Moor Mother & Billy Woods - BRASS ALBUM REVIEW
I feel bad I haven’t heard this until now.
Musician, poet, activist, and ½ of Black Quantum Futurism Moor Mother and New York rapper Billy Woods team up for a collaborative project, BRASS. While I have enjoyed many of Billy Woods’ projects like History Will Absolve Me, Hiding Places with Kenny Segal, and Armand Hammer project with Elucid, who are dropping a project with The Alchemist in two weeks (!!!), I hadn’t heard of Moor Mother before this. Once I heard about how great this project is, I had decided to listen to it back in January. Yes, I know I’m writing about this in March, but hey, I’m glad to have listened to it at all.
Boy, there’s a lot to unpack from this. First off, the production on this is pretty stark. There’s a lot of jazz influences that made me feel very uneasy. It’s unlike anything I’ve heard in recent memory, and it feels like you’re being summoned by a cult. The sound effects and sampling throughout BRASS are creepy as hell, especially the distortion on the track “Mom’s Gold,” which probably ends up being my favorite track on this. When it comes to the rapping and writing aspects, Mother and Woods really bring the best out of each other. Woods’s lyrics are consistently dark and honestly pretty vivid. It’s very unique. I can say the same for Mother’s flow, which is so odd and experimental that I can say without a doubt that I can’t think of anyone else that sounds like her.
There’s not much to complain about on BRASS. What happens here sonically is pretty fantastic, and it’s just the same lyrically. The duo of Moor Mother and Billy Woods create so many fireworks on this experimental opus that I’ll be coming back to this for a long time.
9/10
Listen here
YouTube Music
Musician, poet, activist, and ½ of Black Quantum Futurism Moor Mother and New York rapper Billy Woods team up for a collaborative project, BRASS. While I have enjoyed many of Billy Woods’ projects like History Will Absolve Me, Hiding Places with Kenny Segal, and Armand Hammer project with Elucid, who are dropping a project with The Alchemist in two weeks (!!!), I hadn’t heard of Moor Mother before this. Once I heard about how great this project is, I had decided to listen to it back in January. Yes, I know I’m writing about this in March, but hey, I’m glad to have listened to it at all.
Boy, there’s a lot to unpack from this. First off, the production on this is pretty stark. There’s a lot of jazz influences that made me feel very uneasy. It’s unlike anything I’ve heard in recent memory, and it feels like you’re being summoned by a cult. The sound effects and sampling throughout BRASS are creepy as hell, especially the distortion on the track “Mom’s Gold,” which probably ends up being my favorite track on this. When it comes to the rapping and writing aspects, Mother and Woods really bring the best out of each other. Woods’s lyrics are consistently dark and honestly pretty vivid. It’s very unique. I can say the same for Mother’s flow, which is so odd and experimental that I can say without a doubt that I can’t think of anyone else that sounds like her.
There’s not much to complain about on BRASS. What happens here sonically is pretty fantastic, and it’s just the same lyrically. The duo of Moor Mother and Billy Woods create so many fireworks on this experimental opus that I’ll be coming back to this for a long time.
9/10
Listen here
YouTube Music
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