate to exact vengeance? —
Via Dero Arcade, Reverse Circumcision: The Remixes is based on the 2019 LP Asking For It. Remixes aren’t a novel concept, but Huizenga utilized her time during quarantine. And while in-person collaboration was off the table, she opened up her work to a diverse array of contributors, from contemporaries such as Drab Majesty, Light Asylum, and Adult.— to industry veterans: Bon Harris (Nitzer Ebb), John Fryer (This Mortal Coil), and Rhys Fulber (Front Line Assembly)— and let them have at it to produce new and interesting variations.
Huizenga can often be seen wielding a battle ax and other weaponry— a commentary on the chaotic and often (nonsensically) violent life and culture we find ourselves in.
Though Huizenga doesn’t seem to take herself too seriously, imbibing her material with a healthy dose of dark humor, she is quite serious-minded and tenacious. When not writing new music or touring with her band— whether it’s in the form of music videos, creative live streams, concept art, or short films, Huizenga is an avid media creator.
8. KHAAR– Aurat
(Electro-Goth)
Aurat عورت, pronounced (OH-RUT), meaning “Women” in Urdu, is a music group based in Los Angeles, CA. Their lineup consists of Azeka Kamal (lead vocals), Gil Talbot (bass/production), Nathalie Martin (guitar), and Victor Andrade (drums).
Fronted by Pakistani-American, Azeka Kamal, the band embraces the Urdu language through the use of lyrics in her native language and the incorporation of nontraditional sounds, bringing some much-appreciated Desi representation to the goth and punk scene.
Throughout the band’s existence, it’s been interesting to hear them traverse various subgenre iterations in combination with and through their own voice. Perpetually growing and exploring, though they are distinctive, there is no singular Aurat ‘sound’.
From their earliest self-titled EP, Aurat started with a Coldwave/Minimal Synth take; like a darker Lena Platonos does Oppenheimer Analysis meets Art Fact or Severed Heads.
Image, their first album, grows up to traditional deathrock, think Skeletal Family and Christian Death— spliced with softer, ethereal tracks like “Shaitan” and “Pari.”
Zeher (Poison) takes on more of a darkwave/punk tone adjacent to something like Belgrado, Cemetery, and Catholic Spit; but with noisier elements on tracks like “Nasha” as they start to incorporate EBM elements and with full-body sound on songs like “Raat.”
And finally, to their current release, this year Aurat put out their third full-length. Khaar (Thorn) goes full EBM/industrial/electroclash as they step it up a notch. “¿Can You Hear Me?” is reminiscent of a moody Nitzer Ebb, and “333” is a brooding new beat banger.
Aurat brings a high level of energy and creative theatrics to their live performances and is worth seeing in-person, should you have the chance to.
9. Unravelling– Ireen Amnes & Kamikaze Space Program (Noisy Experimental/Dark Ambient)
Unravelling is a joint EP from Ireen Amnes and techno producer Kamikaze Space Programme. Though Amnes only makes up half this pairing, I made a partial point to include this release as it’s the first official debut from Under My Feet— the London-based collective, and now label, that she co-founded.
In intertwined collaboration more so than merged fusion, the two producers create something dynamic by boldly combining their distinctive styles.
“Defined by a shared struggle with insomnia and the restless, tormenting effect it can have on the mind, the EP moves through a range of moods, textures, and emotions, providing a dark, sonic exploration of this perpetual state of unease.”
10. Medieval Femme– Fatima Al Qadiri
(Compositional Electronic/Folk)
Fatima Al Qadiri is a Senegalese-born, Kuwaiti musician and artist. Though her work varies in scope, her latest release, Medieval Femme, takes preexisting notions of world music, what it’s supposed to sound like and what its imagined limitations are— and shatters them.
Medieval Femme
“Fatima Al Qadiri returns to Hyperdub with a suite inspired by the classical poems of Arab women. Medieval Femme invokes a simulated daydream through the metaphor of an Islamic garden, at the border between depression and desire, where the present temporarily dissolves, leaving only past and future.”
I thought this whole album was phenomenal, but personally, what I found most interesting was getting to hear instrumentation fitting to the period, not only reimagined in a modern sound design but done so through the lens of such an accomplished electronic musician.
Before this, Fatima recorded the soundtrack for French Senegalese director Mati Diop’s Cannes 2019 Grand Prix-winning feature, Atlantics— a supernatural romance drama, set against both poverty and progress in the Senegalese suburb of Dakar. Currently on Netflix.
“Medieval Femme expands on ideas instilled from Atlantics to capture a fully realized, dreamlike setting, shaded with color and subtle friction. The theme of the album is the state of melancholic longing exemplified in the poetry of Arab women from the medieval period. Fatima seeks to transport the listener to a place of reverie and desolation, to question the line between two seemingly opposite states and rejoice in celestial sorrow.”
Message I, 1990
Lino cut, watercolor
11. Fantas Variations– Caterina Barbieri
(Progressive Electronic/Post-Minimalism)
Caterina Barbieri is an Italian composer currently based out of Milan. As a musician—
“She explores themes related to machine intelligence and object-oriented perception in sound. Her current sonic research investigates the creative use of computation and complex sequencing techniques to explore the artifacts of human perception and memory, by ultimately inducing a sense of ecstasy and contemplation.”
This year she released Fantas Variations. On this album, she had a host of highly-regarded musicians and friends, such as Kali Malone and Bendik Giske, reinterpret & produce new compositions of the captivating opening track “Fantas,” off of 2019’s Ecstatic Computations.
The Original “Fantas”
“Her work explores the psycho-physical effects of repetition and pattern-based operations in music, by investigating the polyphonic and polyrhythmic potential of sequencers to draw complex geometries in time and space.“
Naturally, to accompany Barbieri’s groundbreaking music, she constructs visually transportive live performances in atmospheric spaces. She’s also the founder of the independent label platform light-years and has additionally expanded into scoring film soundtracks and runway.
12. A World of Service– JASSS
(Future-Facing Electronic/Trip-Hop)
Silvia Jiménez Alvarez aka JASSS is a Berlin-based sound artist, producer, and DJ, originally born and raised in Asturias, in northern Spain. Jiménez started Djing in her early twenties and then began experimenting with electronic music production by editing field recordings. Musically she’s gone between putting out avant-garde compositions and working as a resident DJ for the likes of Berghain and countless other establishments.
When I heard a new JASSS full-length was coming, I admittedly had a nervous excitement. Her release prior to this was a Whities issue (i.e. techno). And on such resides “Turbo Olé,” one of my favorite tracks of all time. Honestly, I’ve listened to it kind of a disturbing amount. As I could not fathom a more perfect electronic track existing, curiosity abounded at the idea of new material. This what not that, but I also could not have pictured what A World Of Service would entail.
JASSS leans fully into her seat as a composer and musician here. A World Of Service, out on Ostgut Ton, is as genre-fluid and experimental as her career has been. If it catches your ear, I would recommend listening to the album in full as she is genuinely unpinnable throughout and, personally, kept catching me by surprise.
“Her fluid soundscapes explore the feelings and phenomena for which words do not suffice. In her latest release, she parses out the complexities of the amorphous topics she is still processing, like sexuality, gender, and intergenerational trauma–the origins of everyday anxieties.” — From Interview with Cassidy George for 032c
13. SENSIBLE– Mathilde Fernandez
(Operatic Electronic/Dance)
One half of musical duo, ascendent vierge – Mathilde Fernandez made a solo comeback with her latest album, SENSIBLE.
If not already familiar, something that might jump out is Fernandez’s astounding vocals. Beyond being technically talented, it makes sense for her voice to be so instrumentally central as the project began while exploring the various textures she was able to create.
Doubly so as her style is inspired by strong lyrical influences, with idols such as Lisa Gerrard, Nina Hagen, Lene Lovich, Mylene Farmer, and Rita Mitsouko. In sweeping, operatic style, reminiscent of a modern embodiment of “Diva Dance” from The Fifth Element, Fernandez fluctuates between singing in French, English, and Russian.
Fernandez describes herself as maximalist-baroque. Past the initial larger-than-life quality, what I find fascinating about her oeuvre is the constantly evolving, stylistic hybrids she puts forth. She cites this tendency to the fact that, beyond music, Fernandez has a background in visual and performing arts. It was specifically a desire to combine these elements into her projects, and therein looking to amalgamate and erode boundaries, that led her to find her force of vision.
Her other project, ascendent vierge, too, saw a vibrant and intense single come out this past year with the gabber-fueled “Petit Soldat.”
14. Back to Life– Lokier
(Techno)
Yoan Rodríguez Lokier, known as Lokier, made her debut on Lenske Records with Back to Life, in my favorite tonal variety of tersely impassioned and electric, melodic hard techno.
Lokier was born and raised in Mexico, but moved to Europe a few years ago; first to Spain, to start making her way around the DJ circuit and has since taken off. She now resides in Germany, where she feels quite at home musically and continues to grow into herself.
In Lokier’s DJ sets, she generally blends a mix of acid, EBM, electro, industrial, minimal wave, and related genres, but her earlier influence was in indie/post-punk. Fittingly to such, though not from this year, her remix for The Soft Moon’s “Young” might be of interest.
15. Fatal Glow– SALOME
(Hard Trance/Electro)
Tbilisi-born, Berlin-based DJ and producer, SALOME, made her vinyl debut with Fatal Glow.
At once futuristic, rhythmic, charged, and dizzying — SALOME stands on the shoulders of those before her and takes 90s hard trance-inspired, modern-electro to new realms, while carving out a sound of her own. Fatal Glow features a remix from Jensen Interceptor.
“‘Stalker’ presses play with a cut of dystopian electro; sent spinning through a world much darker than our own. It’s what Boba Fett would play through his helmet speakers when on a bounty hunting mission—sci-fi-led electronica that packs a punch. Time-warped trance and a high velocity, psychedelic workout takes us into hyper-drive on ‘Misbehaviour’, before ‘Doppelganger’ plummets us deep into the earth’s subterranean with a cut of melting, dungeon electro.” —Lobster Theremin
16. Anti Hero– ROÜGE
(Techno)
“I make music that helps you beat the Final Boss ⚔️.”
ROÜGE
Many an artist has tried to align themselves with cyberpunk or otherworld imagery, often seeming to sit topically sans substance or unfortunately feeling somewhat derivative. But, ROÜGE succeeds where others have failed because she’s created a world of her own. Though she certainly exudes reference, spiritedly she’s combined a futuristic, gamer envisionment with techno in a way that delivers.
ROÜGE’s sound feels inwardly driven & manifested. Regardless, the music is good. But, I find the prospect of exploring new, inner or outer universes with her exciting. Based out of Marseille, ROÜGE released Anti Hero on the French label RAW in October.
ROÜGE has been busy as she also put out another LP, Ultimatum, on Detriti Records. The intro track, “Welcome to Agartha”, feels like something that would be playing in the background of Vampire Hunter D: Bloodlust as our dhampir protagonist gets pulled further into the nethers of a dungeon. Or, perhaps more fittingly, down a candelabra-lined castle tunnel leading into nightclub.
An excellent track, “Fire Keeper,” was also featured on Metanoia, a comp. by Khoinix.
“Khoinix is a new label and event series based in London and Istanbul, focusing on dark techno, EBM, cold wave, and industrial sounds.”
17. 1984– Cassie Raptor
(Industrial Techno)
If work ethic is any indicator of success, Cassie Raptor is one to watch. Fittingly to her primary genre pull, she is quite industrious. Raptor’s music can be described as hard, intense, and highly energetic—as are her performances.
Off of 1984, “O.B.I.C” features a collaboration with Rebeka Warrior, who, in addition to having solo music, makes up half of KOMPROMAT and Mansfield.TYA. Warrior is also the originator behind the eponymous, independent label, WARRIORECORDS.
Cassie Raptor inhabits a fiery underground. She often utilizes sounds and timbres that might ordinarily be found in more abrasive subgenres, but strikes an uplifting balance. Hefty percussives are metered in a way to still allow for a tranced experience; interplayed with dynamic energy and at times narrative-feeling crescendo to keep us pulled along with her.
What strikes me as different about her is that usually, industrial off-shoots have a certain aggressive subtext. Raptor brings a heavier edge, but the ‘usual’ here is replaced with peak enthusiasm and a vivacious penchant for life. Her music is punchy, but it’s a celebration.
Alongside artists such as Antigone, Regal, Jaëss, and Fractions – Cassie Raptor is represented by Parisian label and event group POSSESSION.
18. You Should Save Me Soon– Mila Dietrich
(Techno/Dark Electronic)
Also coming out of Marseille, Mila Dietrich is a techno & electronic DJ and producer. Dietrich had been into music from a young age and played drums in several rock bands. Somewhat in contrast though, her work is highly melodic, groove-based, and sharp.
Techno-curious readers, who usually lean more towards coldwave or dark electro-pop, but who are perhaps looking to bump something a bit more Friday night through new speakers, might appreciate tracks like “Dark Voices in My Head” or “Rave at Bauhaus.”
19. TDJ002– TDJ
(Soft Dance/Ethereal Pop)
Geneviève Ryan-Martel, aka TDJ, is a DJ and electronic producer from Montreal, Québec. Her sound can be described as a Eurodance-inspired, tranced-out, pop fusion with a uniquely melancholic, bittersweet hallmark.
If you enjoy her originals, remix tracks abound. And beyond TDJ002, this year she also put out an audiovisual album, SPF INFINI, and a dance cover album: which ranges in span from Cher’s rendition of “I Drove All Night” and “All Around the Round (La La La)” by A Touch of Class, to Gigi D’Agostino’s “L’Amour Toujours.”
20. Cleo– Shygirl
(Deconstructed Club)
Shygirl is the alias of English musician Blane Muise. Falling under the Deconstructed Club genre, which is innately hybridized— her music is wide in the scope it fluctuates between.
Mercurial and fluid; this genre-intrinsic quality tends to be mirrored in the artists under its cast. As for Shygirl, she mixes aspects of club, hip house, contemporary R&B, and grime— with hyperpop, cinematic soundscapes, and qualities of futuristic trance.
She is also constantly one-upping herself with new versions of her own tracks, whether remixes or collaborations with other artists. Thoroughly enjoying the media aspect of her work, there are correspondingly often multiple visual accompaniments and videos for each.
Technically not an album or EP, but Shygirl did put out multiple singles this year, notably including “Cleo”. For her to go from tracks like “BB” and “Freak” to this— I can’t say that I’m surprised, but I am definitely impressed.
Click the cam
Roll the scene
Feed me my line
You tell me
I can play anybody
I can be your fantasy
If this song wasn’t already exceptional as is, in what sounds worthy of being featured on the next James Bond soundtrack, Shygirl released alternate-version, “Cleo at Abbey Road.” Savvily she croons over the accompaniment of an 18-piece string orchestra. I would say move over Lana Del Rey, but there’s room enough for us all.
For post-punk, check out Aaron’s favorites from the past year here.