This article appears in AdHoc Issue 20, out officially later this week. Moor Mother plays Good Room in Brooklyn on June 8 with Elysia Crampton and Total Freedom.
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.