TranscendNoise

90. Lingua Ignota – Holy Is The Name (Of My Ruthless Axe) Kristin Hayter first made an impression through her work with the body. The at once beautiful and violently commanding strenght of her voice gave rise to many of the finest moments of the newest output of No One Deserves Happiness and I Have Fought Against It . Her solo work as Lingua Ignota is as pressuring to be comprehended and positions toward in the same way. Self-released in 2017, Profound Lore gave All Bitches Die a major release this year and thus it is only right to highlight the intensity of “Holy is The Name (Of My Ruthless Axe”. Closing an album of industrial electronics mixed with metal and operatic vocal styles, “Holy Is The Name” is a nocturnal and transcendental conclusion. Hayters performance opens towards the operatic and ecclesial music while still grappling with rape and sexual violence in the framework of vengeance. It brilliantly captures the exhaustion of laying down between cold bodies of your aggre...

10. Charly Bliss – Guppy This is the best pop-punk record this year, no doubt about it. I lend this appeal mostly to Eva Hendricks voice, a non-singing voice at times, disappearing when shrieking but ultimately beautifully emotive and relatable. Surely she follows in the lane of previously known female rock singers and the grunge of the 90´s, yet there is a huge amount of comedy, irony, and quirkiness in her delivery and lyrics that are supported by forward-thinking instrumentals that sound as polished as they appear raw and spur of the moment. Her outings range from “I pied the trampoline” to questioning her relation with “Am I the best / Or just the first person to say yes” and these forms of youthful energy and anxiety resonate even when the teenage years are pretty much over and done. Indie rock has to deliver on these fronts, the idiosyncrasies of being young while touching on the first questions and introspections of adulthood and generally being in touch with a world out...

90. Kel Valhaal – Ontological Love ( New Introductory Lectures on the System of Transcendental Qabala ) Hunter Hunt-Hendrix last effort under Liturgy was the promise of what could be expected: An undefinable mixture of styles and mindsets, him rapping over trap like beats as much as going into rave- mode and combining the spiritual with musical expression. Moving on from Transcendental Black Metal he graces us with Transcendental Qabala (?). On “Ontological Love” there is the distinct immediacy of Liturgy in the completely electronic mindset. The burst beats pushing forward, relentless repetition between breaks and variation. And at one point the prayer begins, Hendrix intonates something closer to an Imam or Sufi songs then spoken-word with the phrase “Ontological Love” weaving together to a truly out of  body/ out of mind experience.  New Introductory Lectures on the System of Transcendental Qabala by Kel Valhaal 89. Peter Broderick – It´s A Storm When I Sl...