Mutamassik has written about the circumstances that existed during the making of her latest album. She tells it straight and comes proper, no pussy-footing around decorated with sugar and other […]
Mutamassik has written about the circumstances that existed during the making of her latest album. She tells it straight and comes proper, no pussy-footing around decorated with sugar and other additives.
The making of ‘That which death cannot destroy’, a studio tour into stabbing strings, thundering drums, howling conviction. Going from a predominantly raw urban experience (see: childbirth on Medicaid in Brooklyn, many etcs.) to a raw, rough, rugged rural experience has taught me many things.
Let me give props where props are due: A decade plus+ in the streets of New York City and Cairo cut my teeth; half that time in Nature, however, has kicked my ass. Not just once, but continuously. This has been a boot camp. If inner city life made me hard, Nature made me harder.
During the making of my latest record, I was mostly wearing a parka, long johns, 2 pairs of socks, 2 sweatshirts, pants and a hat and every time I exhaled a condensed pulmonary fog clung to the air undisputed-by-modern-science measuring the harshness of the situation (I’d take the parka and hat off when I got sweaty on drums and cello). I have to frequently cuddle my DAT which I record my masters onto to get it’s digi-electronic guts warm enough to function.
Go here for the full read and to download the album if you haven’t already.
A little bird told me she will return to Gothenborg this year for a follow up to her Clandestino Fstvl appearance of 2008. More as it happens.