Their second album, Who Sent You?, blends groove with action, surrealism with uncomfortable truth.
Irreversible Entanglements, the Philadelphia-based free-jazz collective that she also performs with, creates music that produces a similar effect, but it sticks around for a while, allowing time for the surrounding landscape to come into full view. The music that Camae Ayewa makes as Moor Mother is often jarring, tense, chaotic and concise-bursts of two-minute-long industrial poetry intended to shock you out of your comfort zone. Irreversible Entanglements – Who Sent You? This is heavy, brutal music that thunders against oppression in all its guises. The two-part title track boasts an angelic female voice choir (Minuscule, led by Canadian composer Laurel Minnes) and ethereal keyboards courtesy of Bismuth’s Tanya Byrne, before bleeding into a finale of suffocating doom. Drummer-vocalist Vic (they/them) and guitarist-vocalist KW (he/they) both deliver ferociously visceral performances with the express purpose of obliterating eardrums, yet their lyrics reveal a soul-baring intimacy (“ For I have lost my youth and joy… / For my heart is full of scorn”). One of the few good things to come out of 2020 is a string of powerful and righteously enraged metal albums-and there are few better examples of this than the one set by Canadian experimental sludge duo Vile Creature on their third album, Glory, Glory! Apathy Took Helm!Here’s a group that rejects the toxic hyper-masculinity associated with certain strains of the metal genre, announcing themselves as an ‘angry, queer, gloom cult’ who passionately champion LGBTQ+ rights and veganism. Vile Creature – Glory, Glory! Apathy Took Helm!
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