Our first thought on hearing Moor Mother and the album Fetish Bones? This sounds like Matana Roberts fronting Death Grips. In the best possible way, of course, though like any such comparison, its inevitably a shorthand for something more – and there’s much more to Camae Ayewa’s sometimes dark, occasionally tortured, sonically revelatory album.

Not surprisingly, from hearing the record, she’s also a poet, an Afrofuturist and a soundscape artist. She’s had her analog and found-sound constructions exhibited at numerous US Museums of Art and has a poetry book also called Fetish Bones about to appear in print. She’s also part of Black Quantum Futurism, A Collective – BQF are also about to publish their own tome and have presented their ideas at various international conferences and symposia.

This may make Ayewa sound very dry and academic but her music is dynamic, direct, highly personal, personal-political, socio-political, historical. Urgent and elated, abstract and direct, potent and dark. And never less than gripping.

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