On her fifth album, Black Encyclopedia of the Year, Kama Ayewa (better known as Moore Mother) draws a world where time breaks down, a changing mess where she explores issues of violence and identity for generations. This disaster is a familiar environment for the Philadelphia artist, who blends his poetry and music in a way that goes back to the proto-rap of Gil Scott-Heron, but blends in with the quality of contemporary hip-hop. But Jenner, as time goes on, slips into Aiya’s workplace and breaks down.
Her debut LP, of 2016 Fetish bones, Mixed growing synths and paper-thin gospel patterns and chain gang songs with the ghostly songs steady-and since then, Iowa music has combined old and new to blur the distinction between them. His approach reflects an aphrodisiac view, where black people need to find new relationships over time in order to connect with lost history and a possible future that ideal reality (by design) has denied them. Iowa also explores this ideology through its multimedia collaboration with its Filipino artist Rashedah Phillips. Black Encyclopedia Their twin name is Black Quantum Futurism.
On Fetish bones And its 2019 follow-up Sonic black hole analog fluid, This acronological view reveals a country plagued by racist violence. Iowa brings sound and expressive gestures to create a soundscape that can rub off punk rocks, through which she reads horribly long poems from the Middle Ages to the Vietnam War. In these readings, Iowa considers her voice as another brush instrument, often distorting her voice and mixing it into granular instruments.
On Black EncyclopediaHowever, Iowa prefers light hints. Much of the album has a coherent structure of verses and choruses, showing the spread of the Avant-Garde papers wrappers featured throughout the album. In 2020, Iowa released a collaborative album with Billy Woods, a versatile lyricist who starred in half of left-field rap act Armand Hammer. Elusid, the other half of the duo, provides a predictive verse in the opener “Mangrove”. The album’s production is set in more harmonious bits, with more richly textured sparrows, navy blue, mic, and sample-based sounds chosen by underground artists such as the featured artist Pink Sifur, which flows sharply over the creeping funk of “Obsidian.” ”
Throughout the album, the structural violence that Iowa regularly encounters in his work returns as a mythical evil: the ghost in the ancestral story and the fear of the night in his verse, the inconsistent melody, and the monstrous sound in his instruments. In “Temporal Control of Light Echoes”, the repetitive monologue, introducing the album’s transient performance, closes, declaring “this place is a gathering of bones.” Maintaining its non-linear outlook over time, however, the proximity to the death of the project also calls for a history of survival and resistance; In “Made a Circle” with Nappy Nina, Maassai, Antonia Gabriela, and Orion Sun, Ayewa channels create a protective ward through the generation of mothers, sisters and daughters.
Although one of his most common projects to date, Black Encyclopedia of the Year Adheres to fundamentalist principles that define Iowa’s previous anti-Semitic work. His most freeform track, “Tarot,” falls in a long poem backed by YATTA’s voice in the Iowa New York joint purple tape pedigree, which explains the cosmic and political touch. “Blackface Democracy,” he intonates in an atmospheric mix of flute and triangle. “Slave House Senate, Prime Minister of Oathhouse.” The chaos of the songs characterizes it in increasing order, portraying them as distorted and irrational.
In rap music, Iowa is looking for a new balance between its political message and experimental production, finding enough companionship in a sympathetic underground scene. Together, they create a new perspective on what hip-hop can be, prioritizing black cultural needs that inspire the innovation of the genre.