From Warhol’s Factory to the Mercer Center’s glam and art rock movement, from the infamous early days of disco at David Mancuso’s Loft parties and Larry Levan’s Paradise Garage, to the punk and scenes that begat no wave and electro and the early 80s downtown scene where all of that collided, through to the 90s Limelight club kids and the turn of the century electroclashers and Brooklynite warehouse ravers: NYC has a distinctly rich subcultural heritage, and Magda is the heiress to this entire legacy. I’ve poured over the recordings and studied every word ever written about this cultural history. Her voice sounds sad but wise, alluring yet distant.Īs an OBSESSIVE student of the various subcultures that has made the NYC a vital space for the ever-evolving underground pop tradition. When I listen to Magda’s singles, I can’t help but feel something magical is happening. Magda has star quality and a lot of imagination and she feels absolutely pregnant with superstar potential. I am one part pop historian, one part pop prophet, and three parts pop scientist. In Magda’s music I can hear the echoes of the past, as she struts toward a bold new future, careening along downtown streets like she’s on a catwalk. Magda is developing a signature sound, and she is owning it. Out of the many underground pop artists I’ve devoted my research to following, dissecting, and celebrating, she’s quickly become one of my favorites. It has that downtown edge with a pop sheen, and I am totally here for it. Her music feels cool and vital and interesting. NYC has a new underground it girl, and her name is Magda.
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