Attia Taylor

Activist, writer, and publisher Attia Taylor balances numerous commitments, with music forming just one significant pursuit among them. On her own or alongside Strange Parts, she demonstrates a knack for crafting concise, catchy tracks built on understated synth layers and her close, personal singing style. Her first solo effort, Space Ghost from 2022, emerged as a complete bedroom-pop reflection on earlier upheavals, drawing from the namesake animated series along with Stereolab and Broadcast.

She first engaged with music through Girls Rock Philly and issued her initial EP, Dear Universe, in 2009. That release wrapped her frequently overdubbed vocals in lean, keyboard-centered textures reminiscent of Young Marble Giants. Two additional solo EPs followed—Short Stories & Small Glories in 2010 and Wild Forest in 2011—maintaining a restrained sensibility while incorporating extra instrumentation and an R&B foundation across several songs. After relocating from Philadelphia to Brooklyn, Taylor paused her musical output and divided her attention between women’s-health research and Lady.Bang.Beat., a platform supporting female artists. She performed sporadically yet produced nothing further until joining fellow former Philadelphian Corey Duncan from Oh! Pears. Together they formed Strange Parts, playing local shows and capturing early material; the demo collection Ranier Bedstuy Home Recordings paired her airy vocals with his grounded observations over acoustic backing. The 2017 single “Last Ride” introduced a touch of her prior atmospheric quality while preserving the band’s lo-fi indie-folk character. Their 2018 album Oh God, What a Beautiful Time I Spent in the Wild shifted fully into indie-rock territory, favoring prominent drums, surges of synth, and polished production suited for radio.

That same year Taylor launched Womanly, a magazine and online resource addressing health topics for women and non-binary audiences. The venture consumed considerable energy, delaying her next solo project until 2022, when Space Ghost appeared via Lame-O in July. The record revisited the electronic palette of her earliest work but with richer, more detailed arrangements, exploring childhood experiences whose difficult realities were softened by the flowing synth textures.