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http://www.fatimaalqadiri.com/


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http://www.dummymag.com/reviews/album-o ... sch-review
http://www.theguardian.com/music/2014/m ... ion-saddam
http://www.factmag.com/2014/05/05/asiatisch/

Very excited for this release! Innovative and interesting sounds and textures + judging by all the interviews I've been researching, she has a very unique perspective: politically and conceptually.
Tops my list of most highly anticipated releases forthcoming this year.

I also stumbled upon this, cool video interview, neat fashions in the photos too...
http://stylelikeu.com/profiles-2/closet ... al-qadiri/

does nothing for me.

brilliant album imho.

been very excited about this for a long time, my copies in the post, gone out of my way to not listen to any previews. looking 4ward

Bit "samey" but doesn't really get boring. I think I overhyped it and found it a little disappointing on the first listen, I pretty much decided this would be my favourite album of the year before it came out.

Amateur mistake.

Meh, the track is alright I guess, nothing special.

Muncey wrote:I think I overhyped it and found it a little disappointing on the first listen, I pretty much decided this would be my favourite album of the year before it came out.

this
but I wasn't disappointed. it was just different to what I expected, and I managed to embrace it and I really love it nonetheless. will be on rotation for quite some time for sure.

gongs and bells with strings and synth, i like the way the track just sorta crawls around for a while opening and shutting possibilities along the way, as it begins to deteriorate into that dynamic serpent bass line, there was nothing obvious about that tune, that's what's so great about it.

Her playing under MALA @ The HD10YR Fabric Takeover, is a beautiful honor.
also this... http://www.elasticartists.net/artist/fatima-al-qadiri/

Soiree wrote: http://www.theguardian.com/music/2014/m ... ion-saddam

that might be the most Nathan Barley-d headline I've seen in a while not gonna judge the music till I've heard it though

Soiree wrote:gongs and bells with strings and synth, i like the way the track just sorta crawls around for a while opening and shutting possibilities along the way

The thing with her is she has these types of sounds on here every release wether she situates her music in the gulf war setting or china or abstract virtual space as in her first EP. I liked her previous stuff more but I'm always happy for her new material because of the interviews she gives, she's very eloquent, I think I actually like her interview for Guardian more than Aiatisch

http://www.theguardian.com/music/2014/m ... ion-saddam

I was very impressed with what I heard from her previous releases! Her work is influenced and not owned by her experience, which I think is really empowering and lends to strong character development. It's a "perspective" thing, I have the same feeling about this record as for Ikonika's 1st digital desert of hallucinogenic CATastrophe filtered through a kaleidoscope of ancient ruins...
+ you can dance to it

Yeah that was a great read in the guardian, really cut to the core (although that weird mix up in the title) It's nice to hear something indescribably different.

This 2: http://www.factmag.com/2011/12/05/fact-mix-307-ayshay/
Shout Out 2 Fade 2 Mind, Night Slugs, and MikeQ

unusual but i liked it
first listen i was thinbing
'this is too fuckn chinese m8'

then it grew on me

cloaked_up wrote: 'this is too fuckn chinese m8'

Right!?!? It's like Ghandi's sig...

no, please, dont let it happen. not more novelty ethnic dance music shit.

there's no slack here though, it's really well produced, and it doesn't fall into weird sonic niches. I love what everyone does, and signature sounds all around, but what makes this such an interesting landscape is the fact that it's dissecting the nationality construct, saying "with the internet, we are all inhabitance of planet earth, we are all connected, we are all related, there are no boarders, there are no nationalities, there are no political influences, there is no patriotism" we've moved past that recently, because all of those things are slavery, anything that expects restrictions from you and offers nothing in return... "freedom", "salvation", "servitude", all those roads lead to the same inevitable finish line that wether or not you knew you were going to cross anyway. (sorry for rant!)

So it's looking at the over all influence and idea's brought about by the eastern soundscapes, and filtering them through technology and a euro-transgression, there's incredible power in that. and it's refined, you will hear "Szechuan" in 20 years and remember exactly what it is. The quality of memorability isn't a gift, fairly distributed between all producers, and when the tyranny of "trap" has forever been washed a shore all that will remain is a the sound of your own hand clapping on every note, every beat, every measure, of every song for the rest of eternity.

I still LOVE that 'TNGHT' shit though!

people make too much of this fucking "sino-grime" thing, or oriental influences. I know she has brought it on herself with the questionable theme, artwork and some sonic references, but really it doesn't sound too far removed from her previous GSX and Desert Strike releases and it sounds fucking great IMOL

hi goth trad

It's refreshing to hear some new shit that isn't completely locked into a predictable drum pattern, with a million hi-hats everywhere, living in California during the trap explosion, it's become a really awful trend of constant drum rolls and one note melodies on the keys and it's warped peoples perception of what hip hop can be, I was talking with someone at the weekly yesterday, she's excited for some trap show this weekend, and I was supportive of her enjoyment of the show, but had to add to the conversation, in 10 years I'll bet you I could play you your favorite trap song right now, and you would have no idea who the fuck it was, + you might not even like/enjoy it, compared to whatever else is going on at the time.

In this way, I find Fatima's album more and more interesting, because it's not only unconventional in the sense of not using typical sounds and structures, but it's using enough experimentation that in 10 years I know I'd be able to select it in a game of invisible jukebox, it has a signature texture being that it's dark and beautiful in it's dynamic evolving atmosphere. This Sino-Grime is some neat crossbreed of styles, I like the direction, I'd like to hear a little more, but there's some stuff on her website, and that awesome Kode9 mix from back in the day is really crazy too, I think it's celebrating the eastern (music) philosophies without any cheeky, weird interpretation that could leave listeners feeling like their the Dragon Ball Z or Pokemon version of "Dubstep" or whatever.

http://www.thefader.com/2014/05/13/the- ... hing-i-do/