In the last five years an increasing number of female artists have been making themselves heard above the generic indie clatter. Many of them have stepped away from the softer folk leanings of artists like Feist and Cat Power and established a stronger, more assertive aural template.
In the electronic realm the likes of Austra, Fever Ray and Zola Jesus are creating dark electronic pop music with great critical success. Their music takes influence from post punk, goth, industrial and synth pop but they meld and advance those forms with an added coat of modern digital sheen and futuristic glamour. Across the hallway in the indie room there is Anna Calvi conjuring up swooning guitar-led songs full of passion and drama while next door Florence Welch is taking the baroque sounds of Kate Bush and others and magnifying the music to maximum grandeur.
What links all of these artists is a bold and commanding vocal presence that is of a maximalist nature, projecting outwards. That strength of delivery isn’t something new – Bjork, Patti Smith, Nico, PJ Harvey and Siouxsie Sioux were all there first – yet this new generation of songwriters are embracing both their natural voices and a desire to invest passion and drama in their music while creating new and interesting work from established musical forms. Simon Reynolds recently wrote of the current trend for overblown sonics and production styles in his Maximal Nation article for Pitchfork. There his focus was on the electronic world yet the themes and trends he discussed are also fertile developments in the pop and indie worlds.
As these artists continue to gather an audience the trickle down effect will increasingly become apparent in other like-minded singers. Locally, acts like Brous, Melodie Nelson and to some extent Washington are embracing big bold artful pop shapes with differing levels of intensity while internationally Feist was one artist who noticeably moved away from some of the sweetness of her earlier work on last year’s Metals LP. Musically it felt like both a retreat and an advance but most of all it was an example of her desire to expand and evolve her craft. It all makes for interesting times as both nostalgia and now increasingly futurism become permanently embedded in the evolution of popular music. The number of female artists among those creating forward thinking and ambitious sounding music is an encouraging and important sign of the times.
this was first published in The Drum Media