Brooklyn born and bred artist Tamar-kali is a second-generation musician with roots in the coastal Sea Islands of South Carolina.
As a composer, Tamar-kali has defied boundaries to craft her own unique alternative sound. Her debut LP Black Bottom, challenged the alt-rock norm.
“an ambitious new adventure into metal, classical, and progressive styles.” – SONIC SCOOP
The pieces she composes and arranges for her string sextet and voice project Psychochamber Ensemble, marry the classical music of her Catholic upbringing with post-punk sensibilities.
Tamar-kali speaks her lyrical truth with a supreme passion and a voice that will shake your foundation and shatter your expectations with its soulful intensity. Her range and versatility has allowed her to perform on a variety of domestic and international stages with a diverse list of artists from Vernon Reid and Vijay Iyer to Meshell Ndegeocello and Moses Sumney.
2017 marked her debut as a film score composer. Her score for Dee Rees’ Oscar-nominated “Mudbound,” garnered her the World Soundtrack Academy’s 2018 Discovery of the Year Award and has been classified by Indiewire as one of the 25 Best Film Scores of the 21st Century.
Her subsequent film scores; Joshua Marston’s COME SUNDAY, starring Chiwetel Ejiofor and Martin Sheen and THE LIE, directed by Veena Sud reveal an expanding palette that originates from her emotional artistic core.
2019 was a hallmark year for her work as a composer. In addition to debuting her 1st symphonic commission, she scored 4 films total; 3 which were featured at the Sundance Film Festival 2020. They include Dee Ree’s ‘THE LAST THING HE WANTED’, Kitty Green’s THE ASSISTANT and Josephine Decker’s psychological drama ‘SHIRLEY’; the latter whose soundtrack was named The Guardian’s Contemporary Album of the month in June 2020. The 4th film was the documentary John Lewis: Good Trouble.
2021 promises a range of projects from opera commissions and a new solo EP to the original motion picture score for PALMER, directed by Fisher Stevens.