Saxony-born Annegret Fiedler has been part of the Berlin club scene for the past eights years. Drifting from party to party, club to club, from East to West, she settled in the German capital in 2010 and became an active member of its nightlife by djing and producing her own music and actively collaborating within the underground music scene.

2014 was the year Perel, her coined moniker, was born. Fiedler, a trained singer, longed for her own achievements as a solo artist. Quoting Annie Lennox and Eurythmics as major references, alongside bits of pieces of 2 Unlimited’s Eurodance iconic stardom, now signed on DFA and recently inducted into Berlin’s Red Bull Music Academy, Perel is one step closer to success, now able to play by on her own rules, in order to achieve worldwide club culture domination.

Hermetica, her debut album, is rich in 80s inspired electronics on top of dense basslines. However, categorizing Perel as a synth-pop act is wrong. Her direction is transversal and can be placed on several musical fronts. Single ‘Alles’ is a journey into dystopian realms, as she showcases her vocal potentials by singing in her native language. The melodic basslines are a strength throughout Hermetica, as it drives and creates a coherent narrative among its electronic complexities.

Throughout ‘Signum Viridi’,‘Myalgia’ and ‘Crocus Vernus’, these three songs integrate a segment of dream-like soundscapes, patternized basslines and rich-sounding vintage synth pads. Picking influence from the past, turning old to new and rags to riches, closing track and single ‘Die Dimension’ revolves around itself, hypnotic, engaging and ready for the 4 A.M dance floor.

As dystopian it may feel and sound, Perel’s overall production is transparent, her sense of aesthetic precise and this album is a clear and elegant effort into genre bending, taking a new approach, blending conflicting influences onto a trademark sound and, most importantly, underlining Hermetica as one of the electronic albums of 2018 you shouldn’t miss out.