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382:. I'd never set foot there before going to college, and my perception of it was very far removed from the truth, you know? I was just consuming American TV shows like any other kid around the world, thinking, "Oh, it looks so cute." In terms of experience in protesting, Qadiri was at a counterdemonstration at a 1999
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consists of a photograph of one of the teletubbies altered by Babak Radboy to give it face hair, broken blood vessels, and chapped lips. Qadiri explained, "He
Frankensteined it. He gave it life. He took something that was an object, and made it into a living, breathing monster." Writer Patrick Hinton
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called it a "frustrating album" and a "missed opportunity," writing that it "has the ability to unnerve and unsettle to the point of creating a paranoid world for the listener" but too much of the songs are "formless pieces that drift instead of acting as a counterpoint to the oppression that lets
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but also explained that it wasn't really a protest record: “It’s a meditation, but a very unpleasant one. Protest music is a call-to-action, and this is not a call-to-action because I don’t know what the action should be. I’m not offering any solutions, just saying that this is the reality.” Qadiri
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described the album, despite its concept, as "actually pretty, almost pastoral" and joked that it "could just as easily be a concept album about spending a weekend on grandma’s farm." In fact, he went as so far as to say the album was much more enjoyable to listen to without knowing its context:
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There are very few glimpses of a hopeful vibe on the album, such as the electronic harps on the song "Fragmentation." As
Burnett wrote, "Listen carefully, and there is a certain melodicism nestled in the heart of this album, but its tone is despairing and subdued, glimmers of light in a dark and
1036:, Cynthia Cruz stated, "Like great poetry, her music provides just the right amount of world and politics with her references to protests, news clips and police force while allowing the listener enough space within each song and within the album to make her own connections."
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is a real genre, and there have been a lot of seminal protest records. I just feel like this is a subject that's moving a lot of people right now." The first track completed for the album was "Blood Moon," the last "Oubliette." On 20 January 2016, it was announced that
1080:; he praised the LP for mostly being an instrumental record, reasoning that her choice of not having any vocalist sing words show that "Al Qadiri has an acute awareness of human communication and the subtle impact of its many non-spoken factors." Gibb's review of
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meeting: "I have never seen more cops in my entire life. There were cops on horses, on bicycles, on bikes, in cars, and helicopters. I had a very rude awakening; the illusions of
American democracy were destroyed almost immediately." She was also involved in the
1112:'s Andrew Ryce wrote that most of the LP's samples were its only parts that distinguished it from previous releases: "Otherwise, we're given titles like "10-34" and "Oubliette," words that gesture towards a theme without providing substance." A reviewer for
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highlight the way Al Qadiri's work seeks to create collages of themes — a bricolage approach that’s effective in bringing together ideas and allowing them to interact, even if the musical results aren't always as successful." He wrote that "the moments when
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as a "counterpoint to the word thug, and how people over the last two years have been speaking about thugs in the media." She also reasoned that the word "contains a lot of savagery, but also, in
English, it has a dandyish, almost 1950s-ish sense."
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sergeant named Cheryl Dorsey about the power of police officers which plays on the LP's closer "Power" over synthesized glass-breaking sounds. The samples are used at a minimum "just to illustrate the context, to set the tone," Qadiri explained.
658:, which Qadiri chose for his "classic American media news anchor voice," which is played on the track "Blows." It is filtered in reverb and "half-shrouded" in synthesizers to put the listener far away from what's really going, wrote Rory Gibb of
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found it unlike most other grime music in that it is "rarely propulsive or tailored for the dancefloor, but rather shift and shake convulsively under the weight of stark, metronomic beats, swathes of sub-bass and icy synth swirls." As
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510:" is less a beat maker, more a builder of atmospheric soundscapes, twisting choral harmonies with grime bass lines and doomy dubstep effects. Her conceptual sounds don’t offer blatant, fist pumping anthems for movements like
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is the most grime-infused LP in Qadiri's discography, where signature sounds of the genre such as gunshot-like percussion, swirling melodies, and police siren sound effects are heard many times throughout. Joseph
Burnett of
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wrote, "an ever-lurking, low-end wake" is used to represent an omnipresent police force on songs like “Battery” and “10-34," "volatile harmonic breaks signifying the frequent outbursts of unmitigated violence."
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uncaring world." Burnett suggested that the reason for this was to show the "uncaring, uncomprehending barrier that has been erected between authority and the demos, between the powerful and the rest of us."
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magazine, Sofia
Leadbetter stated, "Al Qadiri has invoked her own personal brand of protest in a world in which discussion over that right has become ever more charged." In a nine-out-of-ten review for
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in 1990. It wasn't until she attended college that she moved to the United States. As she discussed how she viewed the nation before she relocated there, "I thought
America was kind of like
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Qadiri began writing her second album around
February/March 2015 while having to be a room in her Kuwait home due to a knee injury. She was looking at a "horrific news cycle" on
260:, the album regards the authoritarian power of law enforcement in the United States and the illusion of democracy existing in the western part of the world. Its cover art by
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has a hopeless tone coming from its use of what Jake Hulyer labeled as a "cold and stark" structure with an "unwelcoming atmosphere:" audio snippets of political rallies,
611:'s oppressive vibe comes from the drum parts, specifically how the "rhythms jerk at unnatural angles" and "beats drop like gas canisters," wrote Stephen Worthy of
518:, instead they seem to capture the still, quiet tension that echoes around that space between the battle lines and point to the psychological fear on both sides."
309:." However, some critics with more mixed opinions towards the album called it too similar to Qadiri's previous releases and found many of the songs too formless.
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is based on an
American topic, Qadiri wanted to make the instrumentals "universal" for listeners from other nations across the globe to resonate with it.
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praised the political theme as "bracing" but opined that the album wasn't "enjoyable to listen to" due to its "limp compositions" and use of sounds like
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system in the United States, and how democracy in the western part of the world is just a mirage. Qadiri described it as a record in the vein of
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1136:-esque voices and "ultra-synthetic" drums that became a cliche in underground electronic music due to the popularity of works by acts such as
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were towards it not being different enough from previous releases by Qadiri as well as most of the tracks being too formless. In a review for
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really comes to life are those when it leaves overt references behind and heads towards starker and more emotionally ambiguous places."
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638:. One of them is a live recording of the Ferguson protests where a policeman says "you are no longer peacefully assembling" through a
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protests. The art piece was meant to showcase how civil rights were being destroyed in the 21st century and uses Qadiri's cover of "
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268:" found in Kline's art piece "Freedom," which was intended to present how civil rights were being destroyed in the 21st century.
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garnered significant media coverage for its unique political message and was listed in the "Top Ten
Protest Albums Of 2016" by
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discussed how Qadiri used tropes from popular music styles in all of her works, opining that "the overt narrative framings of
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was included. Gosztola summarized that it was "the kind of album that will carry even more resonance in the era of President
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305:, where Kevin Gosztola described it as "the kind of album that will carry even more resonance in the era of President
410:. This inspired Qadiri to make a record about protesting halfway into writing her next record. As she explained in a
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garnered a significant amount of media coverage that focused on as well as honored its political theme,
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Qadiri's experience of having her civil rights violated came from living in Kuwait during its
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structure that "sometimes ris in urgency before falling into a deceptive calm."
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ran a list by Kevin Gosztola titled the "Top Ten Protest Albums Of 2016," where
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calling it "the Powerful Political Album We've Been Waiting For." Writing for
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1362:"Breach," "Battery," and "10-34" mastered by Tom Waltz at Waltz Mastering in
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1964:"Fatima Al Qadiri: Brute review – bracing conscience but limp compositions"
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would be released on 4 March 2016 and "Battery" was issued as the
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2187:"How Music Delivered Me From Hell, According To Fatima Al Qadiri"
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1648:"Fatima Al Qadiri announces second album Brute – hear ‘Battery’"
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1625:"Atmospheres of rage and control: Fatima Al Qadiri on 'Brute'"
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primarily uses three audio sources, which Qadiri garnered via
402:, being "moved" by seeing protests going on in places such as
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664:. Another one of these samples is an interview with a former
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instrumental on the opening track "Endzone." Another one is
1499:"Outspoken Electronica: An interview with Fatima Al Qadiri"
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held a Q&A with Brown and premiered the track "Power."
2060:"Fatima Al-Qadiri Talks Politics, Protest and Provocation"
592:
Because of its themes regarding powerful law enforcement,
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is an excellent album. As a concept album, it’s a flop."
1769:"The Lead Review: Rory Gibb On Fatima Al Qadiri's Brute"
1061:, Worthy favorably compared the record to the works of
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Sonic Warfare: Sound, Affect, and the Ecology of Fear
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1887:. Development Hell Ltd. Retrieved 14 August 2017.
1825:. Development Hell Ltd. Retrieved 13 August 2017.
1676:"Fatima al Qadiri’s Poetry of Terror and Protest"
1633:. Development Hell Ltd. Retrieved 13 August 2017.
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2043:"Fatima Al Qadiri: Sounds of the Apocalypse"
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1870:Official Website. Retrieved 13 August 2017.
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714:of "The best record artwork of 2016."
693:gear that block an area modeled after
356:) inspired Fatima Al Qadiri to make a
1962:Beaumont-Thomas, Ben (3 March 2016).
1795:"Fatima Al Qadiri — Brute (Hyperdub)"
1696:Robin Jones, Charlie (11 July 2016).
1623:Brown, Deforrest (23 February 2016).
1301:
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710:put the cover art in his gallery for
7:
2080:Gosztola, Kevin (28 December 2016).
1879:Hinton, Patrick (27 December 2016).
1793:Burnett, Joseph (24 February 2016).
1593:Lhooq, Michelle (12 February 2016).
2141:Bromfield, Daniel (14 March 2016).
1140:and Visionist. Daniel Bromfield of
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288:regarding the power of the police.
1940:Leadbetter, Sofia (7 March 2016).
14:
2206:Fatima Al Qadiri official website
1881:"The best record artwork of 2016"
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893:
843:
2082:"Top Ten Protest Albums Of 2016"
1839:Staples, Derek (10 March 2016).
1817:Worthy, Stephen (1 March 2016).
1698:“A Planetary Crisis of Policing”
1319:Derived from the liner notes of
1157:Derived from the liner notes of
1145:"Taken purely on musical terms,
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559:critic Kevin Ritchie wrote that
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2185:Saxelby, Rush (17 March 2016).
1994:Lozano, Kevin (10 March 2016).
1735:Ritchie, Kevin (2 March 2016).
1523:Woon, Madeleine (9 June 2016).
677:In early 2015, American artist
581:journalist Andy Kellman wrote,
495:said that she titled the album
252:inspired by events such as the
2058:Olbrich, Suze (28 July 2016).
1168:
1065:as a "doyenne of experimental
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445:Compared by some reviewers to
389:New York City protests against
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2022:Ryce, Andrew (7 March 2016).
1715:Irwin, Kevin (3 March 2016).
1674:Cruz, Cynthia (4 June 2016).
1388:Art direction by Babak Radboy
1497:Hulyer, Jake (12 May 2016).
504:Composition and sound design
457:(2015) and his pieces about
2195:. Retrieved 14 August 2017.
2149:. Retrieved 15 August 2017.
2129:. Retrieved 15 August 2017.
2107:. Retrieved 15 August 2017.
2090:. Retrieved 14 August 2017.
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2032:. Retrieved 13 August 2017.
2008:. Retrieved 13 August 2017.
1976:. Retrieved 13 August 2017.
1928:. Retrieved 13 August 2017.
1903:. Retrieved 13 August 2017.
1897:"Brute by Fatima Al Qadiri"
1849:. Retrieved 13 August 2017.
1801:. Retrieved 15 August 2017.
1777:. Retrieved 14 August 2017.
1767:Gibb, Rory (3 March 2016).
1749:. Retrieved 13 August 2017.
1723:. Retrieved 15 August 2017.
1706:. Retrieved 14 August 2017.
1684:. Retrieved 14 August 2017.
1607:. Retrieved 13 August 2017.
1533:. Retrieved 14 August 2017.
1385:Photographed by Joerg Lohse
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2121:"Fatima Al Qadiri – Brute"
2119:Jex, Andy (4 March 2016).
2101:"Fatima Al Qadiri – Brute"
2024:"Fatima Al Qadiri – Brute"
1942:"Fatima Al Qadiri – Brute"
1918:"Critic Reviews for Brute"
1841:"Fatima Al Qadiri – Brute"
1475:"Brute – Fatima Al Qadiri"
642:, which is played over an
640:Long Range Acoustic Device
480:, the rising power of the
217:Released: 23 February 2016
2143:"Fatima Al Qadiri: Brute"
1996:"Fatima Al Qadiri: Brute"
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1332:Written and produced by
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368:invasion by Iraqi forces
2352:Fatima Al Qadiri albums
1126:Ben Beaumont-Thomas of
429:. On 23 February 2016,
379:Fresh Prince of Bel Air
254:2015 Baltimore protests
697:, the location of the
617:. As Derek Staples of
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1864:"Josh Kline: Freedom"
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1974:Guardian Media Group
1846:Consequence of Sound
1721:The Line of Best Fit
1074:Consequence of Sound
824:Consequence of Sound
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620:Consequence of Sound
525:The Line of Best Fit
2357:Dark ambient albums
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340:Events such as the
2249:Solo studio albums
2041:Crum-Tesfa, Zoma.
1819:"Fatima Al Qadiri"
1747:Now Communications
1737:"Fatima Al Qadiri"
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718:Critical reception
699:Occupy Wall Street
656:Occupy Wall Street
648:Lawrence O'Donnell
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544:Occupy Wall Street
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350:Baltimore protests
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278:Occupy Wall Street
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1969:The Guardian
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1195:"Blood Moon"
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307:Donald Trump
300:
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291:Released by
290:
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238:studio album
232:
231:
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193:
170:
162:
161:
152:
86:experimental
76:dark ambient
52:4 March 2016
37:Studio album
2347:2016 albums
2172:. HBDLP031.
2087:Shadowproof
1774:The Quietus
1354:Matt Colton
1344:MSR Studios
1272:"Aftermath"
1250:"Oubliette"
1067:electronica
1039:Shadowproof
687:Teletubbies
661:The Quietus
546:appears on
492:Marvin Gaye
427:lead single
302:Shadowproof
266:teletubbies
81:electronica
2336:Categories
2006:Conde Nast
1922:Metacritic
1605:Vice Media
1450:References
1414:Worldwide
1406:Format(s)
1381:Josh Kline
1327:Production
752:Metacritic
683:New Museum
679:Josh Kline
644:industrial
542:report on
490:(1971) by
471:neoliberal
348:) and the
276:report of
262:Josh Kline
143:chronology
2257:Asiatisch
2192:The Fader
2001:Pitchfork
1374:Cover art
1364:Watertown
1338:Mixed by
1315:Personnel
1228:"Battery"
1184:"Endzone"
1103:Pitchfork
962:Pitchfork
673:Cover art
453:'s album
408:Baltimore
244:musician
205:"Battery"
154:Asiatisch
2303:Shaneera
2170:Hyperdub
2164:(2016).
2126:musicOMH
1479:AllMusic
1217:"Curfew"
1206:"Breach"
1115:musicOMH
775:AllMusic
579:AllMusic
465:(2009),
461:such as
449:founder
447:Hyperdub
435:Hyperdub
404:Ferguson
293:Hyperdub
256:and the
172:Shaneera
129:Producer
122:Hyperdub
49:Released
39: by
1400:Region
1294:"Power"
1261:"Blows"
1239:"10-34"
1123:down."
636:YouTube
587:surreal
565:minimal
474:fascism
455:Nothing
441:Concept
400:Twitter
313:History
214:"Power"
190:Singles
176:(2017)
167:(2016)
158:(2014)
91:minimal
2282:Warn-U
2047:Ssense
1885:Mixmag
1823:Mixmag
1799:Dusted
1630:Mixmag
1530:Oyster
1409:Label
1358:London
1176:Length
1059:Mixmag
967:7.3/10
874:Mixmag
769:Rating
766:Source
756:73/100
746:6.9/10
736:Rating
733:Source
712:Mixmag
614:Mixmag
589:feal.
574:Dusted
563:has a
512:Occupy
431:Mixmag
242:Kuwait
194:Brute
100:Length
2313:With
2264:Brute
2162:Brute
2105:Crack
1947:Clash
1600:Thump
1434:vinyl
1403:Date
1321:Brute
1307:36:19
1173:Title
1159:Brute
1147:Brute
1121:Brute
1098:Brute
1091:Brute
1086:Brute
1082:Brute
1053:Clash
1044:Brute
1028:Thump
1024:Brute
1017:2.5/5
812:Clash
707:Brute
689:" in
652:MSNBC
632:Brute
609:Brute
605:Brute
598:minor
594:Brute
583:Brute
569:Brute
561:Brute
548:Brute
540:MSNBC
497:Brute
467:Brute
451:Kode9
423:Brute
413:Thump
354:right
297:Brute
274:MSNBC
270:Brute
233:Brute
192:from
163:Brute
117:Label
71:grime
58:Genre
22:Brute
1703:032c
1653:Fact
1504:Huck
1297:4:50
1286:4:10
1275:3:56
1264:3:20
1253:3:33
1242:2:40
1231:2:58
1220:2:44
1209:2:45
1198:3:32
1187:1:51
886:Mojo
879:9/10
817:8/10
691:SWAT
666:LAPD
514:and
406:and
391:the
376:and
346:left
286:LAPD
248:. A
1742:Now
1346:in
1342:at
1291:11.
1280:10.
1169:No.
1069:."
924:Now
650:'s
556:Now
538:'s
280:by
240:of
2338::
2189:.
2168:.
2154:^
2145:.
2134:^
2123:.
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2103:.
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2062:.
2045:.
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2013:^
2004:.
1998:.
1981:^
1972:.
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1955:^
1944:.
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1797:.
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1719:.
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1627:.
1612:^
1603:.
1597:.
1538:^
1527:.
1512:^
1501:.
1486:^
1477:.
1458:^
1424:CD
1366:,
1323:.
1269:9.
1258:8.
1247:7.
1236:6.
1225:5.
1214:4.
1203:3.
1192:2.
1181:1.
1161:.
476:,
395:.
109:19
105:36
2234:e
2227:t
2220:v
974:Q
829:B
550:.
360:.
352:(
344:(
107::
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