Asiatisch (German for "Asian")[7] is the debut full-length studio album of Kuwaiti musician Fatima Al Qadiri, released by the label Hyperdub on 5 May 2014.

The record is about what Qadiri called "Imagined China," an environment of stereotypes about East Asian nations and respective cultures formed in media of the Western world.

One of the main inspirations for Qadiri producing Asiatisch was the making of a "nonsense Mandarin" a cappella version of the song "Nothing Compares 2 U" that would later be the record's opening track.

"[1][7] "Imagined China" is an environment of stereotypes about Asian nations and culture that were formed by the Western world, both in education and media formats such as films, literature, animation, comic books, and magazines like The Economist.

"[7] Qadiri also stated that the environment of the album's Chinese setting consists of brutalist architecture: "There's something very dainty and delicate about my melodic compositions, but they are made by digital tools, which also render them clunky, cold.

[15] Writer Elena Harvey Collins labeled Asiatisch's concept as a "reverse[d]" idea of the Chinese slang term "shanzhai," which refers to counterfeit consumer goods produced in China.

"[13] Comparing the concept of the album to Edward Said's theories of orientalism, Sandhu stated that Asiatisch is about "nations as mythologies, as fantasies, as erratic aggregations of commerce, junk-media, fabricated fictions.

[1] The stereotypes of Asian culture are presented via electronically produced voices and drums,[7] and "scrambled" readings of ancient Chinese-language poems on the songs "Loading Beijing," "Wudang," and "Jade Stairs,"[16][7][1] and the changes in mood "between cheesy, eerie and darkly erotic," wrote Sandhu.

"[4] A review published in Dusted magazine, give a more specific description of the arrangement of the songs: "Most of the tracks have a sort of lopsided gait, neither propulsive nor minimal but somewhere in-between.

When this is not the case, as on the moody "Shenzhen," the pace is always somewhat sedate, as opposed to the hyperactivity of "regular" grime, as if Al Qadiri is trying to channel a sort of Eastern mysticism.

[24] In terms of dance and electronic album year-end lists, Asiatisch ranked number nine on Rolling Stone's article,[25] while a list piece by Exclaim!, where the LP came in at number ten, stated, "Asiatisch is also an excellently produced album that cleverly mines Hyperdub's short-lived sinogrime subgenre, but its real coup is to remind us how much music, in the right hands, can inspire us to tap into and deconstruct preconceived notions of nationality and culture, all while moving us to tap our fingers.

written by Vincent Pollard stated, "the most striking aspect of Asiatisch is the confidence of Al Qadiri's sound, demonstrating that the quality of her music has finally caught up with her artistic ambitions.

"[28] Adam Workman of The National highlighted that it "sounds like little else out there right now,"[29] while Lanre Bakare wrote in his review for The Guardian, "With so much theory and style to cut through before you get to the actual music, it's to the album's credit that it often stands up as much more than just a high-brow, Edward Said-inspired thought experiment.

"[4] Similarly, Ryce criticized the lack of depth of the album's commentary towards Chinese stereotypes, also stating that "at some level it could be considered offensive, dressing up surface-level appropriation as something smarter.

[3] A reviewer for The Quietus felt that, while the LP is a "pleasurable and an intelligent take on sinogrime," it "doesn't offer a corrective of Western cultural mimicry, only an accurate simulation of it, and for that reason is vulnerable to some of the criticisms it sets out to make.

"[21] Josh Suntharasivam of Drowned in Sound, unfavorably comparing Asiatisch to Qadiri's previous record Desert Strike (2012), described it as "an LP that achieves its main function of criticising western stereotypes of the orient, but often to the detriment of its songs.