, with her hair styled into a Geisha-like updo, has just come from a music-video shoot and is now leading me through the meditation gardens of Los Angeles's first Self-Realization Center. We bound past sweet-sour smelling flowers, a tiny waterfall, seats carved from stone. It's 75 degrees, the temperature you'd expect heaven to be.
We settle ourselves onto a stretch of grass overlooking the classic L.A. vista of rolling hills speckled with mansions, when a worker, mirroring Sudan's soothing, purposeful tone, coos in our direction,"Please, don't sit on the grass." Sudan floats us along silkily, gracefully; she's been"obsessed with geishas lately." The way they move, the way they look, the way they're disciplined."For their whole life, they just work towards becoming a geisha.
Despite her magnetizing skill, calling Sudan a"violin virtuoso" at this stage might be slightly missing the mark. She prefers the term"electronic composer." Either way, it's undeniable that no one is making music quite like Sudan Archives. Her debut album, which arrives via Stones Throw Records on November 1, evinces Sudan's singular style as she blends trap, jazz, R&B, and punk with oral traditions from Sudan and Ghana.
The album charts Sudan's journey from her strict, religious childhood home in Cincinnati — where she first learned to play violin in church — to her early adulthood in L.A., where she now thrives."Watch me frolic through the fields, bitch," she sings on"Confessions" with deserved gasconade.also helps to rewrite Western music's misrepresentation of the violin.
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