Ethereal, avant-garde violinist’s powerful debut full-length

Los Angeles–based Sudan Archives is a goddess of avant-garde violin in a debut full–length “Athena” under Stones Throw Records. Blending R&B, North African fiddle, West African beats and electronic elements Sudan create a sound that is all–at–once ethereal, sensual and in–your–face.

The discovery of ethnomusicology was an important formative experience for her music. Francis Bebey, a Cameroonian electronic musician was a heavy inspiration in her early stages of exploration in the world of ethnomusicology.

In her Bandcamp biography for “Athena”, Sudan described Bebey’s music, “His music is so simple, and the way he combines strings and electronic music is such a vibe.”

The 14 tracks that make up “Athena” were selected from over 60 songs recorded in the studio, according to the Sudan Archives’ Bandcamp.

‘Down On Me’

Ripples of plucked strings enter a mist of harmonious violin before Sudan Archive’s voice, sweet and sultry, begins.

This song is the feeling of silk sheets in a luxury Lake Shore Drive penthouse, that is how sensual this song is.

Listen to the track for yourself, if you don’t believe me.

‘Iceland Moss’

“Iceland Moss” is much like the plant for which the song is named, tougher than it looks. The lyrics echo this imagery as the verses are powerful and self-confident, while the chorus is quiet and subdued.

“I don’t need your helping hand, no. I’m tired of this silly dance…Don’t get it twisted, this is where I stand” Sudan asserts, as a twinkling electronic background lays the foundation. Her conviction is compounded by strong violin strokes at the end of each line.

In contrast, the chorus remains instrumentally sparse. The quiet hum of harmonizing violin and an electronic beat like a leaky faucet are all that stand between silence and Sudan’s voice as she coos, “you think I’m soft, like Iceland moss. All over me, like harmonies.”

One of the most delicate and chilled break-up songs you’ll likely hear.

‘Glorious’

Beautiful North African fiddle influences are front–and–center in the album’s second single. With bass drops, tambourine and a rap break this song blend multiple genres into a masterpiece about financial woes and the racial wage gap.

A song about wanting to give back to your parents who gave you so much, while financially struggling yourself.

“I can’t wait to get my mom a place. Pay her debt, she could quit today. Hit the max on my card today. Pay it back, as soon as I can pay.”