Moor Mother and Eartheater like to keep busy. Moor Mother, whose debut album Fetish Bones came out in 2016, has been touring the globe with her noisey protest music, publishing and lecturing about Afrofuturist and diasporic thought, and organizing events at Community Futures Lab, a Philadelphia multimedia arts and education space she founded with her partner Rasheedah Phillips, the other half of her Black Quantum Futurism collective. Eartheater, real name Alexandra Drewchin, released two acclaimed albums in 2015—Metalepsis and RIP Chrysalis—and has another full-length on the way, all while working as a visual and performance artist, and frequenting local creative hubs like Otion Front Studio in Brooklyn and Outpost Artists Resources in Queens. Both artists contributed to Show Me the Body’s recent CORPUS I mixtape, a collaborative release that aligns with their shared penchants for community-building and genre-bending.
In the following conversation, Moor Mother and Eartheater discuss their tireless work ethic, the artistic scenes around them, and the challenges of being a woman in music.
Ahead of AdHoc 20, which will be out next week, we're sharing the issue's cover by Black Marble's Chris Stewart. Black Marble will play at Good Room on June 6 with Body of Light and Public Memory. Stewart had the following to say about the image he made.
I came up with the idea while trying to imagine a votive or funeral arrangement for a certain romanticized (by some, not by me) American experience. The current POTUS 'brand' was honed/perfected in the '70s and '80s when the existential threat of Communism combined with a relatively prosperous time for the West sort of clarified and simplified American experience for many as a just and invaluable right to pursue individual prosperity.
The piece on this issue's cover is meant to, from an anthropological point of view, suggest the slow death of that 'America' and frame the current political climate as its death rattle. It's also a last minute attempt to recapture some of its perceived simplicity and security for those that benefited from it the first time around, or with the passage of time misremember it as better than it was.
There are many kinds of fear, but few as fathomless as the one that can sneak up on you when you’re lying in bed at night, thinking about nothing in particular. Suddenly it dawns on you: you are just a collection of atoms, puttering around on a larger mass of atoms that people call Earth, floating around inside a dark expanse of atoms and dead air that just goes on and on forever. Hopefully—for the sake of a good night’s sleep—you’re able to blot out the terror that comes from the recognition of your own smallness, but it’ll probably completely overpower you the next time Pharmakon, aka Margaret Chardiet, walks up to you at a show and screams in your face.
You don’t really need to understand the lyrics to catch her drift, but in the below interview, our medium was words, and the Brooklyn-based power electronics artist had a lot of them when describing the theories of humanity and community underpinning her bracing new album, Contact. The one caveat being that, as Margaret reminded me repeatedly during our chat, an interview was unlikely to do her ideas justice: “I really want people to read the freaking lyrics for this record,” she said. “I laid them out like really blatantly in the liner notes, because they’re the most important thing about it.”
AdHoc: What was on your mind when you went in to record the new album?
Margaret Chardiet: I guess what was on my mind was the fact that the project was 10 years old—feeling like I needed to grow and move in a new direction, and thinking about what that was going to be. The last two records—[2013’s Abandon and 2014’s Bestial Burden]—were immediate, short-term responses to specific events [in my life], whereas with this one, I had a couple years to think about what I wanted to say and do.
What are some ways you’d say the project has changed over the years?
I think I’ve found myself focusing more on experimental thinking and philosophical ideas, as opposed to personal ones. I’m still exploring the concepts of duality and human nature, but I think I’ve allowed myself to get broader, which is a really scary thing to do. If something is very acute and small, it’s easier to explain and converse about with other people.
AdHoc Issue 19 is here! Download a PDF of the zine at this link, and look out for physical copies both at our shows and at record stores, bookstores, coffee shops, and community centers throughout the city. (Those of you outside New York City can order a copy as well.)
In this issue, we explore music as a social act. Speaking to Emilie Friedlander, Pharmakon’s Margaret Chardiet explains the importance of audience engagement in her live shows, and how that sensibility informed her new record, Contact. Cleo Tucker and Harmony Tividad of Girlpool—who also have a new record, Powerplant, in the works—unpack the role of person-to-person connectivity in their music. In conversation with Hand Habits’ Meg Duffy, they discuss their closeness as an artistic and social unit, and how introducing new people into the Girlpool live band was almost as tricky as opening up a romantic relationship. Both Pharmakon and Girlpool articulate reasons for making art that move beyond personal expression or gratification, and into something more inclusive.
AdHoc Issue 19's contributors:
Girlpool is a Los Angeles-based band whose founding members, Cleo Tucker and Harmony Tividad, made the collage that appears on this issue’s cover.
Meg Duffy is a Los Angeles-based musician who performs under the name Hand Habits; her album, Wildly Idle (Humble Before the Void), is out now via Woodsist. Meg interviewed Cleo and Harmony for this issue.
Leesh Adamerovich is a Brooklyn-based illustrator who enjoys collaborating with musicians. Her work is influenced by ’70s music, animation, and quiet moments, and she made the illustrations for this issue.
About two years ago I was eating a meal inside a festival’s hospitality tent somewhere in the Netherlands. I remember being very psychedelically tired from a drive with the Kevin Morby crew—it was around two weeks deep into a tour. I have no recollection of playing a set that day.
While eating bread soaked in some sort of chicken juice and noticing the conversations around me, I spied a tall redhead bopping around the cutlery zone with a blue-haired accomplice. I admired their fashion. I recognized them both but couldn't remember from where.
To my surprise, the two sat down at my table! Soon I learned that they were Cleo Tucker and Harmony Tividad, aka Girlpool. We had many mutual friends back on the East Coast. I didn't catch their set at the festival, but during our time there, our crews merged. We climbed a jungle gym, ate delicious Belgian waffles and ice cream, and talked about jet lag and how strange it was to be at a festival very far from home with so many friends of friends.
Since that day, Cleo and Harm moved back to Los Angeles (where I also live), made a new record called Power Plant (that I love), and expanded their live band to include two new collaborators. They also each have one new pair of pants, which I know, because recently we all went shopping together. This winter—while I was in a van on tour with my band Hand Habits, and while Cleo and Harm were in their respective homes in LA—we spoke on the phone about friends, feedback, and collaboration. —Meg Duffy
Meg Duffy: So you guys live in Los Angeles now. What are you doing out there?
Cleo Tucker: We’ve been rehearsing with the new band; we’re gonna go to SxSW and then hopefully have some time to record a ton of music. And then we’re gonna hit the road at the end of May for like a month, and then we’re gonna go to Europe.
Who is in the new band?
Cleo Tucker: It’s Miles Wintner from Traps PS on drums, and Stephen Steinbrink on synth and guitar. And then… us.
A Cameroon native with a past working as a full-time software engineer, singer-songer Lætitia Tamko, aka Vagabon, has spent the past few years developing her songs through live performance, experimenting with solo and full-band versions of her sets, which are invariably intense. February 24 marks the release of the Brooklyn-based artist’s first full-length, Infinite Worlds, on Father/ Daughter Records, and Vagabon is set to tour in March alongside Allison Crutchfield. On Infinite Worlds, Tamko blends the frank lyrical stylings and swelling guitar rock that marked her 2014 debut EP, Persian Garden, with lush electronic flourishes. In late January, she spoke to us over the phone about her music’s evolution, and offered some thoughts on how DIY and the “real world” aren’t always so different after all—at least when it comes to questions of inclusivity.
AdHoc: The title of your record comes from a book of poems by Dana Ward called The Crisis of Infinite Worlds. What did you like about that collection?
Lætitia Tamko: It was a really challenging read for me. His writing style is so particular. There are a lot of run-on sentences; I had to really comb over his poems to grasp even an idea of what he meant.
I detect a similar affinity for strange repetitions and movements in your lyrics.
It’s funny—these songs were written before I read the book, but I was reading it as I was recording. It’s one of those things that sticks with you, though.
I never went to my high school prom. My boyfriend at the time and I thought we were too alternative to take part in such an antiquated ritual, so instead, we took a train 40 minutes to see Portugal the Man perform in a packed warehouse. It was my first time having a partner I could feasibly invite to something like that, but going to prom never crossed my mind. Prom was for normies, after all. I didn’t think I was missing out on much.
As an adult, I’m still not big on traditional heteronormative practices, but I am a fan of coopting uncomfortable relics of the past and creating something new and exciting. Obviously, when it comes cultural appropriation, there is a line. I’m talking about the inverting-McDonald's-logos-for-band-merch type of appropriation, not the insensitive cultural kind. Fucking up prom made sense to me.
The first Indie Pop Prom I put on, in 2013, was probably the most successful: a bill full of friends at the now-defunct 285 Kent. The Pains of Being Pure at Heart headlined, with Swearin’, Waxahatchee, Potty Mouth, and Weed Hounds supporting. The New York Times covered it, and I’m proud of the headline to this day: “Independent Women Celebrate Genres That Never Went Away.” People actually dressed up—and many said it was much more fun than their actual prom.
Romance and masculinity have been enduring fascinations for Philadelphia-based punk band Pissed Jeans, from their 2007 Sub Pop debut Hope for Men to the upcoming Why Love Now, out February 24. In advance of the band’s record release show at Brooklyn Bazaar that same night, we asked frontman Matt Korvette what contemporary straight men are getting wrong about relationships and other social behavior.
AdHoc: Several of Pissed Jeans’ records explore the ins and outs of modern masculinity. What draws you to this topic?
Matt Korvette: I’ve always been fascinated by myself, my motivations, and being a man. It’s probably a bit narcissistic, even if I’m being self-critical, but my lyrics for the band have pretty much always been based on things in my life that I’m actively pondering, curious about, angry about, or sad about. And my identity and how I fit into the world has always been a part of that. I also enjoy taking shots at guys and the generic vision of masculinity, since it’s a ripe target for criticism and I don’t think it gets nearly enough grief—especially from people who fit within it.
AdHoc Issue 18 is here! Download a PDF of the zine at this link, and look out for physical copies both at our shows and at record stores, bookstores, coffee shops, and community centers throughout the city. (Those of you outside New York City can order a copy as well.)
In this issue, we turn our attention to love and human connection. Maria Sherman talks about Indie Pop Prom, an annual concert she organizes around her birthday (and Valentine’s Day), and how she flipped the heteronormative high school tradition into a celebration of female artists. Matt Korvette—whose band, Pissed Jeans, is set to release a new LP called Why Love Now—muses about toxic masculinity, and how it’s time modern men learned to stop being assholes. Finally, Brooklyn-based singer-songwriter Vagabon, aka Lætitia Tamko, considers her agency to effect political change as both an artist and a citizen, within not only the musical underground but also the “real world”—two spheres that aren’t as different as they may seem. Their stories remind us that our communities are built on person-to-person interaction, and that engaging with and caring for those around us is a crucial step toward building the world we want to see.
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AdHoc Issue 18's contributors:
Maria Sherman is a culture writer and recent New York City transplant living in Philadelphia. For this issue, she wrote an essay about Indie Pop Prom.
Samuel Nigrosh is a Chicago- based illustrator who publishes books and comix under the name Trash City. He drew the illustrations in this issue.
Salina Ladha is a ceramicist, painter, and illustrator based out of Montreal, Canada. She made the art that appears on the cover of this issue.
On December 2, 2016, a fire broke out in Oakland live/work space the Ghost Ship, killing 36 people who had gathered there for an intimate house show. Cash Askew, a 22-year-old multi-instrumentalist and producer who played guitar in the sonically enveloping, consistently emotionally gutting rock band Them Are Us Too, was one of many musicians who passed over to the next realm that night. Here, her bandmate Kennedy Ashlyn remembers Askew’s life, music, and non-binary worldview. — Emilie Friedlander
Kennedy Ashlyn: I met Cash on her 19th birthday, when both of us were studying at UC Santa Cruz. She was living in the dorms, and my housemates, who she knew from the food co-op, offered to have her birthday at my house. It was jokingly called Cash’s Super Sweet Goth 19th Birthday Party, and everyone had to dress goth. Cash made a playlist that had Cocteau Twins, Depeche Mode, and Sisters of Mercy on it—and I kept being like, “Oh My God! You like this song? You like this song?” We weren’t goths—that was a joke—but no one in Santa Cruz really liked the same music that we did. And then she crashed at the house, and the next morning, there was an eviction notice on the door. We didn’t end up getting evicted, but that’s how crazy Cash’s 19th birthday party was.
The day after the party, I was playing one of the only three Them Are Us Too shows that I did without Cash, at this weird hippy commune. We were drinking moonshine, walking around arm in arm, and I was just like, “You should be in my band.” It was pretty immediate—day one: friends; day two: bandmates. We’d always call her birthday our “friendaversary,” and then the next day is our “bandaversary.”