Bold rhythms, global vision
Alewya Demmisse has been one of the more quietly compelling figures in London’s underground since her debut single, “Sweating,” landed in 2020. Born in Saudi Arabia to an Ethiopian mother and Egyptian father and raised in West London, her music has always carried the weight of multiple worlds at once. Ethiopian devotional rhythms, Arabic scales, jungle, dub and grime all fuse into something that resists easy categorization. Zero is her debut full-length album, executive produced by UK soundsystem legend Shy FX and co-produced with longtime collaborators Craigey Dodds and Dean Barrett. Across 15 tracks and 42 minutes, it largely delivers on that ambition.
“Simian Mountain” opens the album in two movements. Airy pads and a reverb-drenched tribal vocal give way to a second section that flows directly into “City of Symbols.” The tribal DNA remains intact throughout, with lyrics shifting into another language near the song’s end as a reminder that the foundation never moves even when the surface does. “Runner” is the first true standout, an afro-house track built around dense polyrhythms and a four-on-the-floor foundation with impressive production depth. Demmisse’s vocal sits comfortably in a hypnotic pocket over the arrangement.
The album’s second act reaches its highest points. “Selah,” produced by Busy Twist, is a darker afro-house and reggaeton crossover with dense tribal polyrhythms and a vocal melody that feels genuinely alive. “Night Drive,” featuring Dagmawit Ameha, is the only guest appearance on the album and earns its place, landing exactly where its title promises. “Cairo FM” is one of the grooviest moments on the record, with a constantly moving bassline and prominent guitar stabs anchoring a mix of rap and singing. “Eshi” is the most structurally unusual track here, written in 3/4 time rather than the 4/4 grid that dominates electronic production. The waltz-like feel gives it a gallop that draws more attention than much of what surrounds it.
The album closes with the title track, “Zero,” which at five minutes and 20 seconds runs nearly two minutes longer than anything else here. The song builds continuously, stacking tension through instrumentation and vocal performance, but the absence of drums keeps it restrained throughout its runtime. All that tension accumulates without a full release. Whether that is intentional or a missed opportunity depends on the listener, but the desire for that payoff is undeniable.
Zero is a debut that showcases what Demmisse has been building toward without fully reaching its ceiling. The cultural and sonic range on display is rare, and the album’s strongest moments confirm that she belongs in a much larger conversation. It is an impressive first full-length effort that leaves plenty of room for future growth.
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