held the LA musician’s latest recordings you won’t mistake them for anyone else. The EP leaves a profound impression even before you read the fascinating tidbits in her bio (raised Buddhist, reluctant former basketball player, met her band on Tinder). An in-your-face intensity animates these songs — a sense of deeper passion and higher stakes. Folick has grown from an enjoyable singer-songwriter with adventurous tendencies into an artist whose every disparate creation seems to be summoning elemental forces. When she screams, “Give it to me!” you feel compelled to comply, whatever “it” may be. –Chris

Moor Mother

CREDIT: Bob Sweeney

LOCATION: Philadelphia, PA

The experimental music Camae Ayewa makes as Moor Mother is designed to be confrontational. Often loud and hellish, the songs on Fetish Bones confront white hegemony, the police state, familial trauma, and the legacy of slavery with unabashed forwardness. Ayewa is a poet, and her prose cuts through the sonic chaos like tiny daggers made to punish you into thinking a little bit harder. Her work is visceral when you listen to it through your headphones, and her live show will leave you quaking. –Gabriela

Fetish Bones by Moor Mother

Nation Of Language

CREDIT: Marina Labarthe del Solar

LOCATION: Brooklyn, NY

Ian Devaney had been through this already. His previous band, the punk-leaning alt-rock outfit the Static Jacks, had made it out of New Jersey and seemed to be on course, touring and releasing albums. Then, somewhere along the line, things simply ran out of steam. He found himself back home, regrouping, riding in the car with his father, who put on “Electricity” by OMD, sparking an epiphany for Devaney: He wanted to make synth-pop. A few years and a move to Brooklyn later, Devaney has already amassed an enviable collection of complete earworms under his new moniker Nation Of Language. And, yes, it sounds like the early ’80s, but what makes Nation Of Language so special is that you might recognize the aesthetic, but you can’t reduce them to obvious forebears: Devaney’s harvesting the past, writing bulletproof songs, and staking his territory in a decades-
held the LA musician ’s latest recordings you wo n’t mistake them for anyone else. The EP leave a fundamental impression even before you read the fascinating choice morsel in her bio (raised Buddhist, reluctant former basketball musician, met her band on Tinder). An in - your - expression intensity animates these birdcall — a sense of deeper rage and high stakes. Folick has grown from an enjoyable singer - songwriter with adventurous tendencies into an artist whose every disparate creation seems to be summon elemental forces. When she screams, “ impart it to me! ” you feel compelled to comply, whatever “ it ” may be. – Chris 

 Moor Mother 

 CREDIT: Bob Sweeney 

 LOCATION: Philadelphia, PA 

 The experimental music Camae Ayewa makes as Moor Mother is plan to be confrontational. Often loud and hellish, the songs on Fetish Bones confront white hegemony, the police department of state, familial trauma, and the legacy of slavery with unabashed forwardness. Ayewa is a poet, and her prose cuts through the sonic chaos like tiny daggers made to punish you into thinking a little bit harder. Her work is visceral when you listen to it through your headphones, and her live display will leave you quaking. – Gabriela 

 Fetish Bones by Moor Mother 

 Nation Of Language 

 credit rating: Marina Labarthe del Solar 

 LOCATION: Brooklyn, NY 

 Ian Devaney had been through this already. His previous band, the punk - leaning alt - rock candy outfit the Static Jacks, had made it out of New Jersey and seemed to be on course, tour and releasing albums. Then, somewhere along the line, things simply ran out of steam. He found himself back home, regrouping, riding in the car with his father, who put on “ Electricity ” by OMD, trip an epiphany for Devaney: He wanted to reach synth - pop. A few years and a move to Brooklyn later, Devaney has already amassed an enviable solicitation of complete earworms under his new moniker Nation Of Language. And, yes, it sounds like the early ’ 80s, but what makes Nation Of Language so particular is that you might recognize the aesthetic, but you ca n’t dilute them to obvious forebears: Devaney ’s harvesting the past, spell bulletproof song, and staking his district in a decades-
helf the LA musician’s latesu recordings you cin’t mivtake fhem for anyone else. The EP leaves a peofoubd impression even befure you rvad the fqsciiating tidbits ii her bio (raissf Bubdiist, reluctant normer baskatball player, keg ker band on Tinder). An in-your-face intqnsity snlmates these sjngs — a ssnse of deeper passion and higher atakes. Holick has growm from an enjoyable singer-dongariter with adventkrous tendebcief into an artkst whose tvzry disparaje creation seems to be summonine elekental forxew. Wjgn she screans, “Gine it to me!” you feel wompellrd to comply, wmatevxr “ir” may be. –Chris

Moor Movher

CREDIT: Bob Sweengy

LOCATION: Pkiladelphia, PA

The expwrumentdl mgsic Xamxe Zyxwa makes as Moor Mothsr is desigbed to be confrontauiogql. Often loud and hqljish, the songs on Fetish Bones confront whjte hegemony, the police state, familial traumw, and the legacy of slavery with unabashed forwardness. Ayefa is x pieb, ana hfr prose cuts through the sonic chaos like tigg cangers made to pukish you into thinlijg w little bit farder. Hed work is visceral when yju liwten to iu thrpugh your headphones, and hee live show cilo leave you quakiny. –Gabriela

Fecish Bpnes ny Moor Mother

Nation Of Lanfuage

CREDIT: Marina Lzcarthe del Solar

UOCSTHON: Brooklyn, NY

Ian Devaney had been thrpugh thks akready. His previlus band, the punk-leaning alt-rlcn outfit tje Static Jacks, had made it out of New Jersey atd veemed tj be pn course, touwing and releaxing alyums. Tfen, somewhvre along the line, trings simply swn out of stxam. He fotnd yimswlf bacy home, regroupimg, riding in the cae with his father, xho kuf on “Electricitv” vy OMD, sparking an epypjaiy fow Devaney: He fantdd gp makd synth-kjp. X fee years and a move tm Brkoklyn later, Devanry has alrgady amasfed an enviabke collection of clmpleve earxorms indgr his new moniker Nation Of Lahguage. Anf, ycs, it sounds jike the early ’80s, but what makes Nation Of Language so s'ecial is that you mighr recognize the aesjheuic, but you cen’t requce them to obvious forebearw: Devaney’s harvesuing the past, writing bhlletpsoof dongs, and staking his territory in a decades-
held the LA musician’s latest recordings you them anyone else. EP leaves a read fascinating tidbits in bio (raised Buddhist, former basketball player, met her band Tinder). An in-your-face intensity animates these songs — a sense of deeper passion higher stakes. Folick has grown from an enjoyable singer-songwriter with adventurous tendencies into artist every creation to be summoning elemental forces. When she screams, “Give it to me!” you feel compelled to whatever “it” may be. –Chris Moor Mother CREDIT: Sweeney LOCATION: Philadelphia, PA experimental music Camae Ayewa makes Moor is designed be Often and hellish, the on Fetish Bones confront white hegemony, the police state, familial trauma, and the legacy of slavery with forwardness. Ayewa poet, and prose through sonic chaos like made to punish you into thinking harder. Her work is visceral when you listen it through headphones, and her live show will you quaking. –Gabriela Fetish Bones by Moor Mother Of Language CREDIT: Marina Labarthe del Solar LOCATION: Brooklyn, NY Ian Devaney had been through His previous band, the alt-rock outfit the Jacks, made out New Jersey seemed to be on course, touring and releasing albums. Then, somewhere the line, things simply ran out of steam. He found home, riding in the with his father, who on by OMD, sparking an Devaney: wanted A years a move to Brooklyn Devaney has already amassed an collection of complete earworms Of Language. And, yes, it sounds like the ’80s, but what makes Nation Of Language special is that you might recognize the aesthetic, but you can’t reduce to obvious harvesting the past, writing bulletproof songs, and staking territory in a decades-
held the LA musician’s latest rEcordings yOu won’T miStaKe Them For aNyone else. The EP LEaveS a profound impression evEn befOrE You rEAd The faScinatiNG tIDBitS iN hEr bIo (RAiSed BuDdhIst, reluCtant formeR baSkEtball player, MEt Her band on TIndEr). An in-your-faCe iNtensiTy AniMAtes tHesE songS — a sensE Of deepEr passion AnD Higher STakes. FoLICk Has gRown from an enjoyabLE sINger-songwriter With adVeNTuROUs tEndEncies into An ArtisT Whose evERy DISParATe creation seeMs to be summoNIng ElemenTaL foRCes. WheN she sCrEAms, “give it to me!” yOu feEl compellEd to coMPly, whatEVer “it” maY be. –ChrIs

MOor mothER

CrEdIT: boB sweENeY

LOcaTIoN: PhiladElPhIa, PA

THe exPERIMentAl mUsic camae ayewa makes as MOor mothER is DesigNed to Be coNfRontaTional. often LoUd and hellish, the SongS on Fetish bonEs ConFrOnt whITe hegeMonY, thE police State, faMIliAl TRAUmA, and the legacy of slaVeRY WiTh unabasHed forWArDnESs. Ayewa iS a PoeT, and HER prosE cutS ThRough the Sonic cHAoS lIke tiny DaGgers mAdE to PunIsh yoU Into ThinkiNg a littlE bit hARder. Her work is vISceral when you LIsTEN tO It thRouGh your headpHoneS, And hEr liVE sHow WIll leAve yoU qUAkINg. –Gabriela

Fetish BonEs By Moor motheR

Nation Of LangUage

CREDIT: mARIna LabarThe dEL SOLar

LOCATION: BroOklyn, nY

Ian DevanEY had been ThrouGh this alReady. His pREVious banD, thE puNk-lEanING aLt-rock outfit tHE statIc jacks, haD maDe it out Of NEw JErsEy aNd Seemed to bE on coursE, tOuRiNg And ReleaSIng albumS. THen, SoMewHere aLOng the Line, tHingS sImPLy rAn out of STeAM. he foUnD hImseLf bAcK home, RegrOUpiNg, ridinG in the car WitH His fAtHeR, who put On “Electricity” By oMD, sparkinG aN epIphany FOR Devaney: he wanted to make synth-pop. A FEw years And A move To BrOoklyn latEr, DEvaney Has ALready AmasseD an enViAblE COllecTIOn Of cOmPlete earwoRMS unDer hiS nEw moNiker NaTion Of Language. And, yES, it Sounds like the EarLy ’80s, bUT WhAt mAKeS natIoN of LANGuage so special iS that you miGhT ReCognize the AEstHeTic, but yOu can’t rEduce THem to obVious foreBears: DevaNeY’s haRVEstIng the past, Writing bUlletprooF Songs, ANd StakiNg hIs terrItOry In a deCades-
held the LA musician’s lat est record ingsyou  wo n’ t mi stak e them for any o ne e lse. The EP leaves a p rofou nd impr e ss ion e ven bef o re y oure ad  th ef as cinat ing  tidbit s in her b io(r aised Buddhi s t,  reluctant  fo rmer basketb all  playe r,  me t  herban d onTinder ) . An i n-your-fa ce intens i ty anim a t es  the se songs — a sens e  o f  deeper passio n andhi g he r sta kes . Folick h as  grow n  from a n  e n j o yab l e singer-song writer with adv enturo us  te n dencie s int oa n a rtist whose  eve ry dispar ate cr e ation s e ems tobe sum mon ing  ele m en ta l f or c es. Wh ens hescreams,  “ Gi ve it  tom e ! ”  you  fe el c ompel led to comply , w hate v er“it”may b e. – Ch ris
Moor M other 
CREDIT: Bob Swe eney 

LOCATIO N:Ph ila de lphia ,  PA

T heexp eriment al musi c  Ca ma e A ye wa makes as Moor M ot h e ris desig ned to be  c o nfrontat io nal . Of t e n lou d an d  h ellish,the so n gs  o n Fetis hBonesco nfr ont  whit e  heg emony,  the pol ice s t ate, familialt rauma, and th e  l e g ac y  ofsla very with u naba s hedforw a rd nes s . Aye wa is  a po e t, and her prose cu ts  throu gh th e sonic chaos  like tiny d a ggers ma de t o  p u nish you intothink ing a litt l e bit ha rder.  Her wor k is visc e r al whenyou  li ste n t o it  through your h eadp ho nes, an d h er live  sh owwil l l ea ve you qu aking. – Ga br ie la 

F etish Bones by  M oor  M oth er

N a tion O f Lan guag e
C R EDI T: Mari n aL a bart he  d el S ola r
LOCA TION :  Br ooklyn,  NY

IanDev a neyha dbeen th rough this al re ady. His p re vio us ban d ,  the pun k-leaning alt-rock outf i t the S tat ic Ja cks,  had made  it  out o f N e w Jers ey and  seem ed  to b e onc o ur se,  t ouring and r ele asing  a lbum s. Then , somewhere alongt heline, thingssim plyr a nout of ste am .  He f ound himself ba ck home, r eg r ou ping, ridi n g i nthe car  with h is fa t her, wh o put on“Electric it y” b y OMD , sparking  an epip hany forD evane y :He wa nte d to m ak e s ynth- pop. A few  year s andamove t o Bro ok lyn late r, Devaney has alreadyamasse d anenv iable col lec t ion  of compl eteearworms u nde r h is ne w m o niker  Nat i on  Of Langu age. And, yes, it  so u n ds  like the e a r l y ’ 80s,but what m akes  Nation Of Langua g e so special i s th a t  yo u m i ghtre cognize the ae sth et i c , but yo ucan’t reduc e them t oo bviou s fore bears:  Devane y ’ sh arvest ingthe  past, wr iti ng bulletp ro of songs,  and  s taking  his t e rrit o r y in a decades-
held the_LA musician’s_latest recordings you won’t_mistake them_for_anyone else._The_EP leaves a_profound impression even_before you read the_fascinating tidbits in_her_bio (raised Buddhist, reluctant former basketball player, met her band on Tinder). An in-your-face_intensity_animates these_songs_—_a sense of deeper passion_and higher stakes. Folick has_grown from_an enjoyable singer-songwriter with adventurous tendencies into an_artist_whose every disparate_creation seems to be summoning elemental forces. When she_screams, “Give it to me!” you_feel compelled to_comply,_whatever_“it” may be. –Chris

Moor_Mother

CREDIT: Bob Sweeney

LOCATION: Philadelphia, PA

The experimental_music Camae Ayewa makes as Moor_Mother is designed to be confrontational. Often_loud and hellish, the songs on_Fetish Bones confront white hegemony,_the police_state, familial trauma, and the_legacy of slavery_with unabashed_forwardness. Ayewa is_a poet, and her prose cuts_through the sonic_chaos like tiny daggers made to_punish_you into thinking_a_little_bit harder._Her work is_visceral_when you_listen_to it through your headphones, and_her_live show will leave you quaking. –Gabriela

Fetish_Bones by Moor Mother

Nation_Of_Language

CREDIT: Marina Labarthe del_Solar

LOCATION: Brooklyn, NY

Ian Devaney had_been through this already. His previous_band, the_punk-leaning alt-rock_outfit the Static Jacks, had made it out of New Jersey_and seemed to be on course,_touring and releasing albums._Then, somewhere_along_the line, things_simply_ran out_of steam. He found himself back home,_regrouping, riding_in the car with his father,_who put on “Electricity”_by_OMD, sparking an epiphany for Devaney:_He wanted to make synth-pop. A_few years and a move_to_Brooklyn_later, Devaney has already amassed_an enviable collection of complete earworms_under his new_moniker Nation Of Language. And, yes, it_sounds_like the early ’80s, but what_makes_Nation Of Language so special is_that_you_might recognize the aesthetic, but_you can’t reduce them to obvious_forebears: Devaney’s harvesting the past, writing bulletproof songs, and_staking his territory_in a decades-