Swiss Queer Shamanic Pop Artist Mané Unveils Transformative New Album ‘The Goddess in the Room’ - Review
- 2 days ago
- 2 min read
Shamanic pop. Yes, that is a real genre now, and it slaps!
Mané is making the case for it so convincingly across her second album The Goddess in the Room that by the time you have spent any meaningful time with it, the question of whether shamanic pop is a legitimate category feels less interesting than the music itself. Which is exactly as it should be.
Released 2nd June via Livana Music, the nine-track record arrives as the fullest expression yet of an artistic vision that Swiss queer singer-songwriter Mané has been developing through burnout, reassessment and the discovery of the shamanic drum, an instrument that she has described as fundamentally reshaping her creative process. The result is haunting electronic pop layered over ritualistic percussion and atmospheric synths that carry the genuine ceremonial weight the term shamanic implies: this is not a surface aesthetic but a structural approach to what music can do and who it can reach.
The album follows The Goddess through awakening, reclamation, queer self-acceptance, ancestral healing and the dismantling of systems designed to silence her, before arriving at the realisation that the power sought externally was always internal. Tracks like ‘sappho’, ‘perles de sang’, ‘chocolate con sangre’ and ‘Witches’ do exactly what those titles promise, with ‘ALIGNED’ closing the record with the sense of arrival its narrative demands.
AURORA, Eivør and Billie Eilish are among the reference points that make sense here, but Mané has built something genuinely her own. Catch her at The Waiting Room in London on 5th June if you can. This is the kind of show you will describe to people afterwards.
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