ANDROMEDA ANARCHIA
VOCALIST  COMPOSER  SONGWRITER  LYRICIST  PRODUCER
F O L T E R K A M M E R
L A  S U S P E N D I D A
D A R K M A T T E R S
"Andromeda can go between both classical and growling, and dialogue. She’s amazing!"
WILLIAM BERGER (AUTHOR, THE METROPOLITAN OPERA NYC) : INTERVIEW FOR WOMAN AROUND TOWN (2022)

"Tout au long de ce monodrame, la voix de Maria Elena interprétée par la soprano colorature Andromeda Anarchia passe du bel canto à un lyrisme plus expressionniste inspirée par Lulu de Berg voire carrément métal en nous faisant entendre des growls et des screams qui semblent venus tout droit d’outre-tombe ! Une technique vocale saisissante, reprise par le Growler Choir, un chœur américain spécialiste de cette vocalité singulière."
RADIOFRANCE.FR (2024)
"The voices here are really something out of this world. I mean it. Besides all that, vocalist Andromeda Anarchia doesn’t have only an operatic voice, her way of putting her voice is so dissimilar from her peers because she really uses her operatic abilities besides giving them a wicked spirit."
METALADDICTS.COM (2024)
"The mistress of avant-garde Andromeda Anarchia appears in "Out Of Kilter" with a furious vocal performance - the deep growls drive through the bones..."
DEMONIC-NIGHTS (translated, 2020)
“Within the first 30 seconds of the opening track “Anno Domina,” frontwoman Andromeda Anarchia makes it clear that she is nothing short of a powerhouse, demonstrating a wide vocal range with a sliding scale of high notes that seem to just keep getting higher. Nevertheless, her pitch and breath control are spot-on, never once showing any signs of faltering or wavering in any way. Her seemingly effortless performance is by far the highlight of the entire album, with each new song offering up a new reason for the listener to raise their eyebrows and mutter “Damn, girl!”. As if her singing weren’t already impressive enough, Anarchia also has a variety of harsh vocals in her arsenal as well, switching seamlessly between her trademark operatic belting and high pitched shrieks reminiscent of Fernanda Lira from Crypta, another certified femme fatale. Her vocal gymnastics never cease to impress, with a couple of particular highlights being the layered chorus effect in the third song “Die Unterwerfung” and the extended anguished screams in “Algolagnia.” The woman is a tour-de-force, no two ways about it, a hellcat in nine-inch heels who will purr with contentment as she licks your blood from underneath her fingernails. Like I said, we appreciate a good aesthetic around here.”
NEW NOISE MAGAZINE (2024)
“Die Lederpredigt merges tradleaning BM with opera, and sees classically trained soprano – and occasional IT collaborator – Andromeda Anarchia stretched and contorted far beyond what she was so patiently coached to do. While conceptually crazy, the results are brilliantly coherent, with the shearing riffing complemented by a voice that’s by turns soaringly angelic, cruelly playful and pit-dwelling vile. High art, high drama and heavy metal collide brilliantly, making for a debut that’s both galaxybrain smart and knuckledraggingly immediate.”
ALEX DELLER for METAL HAMMER UK (2020)
"You do not have to speak German to fully enjoy the thrilling ride of “Weibermacht”, where the operatic vocals really are genuinely operatic, and to fully appreciate how they work so well in unison with the brutal death growls in a match made in heaven (or possibly hell)! These polar styles completely complement each other and raise the question: why has no one done this before and if they have, why have I never been told about it?"
FEMALEFRONTEDPOWER.COM (2024)
"A fare, però, la differenza è la voce della cantante, un vero e proprio portento, dotata di un insieme di registri totalmente folli e diversissimi tra loro. Nelle tracce di “Die Lederpredigt”, sentiremo ora Andromeda librarsi nell’aria fino a raggiungere tonalità acute e spettrali, per poi passare al registro lirico, prima di implodere in un ringhiare malvagio degno della più contorta strega maligna. L’effetto è strabiliante, soprattutto grazie alla scelta di melodie vocali totalmente folli, che talvolta si avventurano in un terreno molto vicino alla pura improvvisazione."
METALITALIA.COM (2020)
"This is of course driven by the completely insane voice of Andromeda Anarchia, perhaps the one person in metal today with better hair than myself. Her seemingly impossible range of both clean vocals and growls is stunning. It darts from operatic frills full of elegant poetry to black metal snarls worthy of Darkthrone alongside even more guttural moments that leave you in awe."
TWO GUYS METAL REVIEWS
"The cornerstone of this curious mix is vocalist, Andromeda Anarchia. Andromeda’s vocal abilities betray belief. You need to hear it for yourself, and then you need to be shown irrefutable evidence this is all one woman – and even then you’d likely refuse to accept it.
Passages are sung in beautiful, high flying operatic style – so much so you’d think they were sampled from an actual opera performance – before switching effortlessly to snarled and screeched vocals, the type you’d find coming from some Northern European black metal band. The added element of the songs being in German only adds to the air of exotic and artistic boundary pushing.
Andromeda’s vocals really do have to be heard to be believed. This inconceivable clash of operatic and black vocals is more pure and perfect than the human mind could imagine."
THE BAND MAN @DAILY BANDS.WORDPRESS.COM (2021)
"Vocalist Andromeda Anarchia is an absolute force, going operatic and then digging right into guttural growls within moments, her German feeling like its gnashing your wounds."
MEAT MEAD METAL (2020)
"Voilà, Auftritt Andromeda Anarchia!
Die klassische ausgebildete Sängerin des New Yorker Quintetts FOLTERKAMMER verkörpert auf deren Zweitling wie keine andere die Herr-scherin und Gebieterin, macht sich und vor allem ihrer Stimme diese Rolle komplett zu eigen, und das über volle vier Oktaven eines dramatischen Koloratursoprans. Richtig gelesen, sie bedient sich in einer Extremmetalband fast durchgehend des Operngesangs, teils äusserst exaltiert und mit Nina Hagen-Rrrrrrrrr, teils klassisch-technisch und zurückgenommen, doch immer leidenschaftlich ausgeführt – wenn sie nicht doch mal growlt, sprechsingt oder schreit (‚Algolagnia’, ‚Venus In Furs’), denn all dies hat sie absolut drauf – bei Andromeda ist der Übergang zwischen hohem Register und spitzem Schrei fliessend, ebenso kann sie im Sekundentakt zwischen Sopran- und Growlstimme wechseln (‚Leck mich’)."
METALLOSOPHY.DE (2024)
"The vocals are absolutely insane."
MOSHPITNATION (2020)
„[...] for anyone who considers testing musical boundaries ranging from jazz, through a PJ Harvey indie sound, to extreme metal with a touch of almost everything in between, then yes, this is the most prog album I have listened to for quite some time [...] with DarkMatters, each passage of music, each word, each note, does not feel out of place. What adds to this recording the most, is the honest way it has been presented. If you want to challenge yourself, then I can not recommend this release highly enough.“
STEFAN HENNIG for DUTCH PROGRESSIVE ROCK PAGE (2019)
"Andromeda Anarchia is establishing herself as an original force in the realm of progressive music, or alternative music, or… actually I’d hate to put this music in a box, because although it integrates many influences from jazz, progressive, rock and even pop, its originality puts it in a genre of its own." 
GHOSTLY BEARD for MUSIC TALKS
"Andromeda Anarchia came into prominence in the extreme metal scene with her guest appearance in Imperial Triumphant's Vile Luxury and then 2020's Alphaville. And while with her project Andromeda Anarchia's DARKMATTERS she explores a progressive verging on an experimental rock sound, her other project Folterkammer follows a much more potent and brutal perspective."
POP MATTERS (2021)