and 700 Bliss—are often speculative, theorizing futures beyond the oppressive present condition and without colonially imposed temporalities. It’s with this futuristic approach that Ayewa also researches, recounts and reinterprets the past, poking holes in the narratives the state tells itself and all of us in order to live unquestioned.
There are a variety of approaches for understanding the 1835 rule, but the fundamentals are consistent: The loan promised 180 years of wealth extraction from British subjects, including the once-enslaved, as a windfall measure for Britain’s wealthiest, cruelest actors. The government sought to cushion the financial blow of liberation, not to give the newly liberated compensation for what they endured, but to perpetuate the superior status of planters.
and Raia Was throw their voices like comets across a foggy sky. “Did you pay off the trauma?” is an incitement: The British paid off the slavers, but what does that compensation actually? What of the generations of trauma from the cruelty of denigration as property, as capital to be used on plantations that sold cash crops that would one day become mass-market poison: the cigarette.
Kyle Kidd, the New York-via-Cleveland vocalist who came up in the collective Mourning BLKstar, features prominently on “COMPENSATED EMANCIPATION” and “LIVERPOOL WINS,” running vocal achievements that are a striking foil to Ayewa’s level-headed spoken word and the overall grave production. Kidd and Ayewa make an incredible pair.
Because Moor Mother’s music is so far beyond the strict definition of music, everything she does feels exciting.cuts through the noise of big pop and rock with something that urgently takes history to task and reimagines what the album can accomplish. But even amongst her own body of work,is a standout—one where it feels as if she and her collaborators have room to roam. There’s a central tension in British history that everyone gestures toward with the tools they use best.
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