Yves Tumor / Moor Mother / Navy Blue

Pitchfork made a list of 25 new artists "that help us consider the future of music: how it’ll be made, where it’ll come from, what role it’ll play in shaping scenes, and how genre lines may be increasingly dismantled". Some of the promising ones the P staff chose: MIKE for being "a beacon within the modern rap underground", Black Midi for "oddity and unpredictability", 100 Gecs for their "extreme pop music", Moor Mother for her "radical message", Bartees Strange for "his vision of what guitar music can encompass", Yves Tumor for their "restless experimentation", Amaarae for "bending the boundaries of Afro-fusion music", Navy Blue for being the "leader of a new class of introspective rapper-producers", Blood Incantation because they've "elevated old-school death metal into a psychedelic, ever-expanding solar system".

"It takes her music in a somewhat more accessible direction while retaining the creativity and fervor of the rest of her work. Considerably less noisy than previous Moor Mother releases like her 2016 breakthrough 'Fetish Bones', the album flows through slippery jazz rhythms, mellow R&B vibes, and meditative ambient textures, with Ayewa's lyrics remaining forceful even as she's delivering them in a softer register" - AllMusic quite likes 'Black Encyclopedia in the Air'. Exclaim goes into the genre of it: "Mostly sticking to hip-hop beats and more traditional song structures... Ayewa decides to challenge listeners through performance and her lyrics... Moor Mother uses her genre-agnostic style to tackle to world's most popular genre and make it undoubtedly her own".

"I’m constantly going into different genres and fields to make the message more accessible. It’s really for young people and for mothers to be able to tap into what I’m doing. This record is like a gateway, a trickery: bringing people in with the smooth vibes. But if you know my music, I like to punch people in the heart and then kiss the heart" - Moor Mother says in Pitchfork interview about her forthcoming album 'Black Encyclopedia of the Air'. She also believes there's not enough proper protest songs now: "If we’re talking about radical statements and protest music, just standing around saying 'F this', what is that accomplishing?".


After that awesome detour into jazzy club music with Moses Boyd, Alewya goes into the dark clubbing mode with ‘Spirit_X’; avant/hip-hop artist Moor Mother goes psychedelic on ‘Shekere’ featuring Lojii; ‘Superstate’ is a new graphic novel with 15 new songs from Graham Coxon, ‘Yoga Town’ is the first taste from it; Jamaican dancehall artist Skillibeng goes aggressive and dark on ‘Pull Up’, a collaboration with UK rapper Dutchavelli; Japanese post-metallers Mono rip it up on (khm!) ‘Riptide’; Homeboy Sandman shares an intense and jazzy ‘Lice Team, Baby’, featuring Aesop Rock.

Moor Mother

Little Simz shares just some James Bond hip-hop with ‘I Love You, I Hate You’; UK jazz tuba player Theon Cross (member of Sons of Kemet) releases 'We Go Again', played almost exclusively on tuba; Moor Mother shares a bit of psychedelic rap with ‘Obsidian', featuring Pink Siifu; Black Dice offer some groovy chaos on ‘White Sugar’; Siiickbrain combines emo, rap, and industrial on ‘Silence’.

"'BRASS' is the rare, mesmerizing album that can throw that kind of gut-punch, land it—and keep moving" - Pitchfork says in a review of the collaborate album by Moor Mother and billy woods (also a member of Armand Hammer). Pitch points out "together they treat history as a mass grave and a playground, heeding its horrors yet finding room for dark laughs and cautious hope". Tom Breihan said "it’s a work of tingling bad-feelings expressionism. To listen to 'BRASS' is to disappear into a certain headspace".

Justin Broadrick from Godflesh and Kevin Martin aka The Bug put their project Techno Animal to sleep and started a new one, Zonal with help vocalist Moor Mother, polymath artist and activist. The Quietus likes what they did on 'Wrecked' a lot - it's "grinding negativity and tidal heaviness provides a necessary form of catharsis, […]

NME really likes "blistering guitar riffs and yelping vocals" of political dance-punk by The 1975 in 'People', as well as "sunshine-laced instrumentals" with "dark lyrics" by Bakar in 'Hell 'N Back', and "fearless guitars and galloping rhythms" by Los Blancos in 'Dilyn Lesu Grist'. Brooklyn Vegan makes a broader choice, as usual. They've got "cold […]