A selection of new and/or relevant Electronica and Electro-leaning tracks that have recently left an impression on us. For the full playlist click here.
TIANA – “good girl, gone bad (supremacy)”
“good girl, gone bad” by TIANA channels in that ‘boss babe’ energy right from the first second, jolting you to step into your own villain arc. The track keeps the fast pace up, making no silent excuses.
The result is a continuous head bob for all of 2:30 seconds, while TIANA keeps us on our toes with immaculate bars. Speedy hi-hat rolls and decent snare hard-hits make up a solid base for volatile lyrics that inevitably remind you of Paris Paloma’s infamous 24/7 baby machine outro, balancing emotional depth with incomparable female fury.
The best part of the entire song is that unmistakable straight-shooter Gen Z aura. The jumbled-up song structure is so close to losing all its power, but it rises above it all, establishing who the real leader is.
Andrea Pizzo and the Purple Mice – “Come Out Lazarus 2 Ineffability”
“Ineffability”, the side B of Andrea Pizzo and the Purple Mice’s ‘Come Out Lazarus’ chapter, skilfully blurs the line between dream and trance. Get off the dream boat, and you are welcomed straight into the unorthodox vocals, austere lyrics, and Queen-inspired harmonies – grounding you on the seashore with the whirling synth wrapping around you like a tide.
The Daft Punk-esque arrangement fervently supports the narrator’s story with an incredibly tight bass line capping it all together. A couple of listens and “Ineffability” holds the weirdly powerful capacity of engulfing you whole, hugely resembling the effect that Bones in Butter had on us.
Crucifera – “Labyrinth of Fools”
“Labyrinth of Fools”, the maiden track on Crucifera’s album ‘Exostential’, is as moody and menacing as a bat in a cold, underground cave, in the best way of course. Danielle, the mind behind Crucifera, describes her music as “crunchy and ethereal music for spiders”, and this track delivers exactly that. Closely following the electro-goth path, “Labyrinth of Fools” comfortably lands somewhere in between a Nine Inch Nails classic and Sidewalks and Skeletons’ shuffle.
With proper audio boundaries throughout the song, Danielle masterfully communicates when to pay attention and when to hang back and ride the wave. The cut holds it all together with Danielle’s voice cutting in sharply, even with considerably heavy instrumentation involving coarse cymbals, a jagged guitar palette, and snare traps that are ready to pounce.
