Asiatisch

Last updated
Asiatisch
FatimaAlQadiriAsiatisch.jpg
Studio album by
Fatima Al Qadiri
Released5 May 2014
Genre
Length36:52
Label Hyperdub
Producer Fatima Al Qadiri
Fatima Al Qadiri chronology
Desert Strike
(2012)		Asiatisch
(2014)		 Brute
(2016)
Singles from Brute
  1. "Szechuan"
    Released: 19 March 2014
  2. "Shanghai Freeway"
    Released: 30 April 2014

Asiatisch (German for "Asian") [7] is the debut full-length studio album of Kuwaiti musician Fatima Al Qadiri, released by the label Hyperdub on 5 May 2014. The record is about what Qadiri called "Imagined China," an environment of stereotypes about East Asian nations and respective cultures formed in media of the Western world. Thus, it musically derives from sinogrime, a style of grime music that utilizes elements of East Asian music. In representing Asian stereotypes, the album includes digital traditional Chinese and Japanese-styled drum kits and synth presets alongside "scrambled" ancient Chinese poems. One of the main inspirations for Qadiri producing Asiatisch was the making of a "nonsense Mandarin" a cappella version of the song "Nothing Compares 2 U" that would later be the record's opening track.

Contents

Critical reviews of Asiatisch were generally positive, and the album was on numerous year-end lists by publications, such as being number ten on The Wire 's list of the best releases of 2014. However, the LP's use of a concept about stereotypes was a frequent criticism; some reviewers felt the concept had little depth or clarity and the record was much more enjoyable to listen when only focusing on its musical aspect, and some writers felt the concept was better executed than the actual quality of the tracks.

History

A "nonsense Mandarin" a cappella version of "Nothing Compares 2 U" by Prince is on Asiatisch. FIL 2013 - Sinead O'Connor 01.JPG
A "nonsense Mandarin" a cappella version of "Nothing Compares 2 U" by Prince is on Asiatisch.

Fatima Al Qadiri was inspired to produce Asiatisch by her experience in a Chinese Literature college class [8] and the making of what would later become the LP's opening track "Shanzhai (For Shanzhai Biennial)." [1] In regards to her time studying in the Chinese college class, Qadiri explained, "Even though it was in translation, even though it was taught in an American university by an American professor... I was fascinated by his method, because he really inserted you in Ancient China. It was like virtual reality poetry or something. I think that was the first (time I was) conscious of something other than the West creating." [8]

In regards to making the album's opener, she was asked by a group of friends in the art trio Shanzhai Biennial to make, in their words, a "cheap, Chinese instrumental" under a "nonsense Mandarin" a capella recording of the song "Nothing Compares 2 U" by Sinéad O'Connor. [1] Recorded by Chinese punk vocalist Helen Feng, the rendition was to be played in a show at MoMA PS1. [1] An instrumental was produced in a manner that did not follow the instructions of the trio, and was not included in the show, but made an appearance as the album's first song; "Shanzhai (For Shanzhai Biennial)." [1] Overall, it took Qadiri around a month and a half to finish Asiatisch. [1] The lead single of the LP, "Szechuan," was issued on 19 March 2014, [9] and its second single, "Shanghai Freeway," premiered on 30 April 2014 via Rookie magazine. [10] The album was released on Hyperdub on 5 May 2014. [11]

Concept

"It's like a garbage tapestry: you don't know what the fabric is; it's not something that's easily identifiable or quantifiable; there's a catalogue of films and cartoons and comic books within it, but one that many authors have contributed to. The Asia in Asiatisch is a nexus of stereotypes that have been perpetrated, elaborated, embellished and weaved, each time further and further dislocated from the original misrepresentation."

— Qadiri on the "Imagined China" of Asiatisch [7]

As Dusted magazine stated, Asiatisch is an "abstract collage of faux Chinese imagery" that executes a "mixture of caricature, dream and stereotype, with very little of anything actually Chinese filtering through." [12] Asiatisch is about what The Guardian journalist Sukhdev Sandhu described as a "themepark simulation" or a "sci-fi wonderland" of China, [7] which Qadiri named "Imagined China." [1] [7] "Imagined China" is an environment of stereotypes about Asian nations and culture that were formed by the Western world, both in education and media formats such as films, literature, animation, comic books, and magazines like The Economist . [1] Qadiri said that "The Asia in Asiatisch is a nexus of stereotypes that have been perpetrated, elaborated, embellished and weaved, each time further and further dislocated from the original misrepresentation." [7] Qadiri also stated that the environment of the album's Chinese setting consists of brutalist architecture: "There's something very dainty and delicate about my melodic compositions, but they are made by digital tools, which also render them clunky, cold." [7]

Some parts of Asiatisch do represent actual Chinese places. "Shenzhen" and "Shanghai Freeway" have sounds that replicate the fast architectural modernization and population growth of China, [13] [3] "Wudang" includes what Andrew Ryce described as "disembodied" voices and synthesizers suggesting myths about the Wudang Mountains, [3] and "Forbidden City" "reconciles its namesake's imperial history with its current status as a glitzy tourist destination," wrote Ryce. [3] The track "Szechuan" is titled after the "colonial" name of the Chinese provence Sichuan, which is used in several Chinese restaurants across the globe. [14] As she described what the song is about, "There’s this idea that Chinese food in China is different than the Chinese food that you find in the West. There’s an illusion—you know what Chinese food tastes like, but then when you go to China, you’re shocked. You come to terms with reality." [14] "Dragon Tattoo" includes a modulated voice saying "speak Chinese, if you please," a response to the line "we are Siamese, if you please" from "The Siamese Cat Song" of Lady and the Tramp (1955). [15]

Writer Elena Harvey Collins labeled Asiatisch's concept as a "reverse[d]" idea of the Chinese slang term "shanzhai," which refers to counterfeit consumer goods produced in China. [13] He explained that the record is about "the ways in which vague notions of China as a cultural monolith and an economic superpower are disseminated through media and how the country acts as the subject of projected of hopes, fears, and dreams in Western culture." [13] Comparing the concept of the album to Edward Said's theories of orientalism, Sandhu stated that Asiatisch is about "nations as mythologies, as fantasies, as erratic aggregations of commerce, junk-media, fabricated fictions." [7] Writer Steph Kretowicz stated the message on Asiatisch is nonsensical in a similar manner to most propaganda. [15]

Composition

The album presents Asian melodies through the lens of a western musical genre, that being grime. [1] Primarily, Asiatisch is a sinogrime album; Hyperdub's Kode9 coined the phrase "sino grime" to describe a style of grime that heavily contained elements of Asian music. [1] The album commentates on the use of Asian melodies in Western music that originated in the era of Looney Tunes shorts and similar media, where leitmotifs were composed to mimic Asian people, most prominently the Oriental riff. [1] The stereotypes of Asian culture are presented via electronically produced voices and drums, [7] and "scrambled" readings of ancient Chinese-language poems on the songs "Loading Beijing," "Wudang," and "Jade Stairs," [16] [7] [1] and the changes in mood "between cheesy, eerie and darkly erotic," wrote Sandhu. [7] Sounds on the album include the "Asian Kit" from Logic Pro and the Asian flute sounds on a Korg M1. [1] As Qadiri explained the scrambled poetry, "Imagined China is a scrambled idea. It's not something that you can easily even encompass in a sentence or two - or three, or four. It's an undertaking." [1]

As Nick Neyland of Pitchfork analyzed, the structures of the instrumentals are "so bare it feels like someone scooped out most of the contents and dumped them out, providing an intriguing counterpoint to the dense flood of thought the record carries on its back": while a fair amount of the record includes "glassy" synth pads, there are also some moments that consist of only little more than bass or trap-style snares. [4] As Neyland wrote, "Journalist Dan Hancox described sinogrime as a subgenre "that barely ever existed", which is fitting because Al Qadiri also makes music that barely exists, to the point where the gaps between notes almost become the songs themselves." [4] A review published in Dusted magazine, give a more specific description of the arrangement of the songs: "Most of the tracks have a sort of lopsided gait, neither propulsive nor minimal but somewhere in-between. The abortive lurches are used as counterpoints to the other sounds, as opposed to building blocks for a foundation. When this is not the case, as on the moody "Shenzhen," the pace is always somewhat sedate, as opposed to the hyperactivity of "regular" grime, as if Al Qadiri is trying to channel a sort of Eastern mysticism." [12]

Reception

Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic?7/10 [17]
Metacritic 67/100 [18]
Review scores
SourceRating
AllMusic Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [19]
The Guardian Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [20]
Mojo Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [18]
NME 5/10 [5]
Now Noto Color- N.svgNoto Color- N.svgBlue square N.PNGBlue square N.PNGBlue square N.PNG [21]
Pitchfork 7.2/10 [4]
Q Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [18]
Resident Advisor 3.5/5 [3]
Spin 8/10 [22]
Time Out London Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [2]

According to Crack magazine, Asiatisch was "one of underground electronic music’s most intriguing stories of 2014." [23] It received generally positive reviews from professional writers upon its release [17] [18] and was on numerous publication year-end lists, [24] [25] [26] [23] such as landing at number ten on The Wire 's list of the best releases of 2014. [24] In terms of dance and electronic album year-end lists, Asiatisch ranked number nine on Rolling Stone 's article, [25] while a list piece by Exclaim! , where the LP came in at number ten, stated, "Asiatisch is also an excellently produced album that cleverly mines Hyperdub's short-lived sinogrime subgenre, but its real coup is to remind us how much music, in the right hands, can inspire us to tap into and deconstruct preconceived notions of nationality and culture, all while moving us to tap our fingers." [26] Another piece for Exclaim! written by Vincent Pollard stated, "the most striking aspect of Asiatisch is the confidence of Al Qadiri's sound, demonstrating that the quality of her music has finally caught up with her artistic ambitions." [27]

Asiatisch garnered a five-star review from Time Out London , where Tamar Shlaim honored the record as Qadiri's "most polished and exciting work yet" and "a future bass masterpiece from one of the most exciting producers around." [2] Irish critic Jim Carroll called it a "head-spinning, adventurous and compelling set of sounds spliced and diced to impress." [28] Adam Workman of The National highlighted that it "sounds like little else out there right now," [29] while Lanre Bakare wrote in his review for The Guardian, "With so much theory and style to cut through before you get to the actual music, it's to the album's credit that it often stands up as much more than just a high-brow, Edward Said-inspired thought experiment." [20] Aimee Cliff stated in her review for Fact , "Where the album wins me over completely is in the nuance with which it grabs its subject matter, creating a listen that’s full of open space and calm-before-the-storm moments, allowing personality to play against imitation as Eastern instrumentation plays against a metallic grid of noise." [30] Andrew Hannah of The Line of Best Fit stated that the record had a "pretty rare and powerful combination" of being "both a coherent listen and a sensible comment on western perception." [31] She also highlighted every track on the album uses the same set of instruments, which works in its favor because it "makes the album completely cohesive." [31] In a review for Crack magazine, Anna Tehabsim stated, "The album is at its very core an album to do with, and comprised of, cultural misrepresentation and sonic assimilation through various falsifications and mishaps. Yet by crafting her own enchanting and worryingly recognisable faux-oriental world, Asiatisch is Al Qadiri’s most insatiable statement yet." [32]

A common criticism was that while Asiatisch was enjoyable musically, it lacked in the amount of depth and clear intentions of its concept. [19] [3] [33] [4] [12] Neyland praised the "immaculate emptiness" of Asiatisch, which helped "bolster the pervading sense of dislocation of being exposed to a society that’s been fed through the photocopier one too many times." [4] However, he was mixed towards the fact that the album is "only a political record in a faint sense, making few overt statements." He also wrote that "it’s not always so easy to trace Al Qadiri’s intentions, and the largely dynamic-free range she operates in can grate at times." [4] Similarly, Ryce criticized the lack of depth of the album's commentary towards Chinese stereotypes, also stating that "at some level it could be considered offensive, dressing up surface-level appropriation as something smarter." [3] However he opined that, without taking the concept into consideration, Asiatisch was "killer" as an experimental grime album. [3] A reviewer for The Quietus felt that, while the LP is a "pleasurable and an intelligent take on sinogrime," it "doesn't offer a corrective of Western cultural mimicry, only an accurate simulation of it, and for that reason is vulnerable to some of the criticisms it sets out to make." [33] A Dusted magazine critic, while praising the "fascinating, diverse and expertly produced" instrumentals, stated that the album was a "missed opportunity" to commentate on the actual reality of China: "Al Qadiri makes no illusions of trying to capture the reality of China, and she’s very much operating in an imaginary sphere. But in doing so, any chance to comment on the world — China and beyond — is lost." [12]

On the other hand, some reviewers felt the concept of Asiatisch was executed better than the actual quality of the songs. [21] [34] [35] Ritchie Kevin of Now magazine wrote the album consists of "tepid, listless and melodically bland soundscapes that serve the concept more successfully than they do the listener." [21] Josh Suntharasivam of Drowned in Sound , unfavorably comparing Asiatisch to Qadiri's previous record Desert Strike (2012), described it as "an LP that achieves its main function of criticising western stereotypes of the orient, but often to the detriment of its songs." [34] Kate Hutchinson of NME dismissed the album as "more pretentious" than Qadiri's previous releases, calling it "minimal to the point of hollow and glacially paced to the point of boredom." [5] She concluded that by the end of the LP, "Qadiri's instance on leaning on the keyboard's choir button may well have pushed you over the edge." [5] The album's lack of "space" was another frequent censure. [35] [34] A musicOMH critic was mixed towards "the exposed sense of space and tight feeling of control which threatens to strangle much of the middle of the album." He felt that "there are times on Asiatisch where it feels like [the sounds] are a little restrictive and keep the overall sound narrower than it needs to be." [35] Similarly, Sutharasivam wrote that the use of "space and silence" was one of the best aspects of Desert Strike, whereas "the spaces on Asiatisch feel much more like holes - rather than punctuating the music, any momentum generated seems to drain away through them." [34] He opined the sounds "feel stretched out too thinly for the tracks to make a serious impact on your senses." [34]

Track listing

Derived from the liner notes of Asiatisch. [36]

No.TitleLength
1."Shanzhai (For Shanzhai Biennial)" (featuring vocals and lyrics by Helen Feng)4:30
2."Szechuan"4:49
3."Wudang"5:29
4."Loading Beijing"1:12
5."Hainan Island"2:58
6."Shenzhen"3:45
7."Dragon Tattoo"5:32
8."Forbidden City"1:52
9."Shanghai Freeway"5:28
10."Jade Stairs"1:17
Total length:36:52
Sample and cover credits

Personnel

Derived from the liner notes of Asiatisch. [36]

Release history

RegionDateFormat(s)Label
Worldwide [11] 5 May 2014
 Hyperdub

Charts

Chart (2014)Peak
position
US World Albums ( Billboard ) [37] 15

Related Research Articles

Grime is a genre of electronic dance music (EDM) that emerged in London in the early 2000s. It developed out of the earlier UK dance style UK garage, and draws influences from jungle, dancehall, and hip hop. The style is typified by rapid, syncopated breakbeats, generally around 140 beats per minute, and often features an aggressive or jagged electronic sound. Emceeing is a significant element of the style, and lyrics often revolve around gritty depictions of urban life.

<span class="mw-page-title-main">Hyperdub</span> British electronic music record label

Hyperdub is a British, London-based electronic music record label and former webzine, founded by Steve Goodman, a.k.a. Kode9. The label was formed in 2004, and grew out of the UK's early dubstep scene. Artists signed to the label have included Burial, Cooly G, Dean Blunt, DJ Rashad, DVA, Fatima Al Qadiri, Ikonika, Jessy Lanza, Klein, Laurel Halo and Zomby.

<span class="mw-page-title-main">Kevin Martin (British musician)</span> British music producer

Kevin Richard Martin, often known under his recording alias The Bug, is an English musician and music producer. Martin moved from Weymouth to London around 1990 and is now currently based in mainland Europe. He has been active for over three decades in the genres of dub, jazzcore, industrial hip hop, dancehall, and dubstep.

<span class="mw-page-title-main">Burial (musician)</span> British electronic musician

William Emmanuel Bevan, known by his recording alias Burial, is a British electronic musician from South London. Initially remaining anonymous, Burial became the first artist signed to Kode9's electronic label Hyperdub in 2005. He won acclaim the following year for his self-titled debut album, an influential release in the UK's dubstep scene which showcased a dark, emotive take on UK rave music styles such as UK garage and 2-step; it was named the album of the year by The Wire. Burial's second album, Untrue, was released to further critical acclaim in 2007.

2-step garage, or simply 2-step, is a genre of electronic music and a subgenre of UK garage. One of the primary characteristics of the 2-step sound – the term being coined to describe "a general rubric for all kinds of jittery, irregular rhythms that don't conform to garage's traditional four-on-the-floor pulse" – is that the rhythm lacks the kick drum pattern found in many other styles of electronic music with a regular four-on-the-floor beat.

<span class="mw-page-title-main">Kode9</span> Musical artist

Steve Goodman, known as Kode9 is a Scottish electronic music artist, DJ, and founder of the Hyperdub record label. He was one of the founding members of the early dubstep scene with his late collaborator The Spaceape. He has released four full-length albums: 2006's Memories of the Future and 2011's Black Sun, Nothing (2015), Escapology and Astro-Darien (2022).

<span class="mw-page-title-main">Item Idem</span> French artist (born 1977)

Cyril Duval, who works under the name Item Idem, is a French conceptual artist, designer, and filmmaker. He lives and works in Taipei, Taiwan.

Zomby is a British electronic musician who began releasing music in 2007. He has released music on several labels, including Hyperdub, Werk Discs, and 4AD. Zomby's influences include oldschool jungle music and Wiley's eskibeat sound.

Liam Sylvester McLean, better known by his stage name Joker, is a British record producer who creates music in genres such as dubstep and grime and was known for creating the subgenre "purple sound". He was named "2009 king of bass music" by XLR8R magazine and was featured in the September 2009 issue of The Wire magazine. He has contributed to two releases produced by the London-based record company Hyperdub. He also runs his own label known as Kapsize Recordings. His debut album, The Vision, was released on 31 October 2011 through independent label 4AD. His sophomore LP, The Mainframe, was released on 16 February 2015 through his own Kapsize imprint.

<i>Kindred</i> (EP) 2012 EP by Burial

Kindred is the fifth extended play by British electronic music producer Burial. It was first released on 13 February 2012 digitally by Hyperdub, with a vinyl release following on 12 March 2012. The EP was met with praise, with Metacritic assigning an averaged score of 88 out of 100 based on 17 reviews from mainstream critics. In Japan and selected world markets, Hyperdub issued Kindred as a compilation with Burial's previous EP Street Halo on 11 February 2012. The release, Street Halo / Kindred, placed on the Ultratop 50 albums chart.

<i>Truant / Rough Sleeper</i> 2012 EP by Burial

Truant / Rough Sleeper is the sixth extended play by British electronic music producer Burial. It was digitally released by Hyperdub on 14 December 2012, with a vinyl and CD release following on 17 December 2012.

<span class="mw-page-title-main">Scratcha DVA</span> British electronic musician, producer and DJ

Scratcha DVA also known as DJ Scratcha, DVA [Hi; Emotions], Scratchclart and DVA is a British electronic musician, producer and DJ often associated with DVA Music, Hyperdub and Rinse FM. His debut album, Pretty Ugly (2012) and second album, Notu Uronlineu (2016) were both released on Hyperdub.

Fatima Al Qadiri is a Senegalese-born Kuwaiti musician and conceptual artist.

<i>IN.RAK.DUST</i> 2014 mixtape by Dutch E Germ

IN.RAK.DUST is the debut mixtape of Dutch E Germ, a project by musician Tim DeWit formerly of Gang Gang Dance. It was released on the UNO label on March 5, 2014. IN.RAK.DUST is an experimental bass and dub mixtape which constantly change in terms of tone and tension, which reflects the many tragedies that went on in DeWit's life. Reviews from music journalists were favorable, one critic calling it the "most technically daring and impressively produced" release of 2014.

<i>Brute</i> (album) 2016 studio album by Fatima Al Qadiri

Brute is the second studio album of Kuwait musician Fatima Al Qadiri. A protest album inspired by events such as the 2015 Baltimore protests and the Ferguson unrest, 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 Josh Kline, Babok Radboy, and Joerg Lohse is a photograph of one of the "police teletubbies" found in Kline's art piece "Freedom," which was intended to present how civil rights were being destroyed in the 21st century. Brute features samples of the Ferguson protest, an MSNBC report of Occupy Wall Street by Lawrence O'Donnell, and an interview with a former member of the LAPD regarding the power of the police.

<i>Desert Strike</i> (EP) 2012 EP by Fatima Al Qadiri

Desert Strike is the third extended play of Kuwait musician Fatima Al Qadiri. The record is based on Desert Strike: Return to the Gulf (1992), a video game that in turn is based on events of Operation Desert Storm of the Gulf War. As a kid who lived in Kuwait during the Gulf War, Qadiri played the game a year after it took place, which messed with how she remembered experiencing the actual war. Given how dark the game portrayed the Gulf War, she intended the extended play to represent a positive and "innocent" view of it by pairing a palette of childlike sounds with war sound effects. Released on 23 October 2012 by the label Fade To Mind, Desert Strike garnered generally favorable reviews from professional music journalists and landed on Spin magazine's list of the "Best Dance Albums of 2012."

<i>Warn-U</i> 2011 EP by Ayshay

Warn-U is the debut extended play of Kuwait musician Fatima Al Qadiri, released in September 2011 by the label Tri Angle. It was a part of her project Ayshay, which intended to reinterpret Islamic worship music. The EP only consists of Qadiri's falsetto vocals that are processed and altered to create other types of electronic sounds. The EP consists of three original tracks and a "megamix" of all of them by production duo Nguzunguzu.

<i>Genre-Specific Xperience</i> 2011 album by Fatima Al Qadiri

Genre-Specific Xperience is a project by Kuwait musician Fatima Al Qadiri that serves as her second extended play in her discography. Its intention is to reinterpret five musical genres through audio and visuals: juke, hip hop, dubstep, electronic tropicalia, and what the press release labeled as "‘90s Gregorian trance." The main idea of the project regards what would happen if the "limitations" of a genre were bypassed or altered. The visuals for the tracks were produced by Tabor Robak, Sophia Al-Maria, Ryan Trecartin, Rhett LaRue, Kamau Patton, and production company Thunder Horse. The music videos premiered at New Museum on 21 October 2011, and the extended play itself was released by UNO Records on 25 October to favorable reviews from professional music journalists. A remix record titled GSX Remixes was released in May 2012 and features re-edits of tracks from Genre-Specific Xperience by acts such as Ikonika and DJ Rashad.

<i>Shaneera</i> 2017 EP by Fatima Al Qadiri

Shaneera is an extended play by Kuwait musician Fatima Al Qadiri, released on 13 October 2017 via the label Hyperdub. Marking Qadiri's move towards more dance-orientated material, Shaneera is conceptually about an "evil queen" that defies "binary status quo gender roles," a character that Qadiri appears as on the EP's cover art. Many critics found Shaneera much better than Qadiri's previous records for its playful use of its concept.

<i>Future Brown</i> (album) 2015 studio album by Future Brown

Future Brown is the self-titled debut studio album by American electronic music supergroup Future Brown, consisting of Fatima Al Qadiri, J-Cush, and members of the duo Nguzunguzu. Future Brown is an electronica album fusing together genres from a variety of different cultures and backgrounds. It features several rappers and musicians also associated with from a diverse set of music scenes such as Kelela, Tink, Riko Dan, Maluca, Shawnna, 3D Na'Tee, Tim Vocals, and Ruff Sqwad members Dirty Danger, Prince Rapid, and Roachee.

References

  1. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Martin, Lauren (19 March 2014). ""I Want To Blast My Record In Chinatown": an Interview with Fatima Al Qadiri" Archived 2017-10-01 at the Wayback Machine . Thump . Vice Media. Retrieved 12 September 2017.
  2. 1 2 3 Shlaim, Tamar (12 May 2014). "Fatima Al Qadiri – 'Asiatisch' album review". Time Out London . Archived from the original on 15 July 2014. Retrieved 9 September 2017.
  3. 1 2 3 4 5 6 7 8 Ryce, Andrew (12 May 2014). "Fatima Al Qadiri – Asiatisch" Archived 2017-10-01 at the Wayback Machine . Resident Advisor . Retrieved 9 September 2017.
  4. 1 2 3 4 5 6 7 Neyland, Nick (7 May 2014). "Fatima Al Qadiri: Asiatisch Album Review" Archived 2017-10-01 at the Wayback Machine . Pitchfork . Conde Nast. Retrieved 9 September 2017.
  5. 1 2 3 4 Hutchinson, Kate (2 May 2014). "Fatima Al Qadiri – Asiatisch". NME . Time Inc. UK. Archived from the original on 6 May 2014. Retrieved 9 September 2017.
  6. ↑ Fruitman, Stephen (14 July 2014). "Fatima Al Qadiri :: Asiatisch (Hyperdub)" Archived 2017-10-01 at the Wayback Machine . Igloo. Retrieved 30 September 2017.
  7. 1 2 3 4 5 6 7 8 9 10 Sandhu, Sukhdev (5 May 2014). "Fatima Al Qadiri: 'Me and my sister played video games as Saddam invaded'" Archived 2017-09-30 at the Wayback Machine . The Guardian . Guardian Media Group. Retrieved 22 September 2017.
  8. 1 2 Cliff, Aimee (2 May 2014). "Fatima Al Qadiri's Chinese fantasy" Archived 2017-10-01 at the Wayback Machine . Dazed . Retrieved 25 September 2017.
  9. ↑ "Fatima Al Qadiri – Szechuan" Archived 2014-04-22 at the Wayback Machine . Dummy. 19 March 2014. Retrieved 30 September 2017.
  10. ↑ Escobedo Shepherd, Julianne (30 April 2014). "Fatima Al Qadiri: Shanghai Freeway" Archived 2017-10-01 at the Wayback Machine . Rookie . Retrieved 30 September 2017.
  11. 1 2 "Hyperdub release full details of Fatima Al Qadiri’s Asiatisch. It features a cover of ‘Nothing Compares 2 U’" Archived 2017-10-01 at the Wayback Machine . Fact . The Vinyl Factory. Retrieved 30 September 2017.
  12. 1 2 3 4 Burnett, Joseph (1 May 2014). "Fatima Al Qadiri — Asiatisch (Hyperdub)" Archived 2018-12-20 at the Wayback Machine . Dusted. Retrieved 30 September 2017.
  13. 1 2 3 Harvey Collins, Elena. "Fatima al Qadiri: Chinas of the mind" Archived 2016-06-29 at the Wayback Machine . Museum of Contemporary Art Cleveland Official Website. Retrieved 23 September 2017.
  14. 1 2 3 4 Battan, Carrie (11 March 2014). "Fatima Al Qadiri" Archived 2017-10-01 at the Wayback Machine . Pitchfork . Conde Nast. Retrieved 23 September 2017.
  15. 1 2 Kretowicz, Steph (6 May 2014). "Album of the Week: Fatima Al Qadiri – ‘Asiatisch’" Archived 2017-09-30 at the Wayback Machine . Dummy. Retrieved 29 September 2017.
  16. 1 2 3 "Asiatisch: .about" Archived 2017-10-01 at the Wayback Machine . Fatima Al Qadiri Official Website. Retrieved 23 September 2017.
  17. 1 2 "Asiatisch by Fatima Al Qadiri" Archived 2017-10-01 at the Wayback Machine . AnyDecentMusic? Retrieved 9 September 2017.
  18. 1 2 3 4 "Critic Reviews for Asiatisch" Archived 2018-01-09 at the Wayback Machine . Metacritic. CBS Interactive. Retrieved 9 September 2017.
  19. 1 2 Kellman, Andy. "Asiatisch – Fatima Al Qadiri" Archived 2017-09-30 at the Wayback Machine . AllMusic. Rovi Corporation. Retrieved 9 September 2017.
  20. 1 2 Bakare, Lanre (15 May 2014). "Fatima Al Qadiri: Asiatisch review – pan-pipe driven sino-grime" Archived 2017-10-01 at the Wayback Machine . The Guardian . Guardian Media Group. Retrieved 9 September 2017.
  21. 1 2 3 Ritchie, Kevin (8 May 2014). "Fatima Al Qadiri – Asiatisch" Archived 2017-09-30 at the Wayback Machine . Now . Now Communications. Retrieved 9 September 2017.
  22. ↑ Mistry, Anupa (8 May 2014). "Fatima Al Qadiri Conjures a Cinematic Din on Exceptional Debut, ‘Asiatisch’" Archived 2017-09-02 at the Wayback Machine . Spin . SpinMedia. Retrieved 9 September 2017.
  23. 1 2 "Albums of the Year 2014" Archived 2017-09-02 at the Wayback Machine . Crack. 21 November 2014. Retrieved 28 September 2017.
  24. 1 2 "The Wire: Top 50 Releases of 2014" Archived 2017-10-01 at the Wayback Machine . Year-end Lists. 9 December 2014. Retrieved 25 September 2017.
  25. 1 2 "Fatima Al Qadiri, 'Asiatisch'" Archived 2017-09-30 at the Wayback Machine . Rolling Stone . 16 December 2014. Retrieved 25 September 2017.
  26. 1 2 "Exclaim!'s Best of 2014: Top 10 Dance & Electronic" Archived 2017-07-15 at the Wayback Machine . Exclaim! . 9 December 2014. p. 2. Retrieved 25 September 2017.
  27. ↑ Pollard, Vincent (5 May 2014). "Fatima Al Qadiri Asiatisch" Archived 2017-09-30 at the Wayback Machine . Exclaim!. Retrieved 29 September 2017.
  28. ↑ Carroll, Jim (2 May 2014). "Fatima Al Qadiri: Asiatisch" Archived 2017-10-01 at the Wayback Machine . The Irish Times . Retrieved 29 September 2017.
  29. ↑ Workman, Adam (26 May 2014). "Album review: Fatima Al Qadiri – Asiatisch" Archived 2017-10-01 at the Wayback Machine . The National . International Media Investments. Retrieved 29 September 2017.
  30. ↑ Cliff, Aimee (5 May 2014). "Asiatisch" Archived 2017-05-28 at the Wayback Machine . Fact . The Vinyl Factory. Retrieved 29 September 2017.
  31. 1 2 Hannah, Andrew (29 April 2014). "Fatima Al Qadiri – Asiatisch" Archived 2017-09-30 at the Wayback Machine . The Line of Best Fit. Retrieved 28 September 2017.
  32. ↑ Tehabsim, Anna (8 May 2014). "Fatima Al Qadiri" Archived 2017-10-01 at the Wayback Machine . Crack. Retrieved 30 September 2017.
  33. 1 2 Bychawski, Adam (6 May 2014). "Fatima Al Qadiri: Asiatisch". The Quietus . Retrieved 29 September 2017.
  34. 1 2 3 4 5 Suntharasivam, Josh (1 May 2014). "Album Review: Fatima Al Qadiri – Asiatisch" Archived 2017-10-01 at the Wayback Machine . Drowned in Sound . Silentway. Retrieved 28 September 2017.
  35. 1 2 3 Johnson, Steven (2 May 2014). "Fatima Al Qadiri – Asiatisch" Archived 2017-10-01 at the Wayback Machine . musicOMH . Retrieved 29 September 2017.
  36. 1 2 Asiatisch (2014). Fatima Al Qadiri. Hyperdub. HDBCD024.
  37. ↑ "Fatma Al Qadiri – chart history" Archived 2018-05-04 at the Wayback Machine . Billboard . Prometheus Global Media. 25 September 2017.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.