On “AtalantA”, she showcases her muscular vocals, which are capable of switching between an airy lilt to a deep, emotional moan, as she sings lyrics inspired by the Greek hunter goddess who refused to marry. Since that first record, Mushonga has begun to incorporate themes of empowerment into her work. It’s technically a follow-up to 2014’s The Wild, the Wilderness, but the newfound boldness on this new work is startling. The singer-songwriter’s nomadic personality is reflected in the vast scale of reference points on her new record, In a Galaxy. Yet few are likely to have as much inspiration to draw on as India-born, Zimbabwe-raised and now Peckham-based artist Rina Mushonga. It’s not uncommon for an artist to be influenced by the place they grew up in. People who have been hurt see that, and it’s like, ‘No justice has been done for me, and I will be hurt again, people like me will be hurt, and there won’t be consequences for the perpetrators.’ It’s a brutal thing to watch, and it’s more brutal depending on your personal experience with assault.”
“I was in the grip of stories of prominent rapists not being punished for their crimes. It’s traumatising to grow up in our world at all. I was like, ‘How can I say the word like this?’ But it’s a song about the brutality of people out for power, and the trauma that it causes for almost everyone else. It’s an unpredictable word, it’s so charged, it’s like a piece of lightning.
It’s a word that carries so much with it. “I took the word ‘trauma’, and it felt like throwing it up in the air like a handful of ashes and seeing where they all go. Working people are killing themselves to get by, and they’re working for billionaires.”įurman wrote the chorus of “Trauma” – “Years roll on and we still have not dealt with our trauma” – a little while after the verses. “There’s not, like, royals beheading peasants like there used to be, but they just found a different way to dress it up. “The rich trying to kill the poor ruins my day, again and again,” says Furman.
“The big scam is nobody gives a damn / that the penthouse suite depends on the bottom three floors.” It is a sort of half-hearted battle cry, both dogged and despondent. Take “Trauma”, on which he decries the vast gap between the rich and the poor, the powerful and the powerless: “The mind snaps and economies collapse / when the one who works hardest gets the smallest reward,” he sings, his voice breaking above trembling electric guitars.
DONT KILL MY VIBE LYRICS SIGRID FULL
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