Moor Mother - The Great Bailout


“Like a blossom emerging from between the floorboards of a slaughterhouse, Moor Mother’s music is an act of transcending a violent, intolerable present.” – The Fader

Moor Mother’s work is often stark and excoriating … Camae Ayewa forces the listener to confront blood-soaked history and the bottomless sorrow of multi-generational mourning, coming at you like a priestess of the apocalypse.” – Stereogum

Moor Mother creates a Black utopia with the beauty and scope to blot out our irrevocably broken reality, rooting her vision in this world only so as to better transcend it in her own.” – Paste

How do you engage the evocative gift that is Moor Mother’s latest album The Great Bailout? Only by following the trail of verbal and sonic poetry delivered. Only by letting Moor Mother and her co-conspiring collaborators – Lonnie Holley, Mary Lattimore, Alya Al Sultani, Kyle Kidd and more – be the tour guide.

Coming out on March 8, The Great Bailout is Moor Mother aka Camae Ayewa’s ninth studio album and third with ANTI- Records, with production contributions on various tracks from Mary Lattimore, Lonnie Holley, Vijay Ayer, Angel Bat Dawid, Sistazz of the Nitty Gritty, Aaron Dilloway and more. Called “the poet laureate of the apocalypse,” by Pitchfork, Ayewa’s music contains multitudes of instruments, voices and cacophony that take on themes of Afrofuturism and collective memory with the forebearers of jazz, hip hop and beat poetry in mind.

“Research is a major part of my work, and researching history – particularly African history, philosophy and time – is a major interest,” Moor Mother said of the music’s focus on the effects of British colonialism. “Europe and Africa have a very intimate and brutal relationship throughout time. I’m interested in exploring that relationship of colonialism and liberation, in this case in Great Britain.”


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