From bubbly, perky synthpop to the deepest of darkwave, electropop in 2019 reflected the general malaise by forging the brightest of pop to forget the bad times on the one hand, and embracing downtempo textures and moods on the other.
Boy Harsher are challenging the divide between band and club music. They're revisiting the early 1980s and not to dwell in nostalgia, but to pick up where bands like Cabaret Voltaire left off.
TOPY and Genesis P-Orridge's knowing adoption of cult iconography and organizing principles quickly slid from satiric emulation to full embrace -- and we all went along with it.
Lingua Ignota's second full-length CALIGULA continues her blend of opera, neoclassical darkwave, and death industrial. She transforms shattering lamentations into empowered declarations against misogyny, while also complicating the dominant narratives of women's trauma.
On Hata Payı, Jakuzi tackles inward shadows: heartbreak, depression, nihilism. It's bleak. It's indulgent. It's good, solid, crowd-pleasing misery, and who doesn't want a hit of that from time to time?
Much as their namesake, Esben and the Witch evoke a stunning musical versatility and lyrical fervor. Nowhere is a mesmerizing musical experience enshrining the interplay between the primal and the pristine.
As alternative rock and hip-hop overlap through Soundcloud rappers, Blaqk Audio highlights an alt-rock pivot towards electronic music with Only Things We Love.
Dead Can Dance Draw on Nietzsche, Pagan Gods, and High Tech to Celebrate Humanity’s Relationship with Nature
Dead Can Dance's Dionysus is a unique concept album for the celebrated musical duo, putting all of their ideas into two songs that stretch the course of an entire album.
SRSQ channels the essence of ethereal darkwave with post-punk variation and experimentation, fueled by her impressive vocal range to produce Unreality.