Just a bit more than two weeks ago, Bandcamp Daily released a review of JPEGMAFIA, focused on his latest album, Veteran. We at Guillozine only regret that it took us so long to come across him. In his work is combined artistry of the highest calibre, both lyrically and sonically, even in comparison to the rest of the burgeoning experimental/industrial rap scene, and a consistently, uncompromisingly radical lyricism, including some of the best song titles this decade: our favorite is “I Cannot Fucking Wait Until Morrissey Dies”. All of his albums are available for free on his bandcamp, and we urge that you do not limit your listening merely to Veteran, but rather listen to his entire output, from Communist Slow Jams onwards.
Just today, Liia, a solo noise project by a friend of mine, released her debut: a 22-track noise album, my body is screaming, my face is red, recorded entirely on a trombone in a single, continuous take (no overdubs) acoustically, underground. The album is a powerful testament of trans woman rage, screams transmuted into the sheer sound of brass.
To kick off Guillozine, we’ll review Moor Mother, the solo experimental Afrofuturist noise project of Camae Ayewa. It’s not for nothing that even such mainstream, corporate outlets as Pitchfork, Rolling Stone, and The Wire all acclaimed her 2016 album Fetish Bones as one of the best avant-garde albums of the year. While this is her most well-known album, all of her releases are definitely worth at least a listen. Her work is explicitly and thoroughly political (take, for example, her EP Thank you Dear Sister Assata / Angela Speaks, which, as the name implies, includes vocals from speeches by Assata Shakur and Angela Davis), and benefits from this focus–as she said in an interview with The Fader, “I’m slipping them the liberation technology into the droney beats”.