2. Moor MotherFetish Bones
My partner, Faith [Coloccia], asked me around the time when Fetish Bones first came out, ‘Have you heard Moor Mother? It seems like the kind of thing that you would like’. When I first heard it, it hit me like a tidal wave. This is something that I love about music – when something hits you in a really visceral way but it’s not immediately obvious, you have to do some digging to really find your way in, to get to know it more fully. Arguably Fetish Bones is a hip hop record, but it goes so far beyond that. Moor Mother is an artist with a lot of power, with a lot of really important things to say, and also a person who could not be easily defined and who is purposely poking at the boundaries and really stepping pretty far outside them.
We’re doing some work with her now and I’m hesitant to go into super fan mode, but she really is one of the most fascinating contemporary artists. Fetish Bones was my first encounter with her work, and it just led me on to this path of all these other things that she’s doing. Which is a lot. When you hear her voice, you cannot mistake her for anyone else. You know immediately who that is. It can be polarising when people really put themselves out there in a vulnerable way, where they’re not hiding behind anything or trying to fit in. It can be a thing that people either really gravitate towards or are repelled by and those tend to be the artists who I think are the most compelling.
