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For those who have been following Fatima Al Qadiri, Brute isn’t unfamiliar territory. That being said, Al Qadiri works perceptively, preferring a kind of sonic precision to a more wholesale sound.
Kladzyk’s performances are not to be missed, an essential piece to the realm that is Ziemba.
Moss’ latest album, We Are Not The First, is the result of a collaboration among some formidable forces. Admittedly, however, Moss’ conversation style says more about his music than I could ever think to say.
I wanted people to see the whole thing, with the store that only sells the 40-ounces, with the packaged meats, with the junk food. For music so resonant, it is odd to think that it does not resonate with all pairs of ears. Largely thanks to underground-approved labels such as Erased Tapes and figureheads such as Nils Frahm, modern classical piano composition that's lingering in that delicate spot between chamber music and pop has had a bit of a resurgence as of late. After our smashing first edition last December, our Berghain Kantine night in collaboration with the admirable Kometenmelodien returns this Thursday, December 3. On the second single from her debut album, Anna Meredith sweeps listeners into a frantic ride. The track represents one of Al Qadiri’s most successful forays into the phantasmagoric. A point along the way in what will hopefully be a series of far-reaching breakthroughs in Al Qadiri’s work.
It’s all too easy to place Ziemba in a reductive category of women making otherworldly performance-based pop music, a legacy pioneered by Suzanne Ciani, Kate Bush, and many other varied and prolific artists. With today’s release of The Longest Night on this One Habitable Star, a holiday EP available for free download via Bandcamp, comes a Texmas Tour. He is quick-moving, continually on to the next thing, and somehow manages to both over- and under-explain most things. I do not understand what goes on beyond the boundary that separates my tastes and tuning from what the orchestra graciously creates. I would argue, however, that as much as Al Qadiri has mastered an agile, fit-for-battle sound, the subtleties in her work have continued to multiply, making Brute an album whose true value is only apparent on the third or fourth listen. The oddness of the time signature is particularly evident against the spareness of the composition.
A powerful composer indeed, Al Qadiri replaces the sonically uninhabited (the pause, the break, the interlude) with something much more lively: the spirit world.
Still, this likeness is evident watching Ziemba use her performance as a vehicle to lingering fantasy, her eyes piercing the crowd, demanding to be seen on her terms.


Check out Ziemba live, stream the EP exclusively below, and watch for a debut full-length in 2016. He tells me that when he’s on tour, he often keeps to himself, preferring to stay in his hotel room until the next show. The door is propped open with a door peg, a signaling invitation established by someone at an earlier time who is typically marked as thoughtful and at times shy. Watch the masterfully shot video for LP standout "Shadow Land Part II" below, an unpretentiously constructed fragment of simple yet effective beauty.
The multi-instrumentalist and composer from Scotland makes an stridently confident statement with this single. Of course, by now, Al Qadiri enthusiasts are already well-acquainted with that Casio keyboard-reminiscent vocal instrument that the composer so often uses, and has used throughout her body of work. What makes women reject organic sounds, or further, reject our very bodies that betray within heteropatriarchy?
I quite like thinking about Moss’ often hectic House-meets-noise experiments in terms of comfort, perhaps because his music may very well belie any chance of it. On the one hand, there are motifs that seem to appear and reappear, perhaps to the point of belaboring them. They was trying to get it more on a cerebral level, along with the vernacular of the lyrics. We are shown his throbbing absorption of this bizzare display, and try to understand it on his behalf.
On Thursday, she will present material from her criminally overlooked EP Baby Part One, which was released by Rinse FM in June. There’s a joy and punk spirit in the way she structures the space and progressively builds momentum within her songs, previously seen on her bombastically brassy "Nautilus" single. Utilizing a vocal sample of retired LAPD sergeant Cheryl Dorsey, for example, Al Qadiri constructs a most delicate patchwork of grime, ghosts, and racial phantasmagoria.
But her work as Ayshay and multiple tracks throughout Brute suggest that Al Qadiri is well on her way to reinventing the use of the voice in contemporary music. And do we turn to futurist music to, if only for a moment, cope with this broken world and experience a paradise utopia? There are hints being tossed your way, but no questions being answered, no inclusive or explanatory language on offer.
The beaten-out urgent live drum halfway-through is thrilling set against her intergalactic dance. One might say that Al Qadiri is at her best in the mode of the soundtrack, Brute being a kind of soundtrack whose central violence revolves around police brutality. It turns on itself not to deliver some kind of transphobic message about staying the born anatomy and assigned gender, but rather to playfully convey the arbitrariness of gender and, yes, even our anatomical cis-selves.


I thought about how I might up the ante, ask questions that Moss himself would find challenging – but there was no need.
But if I was given a chance to give my take, I would actually put a narrative to it so people could identify with it.
Thus, I do not feel fear, regret, or rebelliousness when it comes to my reluctance with Bing & Ruth. As a result, Al Qadiri’s concern with the melody-as-sentence becomes all the more lucid.
Having that said, Joey reassures us that "a rectum is a rectum is a rectum." We can change our bodies until the cows come home, but, like this euphemism which speaks for a comforting, basic truth, we all still need to poop from time to time.
This special consideration for the melody is, in my mind, what separates Al Qadiri from the pack.
And if you haven’t already seen it, be sure to watch the video that spurred the majority of our conversation, embedded below. I would show somebody, say, that's poor in the rural parts of the Appalachians or like Tennessee or Kentucky, and show where they gotta shop to get food. Perhaps I admire this music's type of low-impact commerce yet significance in which it is taken in by others. You do your research, a lot of those people who live in a mountain lifestyle, they hunt, they kill what they eat. Look at the whole weird dynamic of people, how they live and try to survive on this planet. Because the one thing is about perception is you might have other people go, oh, here go these Black folks crying wolf again. And whole point is, no – because my whole perception until 2001, when I was hanging out with my ex-girlfriend in Germany, I hung out at a whole town that was nothing but projects, as far as I knew.
So, I hung out with her and her friends in his garage rehearsing and then we went to where he lived at, and when we got there, there had to have been like fifty, sixty buildings as far as I could see that was bald. I was just like, You gotta understand where I come from, we had always been projected that this was a Black thing, this was a Black problem. When they go to downtown Chicago, they have to dress up in they Sunday suit like they going to Paris or something and all they going is five miles away.



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