Moor Jewelry
True Opera

I thought that, as I got older, my aversion to rapping and hip hop would gradually diminish until it became one of my quirks, an experience fully included in my critical repertoire, a way to converse and grasp the nuances of a youth slipping away from my calloused fingertips.
The only rebellious and crusty excursions travel between old school (Run DMC, Skinny Boys), the Beastie Boys, and the industrial noise of Death Grips. The latter become my compass for navigating the unsurfable waves of hip hop; so between denial and disgust, occasionally something emerges from the sea (Pink Siifu, Nnamdi), and a duo like DG is what I want to talk about today.

MOOR mother and mental JEWELRY come from different experiences that congeal in True Opera: the vocals akin to MC Ride and the rancorous and hoarse obsession of Mark E. Smith are central in this project, which is nothing more than a way of re-interpreting post-punk and post-hardcore. Thus, Wire, Sonic Youth, Drive Like Jehu, Fugazi, Big Black/Shellac, Mission of Burma, Jesus Lizard, Bad Brains, Unsane, Pixies, Wipers are spat onto an industrial and noisy wall, adorned by mathematical and disorienting solutions, chasing the Black Midi model but with the urgency of Idles (those of Brutalism), a hardcore group we desperately needed.

Distractions salt my being. I remain patient, ranging and seasoning my soul, which longs for a jolt, even a gray one, even multicolored, but a jolt.