There are creatives and there are creative polymaths: visionary beings whose work, often deeply exploratory, questions and reshapes traditional notions.

Fatima Al Qadiri is certainly the latter. The Brooklyn-based, Senegal-born, Kuwait-raised, electronic musician, author of DIS magazine's weekly column, member of Future Brown (Warp Records), conceptual artist and co-founder of art collection GCC is now set to follow her existing EPs on labels such as UNO NYC and Tri Angle with 'Asiatisch', her debut album.

Her distinctive genre-defying, stereotype-baiting approach to a multitude of art forms hails from a childhood parented by resistance fighters in the Gulf War in Kuwait - her father temporarily imprisoned and her mother secretly distributing forbidden newsletters.

Al Qadiri cites this turbulent time as the time when she became fixated with video games, becoming enchanted by their basic repetitive soundtracks. This infatuation fed into her 2012 Desert Strike EP for label Fade To Mind which played with the sonic relationship between video game soundtracks and dance music. This EP perfectly encapsulates her ethereal yet dystopian sound.

In 2011, preceding this record was unconventional EP, WARN-U, released under Ayshay, her more experimental project that was signed to Tri Angle records. Utilising nothing more than manipulations of her own voice, teaming traditional Muslim worship songs with computerised elements, WARN-U is, without doubt, a bewitching listen.

Her following EP, also released in 2011, Genre-Specific Xperience, saw Fatima's reinterpretation of juke, hip-hop, dubstep, electro and trance.

The release party and panel discussion for this EP was hosted at the New Museum and saw her work collaboratively with artists to create visuals for each of the songs, resulting in a socially conscious music video for each of the tracks tackling issues such as religion, technology and the isolation of the internet.

Her most recent album release, Asiatisch, announced in May 2014 by Hyperdub who paid homage to the album as "a quietly influential sub-strain of grime often loosely termed 'sinogrime'" - 'Sinogrime' referencing an offspring of grime concerned with Asian motifs and melodies which can be heard on Jammer produced tracks on the album.

Asiatisch strives to alienate, proffering something vaguely familiar yet simultaneously distorted, estranged. Asiatisch's opening track 'Shanzhai' is used not only in reference to products, but also parodies more generally a cover of Sinead O'Connor's 'Nothing Compares 2 U' - in Mandarin with nonsensical lyrics; a joke somewhat at our expense.

It is this intellectual aptitude to Fatima Al Qadiri's music that feeds into her Global-Wav column for DIS Magazine where she uncovers notable musical phenomenon from the around the world. Uncovering and educating her readers in threads such as Post Arab Spring Dictatorial Techno and Kurdish Rural Rave, Al Qadiri puts her endless discoveries down to simple curiosity. It is this conceptual focus that also drives her work within art collective GCC, an abbreviation of the Gulf Cooperation Council.

Fuelled by an assortment of mutated stereotypes, it is clear through her music and artwork that a Western culture that projects its image and conventions onto the rest is an issue that aggravates Fatima.

She, her music and her work are unequivocally forward-thinking, but somehow, by borrowing snippets from across the cultural, musical and geographic map, Al Qadiri has happened upon a universal sound.