North Philadelphia’s Moor Mother – poet, musician, technologist, and activist – lets no moss gather under her feet. Ever.
In 2019, along with dropping an album in collaboration with the legendary Art Ensemble of Chicago in celebration of its 50th anniversary (the avant-garde stunner “We are on the Edge” appears on all of my top ten lists for the year, jazz or otherwise), and touring with Art Ensemble reeds man Roscoe Mitchell, she performed her first theatrical presentation, the choreopoem “Circuit City” (written under her birth name, Camae Ayewa with music by Moor Mother) for FringeArts in June, and exhibited her multi-media art worx at CFEVA (Center for Emerging Visual Artists) in May.
“I just write, and create, and hope that all of those things fall into the boxes they need to fall into,” she told me, at the time, about her spring and summer projects, and their tie to the underrepresented, the non-included, and systemic racism. “Write a bunch. Delegate.”
Moor Mother also mentioned to me, at that moment, that she was finishing off an album for autumn release – a record that just dropped, “Analog Fluids of Sonic Black Holes.”
Capturing scuffed-up, but bullet-blunt depictions of the current Black revolution as well as new and old stories of myth, mothers, and more, the November-released album is a kaleidoscopic vision of what it means to be alive through the texts of her self-described post-colonial street narratives. You can see the full album below…
“I have my own thing, and I call it ‘liberation technology,” she told me back in April. “To me, that’s like Alice Coltrane playing the sitar. Yeah, she’s playing an instrument everyone knows, but she’s playing it in a way unlike anyone else. In my music, I always have blues, gospel, and jazz as they are massive in moving minds and hearts. It’s a technology that frees and inspires people. It frees me.”
You can view the visuals for Moor Mother’s “LA 92,” below…
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