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Something For The Weekend - Penelope Trappes cultural picks
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Ten under-the-radar releases you may have missed in the last three months
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Patrick Clarke
, May 27th, 2021 23:56
From exuberant pop to all-out brutality, via everything in-between, here are tQ s favourite albums and tracks of May 2021
I received my first dose of Pfizer vaccine yesterday, having heard from a friend of a friend of a relative of my partner that an old function hall in Woodford had some spares for walk-ins. When I got home I checked my emails and saw that I was invited to a gig. Typically, after a year and a half of waiting for such an opportunity, I m busy that day, but nevertheless if I were to stretch for a sign, it s fitting that it was the first day in weeks that the rain clouds that have been clinging over London for the last month finally went away, leaving a balmy blue sky in their place. Not to labour the point too much, but it feels like things might be getting better.
Sun 16 May 2021 04.00 EDT
A decade into a career at the confluence of digital music and art, the latest album by New York-based Kuwaiti electronic composer Fatima Al Qadiri is full of echoes. Her 2017 EP,
Shaneera, was a party-facing tribute to the âevil queensâ in Arab culture, thriving in spite of oppression. More recently, her immersive score for Mati Diopâs contemporary ghost story,
Atlantics, helped earn the film the Grand Prix at Cannes in 2019.
Medieval Femme, by contrast, hymns some very different Arab women to
Shaneera â those of the medieval period â with the otherworldly delicacy honed on Al Qadiriâs soundtrack work. She has often played with perspective (how the west views the east) as well as place (often hyper-real) and time (juxtapositions, anachronisms), but never quite like this. Sheba sounds like early music laced with sighs of sensual longing and the merest scissor snip of 21st-century percussion. The meditative Tasakuba featur
Medieval Femme an album,
per se – not only do modern releases vary wildly from the forty-minute limit of the LP, but they also have singles and album cuts. This is rather a suite, a collection of pieces reflecting on a similar theme, in this case “the state of melancholic longing exemplified by the poetry of Arab women from the medieval period”. Fatima Al Qadiri’s approach to songwriting bears some similarities to classical form (exposition, development, recapitulation) – and very little to pop structures.
Firstly, the songs are slow on the whole, with maybe two melodies per cut – and largely lack percussion too, though ‘Sheba’ tantalizes briefly with some brisk kick hits halfway through. The vocals linger on their diction, each syllable ringing long over the mix, like inhalations with weight. Al Qadiri’s third record meddles with our sense of history, mightily impinging the past and future
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