If there is one musician in the last decade who has been heard in wildly diverse musical contexts, it is Belgian electric bassist and sound sculptor Farida Amadou. Not only does she demonstrate masterful command over her instrument, but she also possesses a transformative ability to reinterpret and expand her material in spontaneous and unconventional ways.
A self-taught artist, Amadou has developed a deeply personal and unconventional relationship with the bass guitar. She neither emulates traditional virtuosos of the instrument nor uses it merely as a sound generator producing hums and feedback. Instead, she approaches it with complete independence, crafting an overwhelming wall of sound as well as simple, clear structures that are rhythmically concise. This unique style creates a broad associative space, residing somewhere between free jazz and noise.
Her work is often concentrated and circular, with motifs that evolve outward. It is an organic sound in the truest sense—constantly in motion, yet deeply grounded.
Her latest solo album, When It Rains It Pours, presents Amadou as an inspired improviser who follows her musical intuition to create a truly unique sound world. Rarely has improvised music sounded so succinct and compelling.