Women in electronic/dance music

DJ Astrid
Tatana

who's kelly hand?

the others are all primarily DJs...i'm looking for actual musicians in the electronic field

what i'd like to see are more female engineers as well as female equivalents of Basement Jaxx and the like. maybe its not that relavant but havent you wondered why the girls tend to just want to dance to this stuff rather than actually MAKE it themselves? is it all just down to stifling stereotypes?

Here's an odd reason that will probably be shouted down (by myself) due to sexism. The very nature of dance music/electronics is the idea of one geek, alone in the bedroom twiddling knobs. (or up in a DJ booth twiddling knobs.) Geeks - women in the minority. Knobs - OK, I've just been looking at Barely Legal Teen Boys so I'm gonna steer clear of that one. But the way that women approach music is a communal thing, women often prefer to write in partnership, so the solo bedroom twiddling thing is not the preferred option. I'm too full of sugar to hone this into a fully formed opinion right now, but does anyone else know what I'm getting at?

It's just the way that I've seen women work when they create music, from having worked with so many of them...

Miss Kittin does some producing.

Meat Katie for breaks.

Making electronic music is often a lonely and anti-social process, no other band members, much less interaction with your audience. It's not just that it puts off a lot of women, but is does seem to attract a particular kind of boy (yes, boy, not man)

Anna, I am insulted.

i think kate is actually onto something in that boys are often brought up to believe its 'correct' for them to be interested in technology and want to sit in their bedrooms on their computers whereas this doesnt seem to happen with girls by and large

nabisco makes a fair point - there are many female renegades in electronic music, but out of the ones she listed Peaches is the only one having any kind of modcium of commercial success...so the issue becomes more why cant women in electronic music be perceived as a commercially viable thing?

I didn't mean it as an absolute statement, honest. Just, generally ... anyway, you're only 25, don't sell your youth down the river young man.

NABISCO IS A SAD AND ISOLATED LOOSER!

*runs and hides, ha!*

The nature vs nurture debate starts now!

eh?

blueski, she co-produced post, homogenic and did most of vespertine herself. talk to ANY of her collaborators and they'll tell you she has extremely well-defined ideas as to how she wants the music to sound; if anything, her weakness is as an engineer, NOT as a producer/musician.

an across-the-board first impression consensus from collaborators past and present is that she's much more involved (ie. in terms of sheer detail -> the 'musician' bits) than they ever would have expected. (i mean, bear in mind she attended the reykjavik music conservatory from 5 to 15 and has been recording since 11.) so to dimiss her perceived input as on par with beyonce or madonna (onetime professional bjork piggybacker!) is a tad dismissive, and probably reflective of the bjork as kook mentality that she's admittedly brought upon herself...

All her albums sound like her and it's not just because of the voice. I've seen her on TV programming a laptop and using and SU10. I think she can probably writes scores to an extent.

No ones mentioned Nic Endo so far who does (or did) a lot of stuff for ATR, live she must be making 50% of the sound. I've seen Alec Empire with and without her and without her he was rubbish. Her replacement on that occasion was a man. Nic also has sole albums.

Le Tigre are fantastic!!!

How much does Missy Elliot do? She's usually credited with co-production I think, but it seems easy to assume she does the words and Timbaland the bleeps. Does she make the music too?

http://www.sparkleproductions.freeserve.co.uk/djshardhousetechno.html

Siegbran or Steve have you ever seen Phil Reyonds play a set? What do you think of him?

vicky from people like us

and.... the godmother of the whole shebang - bebe barron!

indeed! plus claire is completely gorgeous too, which doesn't change my enjoyment of the music, but i just thought i'd mention.

kelli (i spelled it wrong before) hand is a detroit techno producer, records as k. hand, you might know "ready for the darkness" or "global warning", runs acacia records.

>Squarepusher doing practically EVERYTHING himself for >example, and i think it would be a really cool thing to see >someone that just so happens to be a woman working along >the same lines, making similar music

of course there are many women who do this. OF COURSE.

I do, Kevin Blechdom does, Peope Like Us does, there's plenty.

and of course when and if the world becomes a more enlightened place, there will be more women who do so. dude.

no one's opinion means anything!!!

Blevin Blectum

Um?

I highly recommend many of the names already mentioned too.

and yes i second Oliveros, K Hand, and both Blechdom and Blectum...did anyone mention Andrea Parker?

Blevin actually posted! I know nothing about her really, but that was funny.

New name: Migu (Yuko Araki, Cornelius' tour drummer)

What about Yoshimi P-We?

Mrs Wood (Jane Rolink)
DJ Rap (Charissa Saverio)
Sandra Collins

but I'm pretty sure whoever mentioned Meat Katie above was wrong about Mark Pember being a female, unless his run of successful tracks has finally afforded him with the cash flow to get that operation after all

Jessica Rylan builds the synthesizers and FX units she uses to make her horrible noises. wouldn't call her a "producer," but she's one of a kind.

Squab Teen's Dance America is like a goofier Squarepusher with a penchant for Technique-era Casio presets and a dose of Blevin & Kevin. so much better than that sounds or has any right to be. can provide via slsk if you're having trouble.

(both great German (micro)house producers)

in any case: women in electronic music 1950-1970, many of whom have already been ably spotted above... one of my dreams someday is compiling and releasing a 2 CD set overview with these composers, but it's beyond my means at the moment. the point is: women have been with electronic music since the very, very beginning.

johanna beyer
clara rockmore
bebe barron
pauline oliveros
daphne oram
delia derbyshire
cathy berberian
ruth white
alice shields
wendy carlos
eliane radigue
daria semegen
joan labarbara
annea lockwood
ruth anderson
maggi payne
maryanne amacher
laurie spiegel

two notes: bebe barron's 'heavenly menagerie', 1950, probably the first piece of electronic music composed in the united states.

daphne oram's 'still point' from 1950 is the first ensemble performance piece to involve real-time transformation of sounds using electronics. not stockhausen, as he claimed for 'mixtur' 14 years later.

milton- the ones below are the ones that I haven't heard. could you recommend a piece by each of 'em?

johanna beyer
clara rockmore
bebe barron
ruth white
alice shields
daria semegen
annea lockwood
ruth anderson
maggi payne

Lockwood:
http://www.lovely.com/bios/lockwood.html
I recommend 'Sound Map of the Hudson River', 'Glass World' and the 45 minute version of "World Rhythms" on 'Sinopah' -- which, when played on a system with a subwoofer in a dark room, can change your life

Ruth Anderson:
early cut-up TV channel-surf piece 'S.U.M.', 'points', 'I Come Out Of Your Sleep'

Daria Semegen:
'Electronic Music For Dance' released on Mimaroglu's Finnadar, plus various compilation tracks

Clara Rockmore:
http://www.maxiespages.com/Articles/Theremin_music/Clara_Rockmore_CD
I love this album.

Bebe Barron's own compositions drastically unavailable. There is no major single retrospective. How? In the meantime, Forbidden Planet soundtrack, great interview with her in the 3rd issue of the suddenly promising E|I magazine

Alice Shields was Ussachevsky's assistant, then collaborator, it's her voice on many of his pieces. my favorite's on CRI's classic Pioneers of Electronic Music.

Ruth White composed two truly brilliant records in 1969: 'Flowers of Evil' and 'Seven Trumps From The Tarot'. Vinyl rips finally turned up online earlier this year -- I hope someone like Locust can release these again. 'Flowers' is an all time favorite and 'Tarot' is completely unhinged.

Maggi Payne, I recommend Crystal

I might also mention the Angel (gad, I forgot her real name, she's out of NYC and also did the soundtrack music for the Boiler Room, I believe).

(scurries back behind the bassbin)

The problem with making a big deal of the fact that such-and-such a music artist is female is that you get people looking at that as if it's the most important thing about their work. The Nobel prize just went to Elfriede Jelinek, and some have said 'Oh, the Nobel committee wanted to give it to a woman this year, because there've been so few women recognised in the history of the prize'. Well, if I'd just been given the Nobel Prize, the last thing I would want to hear is that it was because of my gender.

I had a disagreement with Suzy last week about this. Suzy is putting together a new British art prize for women video artists. And my line is 'Look, women artists win major prizes with their video art (Gillian Wearing, Pippilotti Rist, etc etc). Why do we need a women only prize, as if it's Wimbledon and we need a separate Women's Tournament because the women just can't beat the men?'

and

Fe-Mail

and

Client (although they're not so good)

Who knew that 3 years after this post:

Making electronic music is often a lonely and anti-social process, no other band members, much less interaction with your audience. It's not just that it puts off a lot of women, but is does seem to attract a particular kind of boy (yes, boy, not man)

-- Anna (Fieldingann...), November 22nd, 2002 5:55 PM. (Anna)

Anna would be playing in an electronic band!

How prescient. And great that things have worked out that way.

Im glad ellen allien, barbara morgernstern were mentioned (add masha qrella to the list for the germans)
also tsuyuko aki & (my personal favorite) tujiko noriko.

it seems overall that specifically japan & germany (who seem to share many other unrelated similarities) embrace the idea of women in electronic music. I remember reading ellen allien dismissing the issue when questioned about it because for her it was a non-issue.

I dont know why things seem to be different in the states. I wish it were not the case. still I would rather see a few excellent female artists than a ton of really crappy-mediocre ones.
but maybe part of the reason this happens is because women have to work so much harder to make a name for themselves? this is the case in every male-dominated field, not just music.
I dont know.

x-post - actually most of my female electronic musician friends have said that their gender's been an advantage to them, it gives critics something to write about. unfortunately they often write silly, annoying things, and Momus' post outlines some of the dangers of a women-only thread like this but... at least people are starting to find out that this music does exist and that a lot of it is fantastic.

the first major compilation of female electronic composers was originally released under the title New Music for Electronic and Recorded Media in 1977, not a mention of gender anywhere in the packaging, I bought it in 1985 while randomly shopping, took it home, listened to it four times & read through the liner notes twice before it dawned on me that there was a point being made... or was there? Every track on that album is interesting, great music.

Recently more of the very early electronic music has been finding its way into circulation. And I'm definitely noticing: from the beginning, far more of a female presence in electronic music than there ever was in orchestral / classical music. In a way it makes sense: Anna's comment upthread about the 'lonely and anti-social process' notwithstanding, electronic music studios also offered women solitude, control & authority over their materials to an unprecedented extent. It shouldn't be surprising so many women made a run for the studio, where they could finally compose music and hear the finished results themselves (though this was the appeal for most electronic composers, the odds against a women getting her piece programmed, rehearsed and performed were always higher).

there's one more thing that I notice when the female pioneers of electronic music all appear side by side: there's a lot of proto-ambient / drone / freeform dream music of extended duration here: Oliveros, Radigue, Spiegel, Carlos' Sonic Seasonings, LaBarbara, Lockwood's World Rhythms, Maggi Payne's Crystal, and on the brutal, scorching side, Maryanne Amacher's Living Sound Patent Pending -- this music went fearlessly deeper into pure ecstatic drone sooner than the busily twitching beeping leaping pointilist approach favored by most of the composers who were getting noticed at the time. But there's a lot more music today that sounds structurally like these works than sounds like, oh I dunno, Kontakte... they saw something coming.

Pauline Oliveros
maryanne amacher
Walter Carlos 'Sonic Seasonings' - Classic or Dud?
Eliane Radigue

Shimura Curves in London and Liverpool (Do not read if you hate ILX supergroups)

electronic music studios also offered women solitude, control & authority over their materials to an unprecedented extent.

This is actually quite true. Rather than having your aethstic dream subject to the whims of annoying (often male) session players, producers, engineers, etc. all with their specific idea about womens' role withing the creative process (shut up, look good, just sing and pose pretty, let the boys do the fun stuff and don't have any real input) - you can sack the lot and do it yourself with a shiny silver box. But I'm just feeling particularly misanthropic today.

(Granted, each a gal + guy couple, but women are present nonetheless)

anyone turning against the idea of this?

synth pop is not electronic music.

/challops

that's old hat. We're now all about the backlash against martian astronomy pop

Wanna Be Starting Something

so that kevin blechdom album

I was trying to research this last year for an article, and hit some very blank walls. There's iosolated chicks, but not many. Erm... oh, what was that girl I saw recently at the Arts Cafe? Printed Circuit? She's the only one that really springs to mind.

Here's an odd reason that will probably be shouted down (by myself) due to sexism. The very nature of dance music/electronics is the idea of one geek, alone in the bedroom twiddling knobs. (or up in a DJ booth twiddling knobs.) Geeks - women in the minority. Knobs - OK, I've just been looking at Barely Legal Teen Boys so I'm gonna steer clear of that one. But the way that women approach music is a communal thing, women often prefer to write in partnership, so the solo bedroom twiddling thing is not the preferred option. I'm too full of sugar to hone this into a fully formed opinion right now, but does anyone else know what I'm getting at?

It's just the way that I've seen women work when they create music, from having worked with so many of them...

― kate, Friday, 22 November 2002 17:50 (6 years ago) Bookmark Suggest Ban Permalink

^^^is ILM feeling this seven years later y/n

If you're gonna go all stalkeresque on me, and bring up stuff I wrote seven years ago, you could try reviving the posts I made since then, because I could do with some free hype kthxbye.

"stalkeresque"

stalkeresque to quote in this thread something you wrote in this thread, this thread which you linked to in another thread?

Also it was a genuine question borne of genuine intersest

interest, too

http://www.tv-intros.com/s/silk%20stalkings.jpg

Ayo, a link for a new Dinky EP in my inbox right now! Isn't that nice

Apart from the fkn promo voiceovers I'm enjoying this too - weird, aquatic trippy house tackle - not listened to any of her productions before I don't think

I took me ages to realize K. Hand is a woman, probably because she doesn't use an obviously female artist name like Miss Djax or Sister Bliss. Ditto for Neotropic.

Coincidentally or not, K. Hand and Neotropic are two of my favourite female electronic music producers. I kinda admire Miss Djax for doing all that harsh and uncompromising stuff that has little to do with stereotypical femininity, but often her tunes are just impossible to listen.

People Like Us, Blevin Blectum, Kevin Blechdom, Ikue Mori, Beast Master, Ami Dang, Ayako, IUD . . .

On that other demented thread of hate I wanted to post that there are actually a lot more women in electronic/dance music post-minimal, many of whom are just as respected as the men. Of course there's still the tendency for people to say "oh and she's great looking too" or whatever but house/techno in the underground respected fields have quite a lot of high profile female artists right now, women can be that ultra respected DJ which maybe wasn't always the case, eg Steffi, Cassy etc.

Mind you you do get sort of weird positive discriminatory remarks eg you'll read about Cassy, "everything she does is beautiful" or something and you know you'd never read that about a male DJ.

BTW let me just say I think it is 100 per cent utter bullshit that the other thread was locked and whichever mod did so should be ashamed of themselves.

The Doubtful Guest album is something else. Like being locked inside a horrible rave in an abandoned factory on a really bad drug trip that never ends. It's only an occasional listen but I reckon it's one of the best things Planet Mu has released lately.

I took a look at the other thread... The title was kinda bad, but I do agree that the recent trend in the music biz to promote young and pretty women doing synth pop/electronic music just because because they're young and pretty, and because women in electronic music have been historically quite rare, is a dodgy practice. Seems like (big surprise!) the main selling point for these acts is the gender, not the quality of the music. For example, there's this new Finnish synth pop trio consisting of three girls barely in their twenties, and they've been written in every local music and trend mag, even though they've only released one single and a couple other tunes in Myspace. I can't imagine the same happening if they were boys or unattractive older women. I think these sort of trends are undermining the work of female producers like K. Hand, who've never made their gender or prettiness a selling point.

"and they've been written about in every local music and trend mag"

I guess my personal taste also has something to do with it, because I think 95% of this new "indie electro" stuff is carbage, regardless of if it's made by boys or girls.

The music biz promotes young and pretty men doing whatever the latest thing is too. How this undermines whoever the credible artists are supposed to be is beyond me.

neotropical, how do you know Ami Dang? i used to be in a group with her during our college years called HANDSIGNALS. her shit is awesome.

guys, remember that KLYMAXX are still kicking it hard.

https://www.youtube.com/watch?v=Avtq1FRwI10

i'm going to see them in september in LA. very excited.

Yeah, but the pretty boys aren't given a special treatment because of their gender, whereas this is often done with girls working in a male-dominated genre. This enhances the impression that girls in electronic music are given props only because they're girls and not because of their skills, which is kinda shitty for female producers who've spent years honing their skill without putting any special emphasis on their gender.

(xx-post)

Woke up to find the other thread locked. I'm kinda surprised that a thread in which as far as I could tell every single contributor was wanting to talk about the unjustness of women being expected to conform to a certain type of image of a female performer has been locked for purported sexism.

it had a 'scary' name?

really seems like people just couldn't get beyond that, regardless of everything that was said in the thread itself

I think you're right psychgawsple.

Also, Tuomas is correct above. Gender can be an issue for male artists (and sometimes it becomes one contrary to their intentions) and male artists can find that their looks or visual appeal crowd out all other discussions of them, but this isn't compulsory in the way that it is for female artists. I think only female artists who are basically "faceless" (for which you have to have a pretty low profile) are spared.

One of the more pernicious aspects of this w/r/t "proper" dance music is the way in which gender-coded language creeps into discussion of the music even when people are scrupulously avoiding doing so with respect to the artist herself.

Ronan is spot-on with his reference to Cassy and the seemingly gender-coded descriptions of her music. This happens with Cooly G as well, and the critical reception of Cooly G reminds me intensely of the critical reception of Cassy (also their respective styles share some similarities).

Just as interestingly, certain female artists making comparable music don't receive that treatment to the same extent. e.g. with Dinky you see it a little bit but never to the same extent as Cassy. I'm not sure whether it's because Cassy occasionally uses vocals, or because she put herself on the cover of her mix-cd, or because she has a more conventionally feminine appearance, or because there's something in the music that encourages people to reach for gender-coded language.

well, there were a few on that thread who seemed to just want to bait kate

xps

Possibly with Cassy and Cooly G it's a case of gender times race.

hmm idk

http://www.electronicmusic.pl/upload/669754379.jpg

<3 dinky - dj mencap you should check out this album, esp 'burdelia', and her get lost mix - but cassy's more high profile and more distinctive. people don't talk about dinky's gender as much b/c they don't talk about dinky as much.

and dinky also uses vocals occasionally - 'acid in my fridge', 'fademein'...

Is anyone repping for Chloe on this thread? If so, I will. Both her album and her RA mix got very heavy rotation round my house.

chloé is AMAZING, that album!!!!

always felt a bit queasy when people wrote about cassy's "pregnant" vocals

everyone around here loved that gudrun gut record from a year (or two?) ago, i should play that again.

multiple xpost - Yeah but that album cover was relatively recent (in my head at least - I've disengaged from post-minimal in the last 12 months).

I think at the point when my Dinky obsession was at its highest (circa the Tapping EP) she had a higher profile than Cassy, though Cassy has surpassed her now - arguably partly because of the discourse which makes her seem like a liminal "individual" type whereas Dinky is treated more like one of the Cadenza/Vakant/etc. gang. (i'd say the two producers are about as distinct/individual as one another).

It's not like Dinky's music is less "feminine" (lesser amount of female vocals aside) - if someone wanted to go there it'd be easy to write a (insert whatever the opposite of "phallic" is again in here, i've forgotten) manifesto about "Horizontal".

what about (the other) MIA?

I meant to say on the other thread too that the idea male artists aren't dismissed for representing some sort of plastic prefab of their gender is ludicrous. I mean Oasis or someone to name just one?

The diff is that female artists seem more the victim of this process than the instigator, usually. EG Oasis are prob delighted and in fact revel in the "real blokes music" tag.

For better or worse, music is just a tiny part of a larger world and I think it's much more common to see a female artist's gender itself used as a unique selling point. It's obviously deeper than that and as with any successful artist, there are a number of themes at work in the way they're sold/told to us by record companies/the press, but there's something v formulaic about the branding of Little Boots etc...

I mean, I've lost count of the amount of times I've read about acts like her in the Guardian, it's incessant. And the tone always feels the same.

Criticising this stuff prob has v little to do with the artists themselves or their personalities/intentions, but even still I think it's okay and probably quite normal for people to be turned off by music that comes as a very well wrapped product.

x-post lol@ "pregnant vocals." isn't half the problem the fact that most techno writers are single dudes used to ranting about how militant and dark whatever music is and then they're all "oh cassy ur musics are so beautiful i luv u"

http://1.bp.blogspot.com/_D2T_lLyEIQg/RgrSxEf0ktI/AAAAAAAAACc/8C9d0D4Sxpw/s320/MIA+COVER.jpg

^^also a great album - don't know what she's done recently. plus her sweet november ep from years and years ago was really great.

http://1.bp.blogspot.com/_cMdbfkl3Rz4/SYfLPSim7HI/AAAAAAAAEeQ/BSezRj8kyog/s800/flower.jpg

But yeah, as far as I'm aware there is none of that gender-coded language in the discourse around, say, Anja Schneider. By which I mean a sort of mild condescension even when the praise is sincere. I'm not even sure there is around, say, Karin Dreijer Andersson, who admittedly is something of a special case.

MIA - bittersüss

Haha, MIA was the other name I was reaching for in my last post.

That's cos nobody is talking about Anja Schneider of late, she's more a constant than an iconic sort of star.

As for Dreijer, I think her music prohibits that kind of language. Part of the problem with Cassy (or whoever else) is that people are bad at describing whatever skills DJs/producers have anyway. It's not easy.

And people do use the same old masculine clichés to describe men too.

every time i open this thread i think: grace jones

or, like, missy elliot

Re Anja Schneider - I have seen some people dismissing her work as the product of her various co-producers. Which is odd because her stuff rarely sounds anything like the work of her co-producers.

But yeah Schneider's a good example of how female artists can avoid the over-genderising fate by immersing themselves really heavily into a broader context. In her case, it's the "aesthetic" of Mobilee, which she runs. MIA did this as well with her label (at least up until that album cover! Lex is 100% right about Sweet November btw). Compare/contrast with Ada, who was never "just another Areal producer", for pretty obvious reasons I think.

BTW I'm glad you like the Royal P track Steve. More people should get on that.

Is Schneider no longer involved in running Mobilee these days? I think that's been the case for a while.

Oh okay. I think her profile's a bit lower now anyway now that Mobilee isn't the hot label. That's one downside of being too heavily associated with a particular label.

i'm on the royal p track! it's incredible. i still think you're overly suspicious of cooly g though tim. seriously, her set last week was one of the best i've ever heard, in any genre.

ellen allien got a lot of the "so her boyfriend produced it?" remarks earlier on in her career...

it's interesting that pretty much all of the techno women we've been talking about also (co-)run their own labels and other projects - maybe to gain recognition even within a female-friendly scene like techno, you have to be the sort of focused and driven woman who will also take on the business side of stuff?

is it a thing among the female DJ/producers that they want to be more visible/facey? they all seem to appear on their own album covers unlike Gui Boratto, The Field or whoever, as if this was part of a statement.

a few examples that maybe haven't been brought up:

Monika Kruse (high underrated producer and DJ)
Norma Jean Bell (definitely works with KDJ a lot, but has produced her own stuff forever, too)
Magda (who is a fucking great live DJ, whatever happened to her)
DJ Heather (whom I know absolutely nothing about, OM is mostly garbage imho)

also, i don't really think of Cassy's music as particularly feminine. i mean, if one strips the vocals out, most of her tracks are pretty unidentifiable in terms of gender... it is just that her voice is so sultry and great.

with Dreijer it was funny because on hearing the Fever Ray LP some people were like 'so what does Olof do then?'

yeah the royal p track is good

also on the UK side of things is mary anne hobbes

Dinky is such a happy hardcore name.

Haha Magda is probably the only producer on this thread to have had a range of merchandise produced instructing her to (albeit not in as many words) get back in the kitchen.

haha magda recently remixed depeche mode's "wrong". it's very bounce-n-squelch dark minimal, as might be expected.

Mary Anne Hobbes and Annie Nightingale are very high profile DJs (in the UK at least) while not particularly falling into any of the parameters mentioned above (attractive, youthful, entrepreneurial etc).

cos they made it through radio probably?

i don't even know where this discussion is going now!

you had to be good looking to be a Radio 1 presenter this decade

and aw shit, i think she replaced gahan's vocals with alison moyet's!! (xp, this is re the magda depeche remix)

Lex I do really like Cooly G, just like I really like Cassy. It's just that I find all the stuff i read about her (not including your stuff) massively off-putting. Very much beaming Frankenstein holding a flower.

Also to some extent when artists like these get mad props it's inevitably framed against a dismissal of the masses. I read quite a few "I'm bored with minimal... except for Cassy!" rants a few years back, and likewise a lot of the discussion of Cooly G is along the lines of "oh she's so much more interesting than boring/conservative/childish UK funky." Really not the artists' fault at all but I have to remind myself of that to prevent it from turning me against them.

With Cooly G this is as much the "Hyperdub effect" as it is anything else, though I think the "enigmatic female producer" proto-hype started before Hyperdub signed her.

"it's interesting that pretty much all of the techno women we've been talking about also (co-)run their own labels and other projects - maybe to gain recognition even within a female-friendly scene like techno, you have to be the sort of focused and driven woman who will also take on the business side of stuff?"

Possibly also linked with ensuring your creative independence to some extent, creating a space in which you can do what you want to do.

i read a ton of stuff about cooly g and cassy which doesn't do that! though i have seen it and yeah it's offputting. i find 90% of music writing offputting though, and you def get equally facile statements made about their male counterparts too. i mean how many badly-written purple-prose villalobos rhapsodies have you seen over the years...

I actually like Cooly G's Fact mix less than virtually every other funky mix I have heard.

...right down to the whole "oh he's such a unique auteur" thing.

xp

to me it seems that the "starting a label" thing seems to be an electronic dance music phenomenon as opposed to a gender phenomenon.

i think it helps if you think of cooly g as deep house and dub rather than funky - if you compare it to the rambunctious party-starting funky/dancehall mixes which have been cropping up, of course it comes off as less fun, but think of her as someone who can drop everyone from âme to fuzzy logik to dennis ferrer to perempay to hard house banton in the same set and make it cohere.

x-post oh totally, it's harshed my buzz w/r/t Villalobos for years. In fact the people who go overboard with Cassy and Cooly G are mostly the same people who go overboard with Villalobos (and also Ben Klock etc. being the stern muscular male counterparts to the women's pregnant femininity).

I don't think I've ever read anything good about Cassy.

Let's just all agree that all music writing ever is awful.

i only realised this year with his (great) new album that ben klock is REALLY HOTT. oh am i doing exactly what you're describing, haha! srsly though those cheekbones and that jawline.

never got villalobos tbqf

I didn't listen to Villalobos for about 2 years due to reading so much stuff that made him sound crap

i think sometimes music fans regard musicians in the way that creepy folks regard the objects of their desire in their real lives, and the idealized notion of who they ought to be can result in further enamoring or a whiplash sense of betrayal and subsequent hatred or condescending disappointment. maybe it's more pronounced w/dudes and how they regard female musicians.

just rambling here

the field get this too, except he is actually crap as well as being made to sound crap

Ha ha Klock actually looks exactly like someone I've slept with. (I don't think it was him though)

But the writing I'm talking about mostly scrupulously avoids discussions of appearance.

yeah it's weird, it's more like the frankenstein flower pic in the sense that it's like "she is speaking to me with her mind...groooan, it is pretty"

OTM!

He/She lashes my mind and body with beats that seem to invade my very sense of personal identity. I float on a wave of unknowing.

speaking of Mary Anne Hobbs, I heard an older show by her where she big ups a female dubstep producer named Subeena and goes on a little rant about how wrong people are for saying there aren't any female dubstep producers... well anyway, the song was great. don't know the name of it and it doesn't seem to be on her myspace, but i'll definitely be keeping an ear out for her stuff.

i actually only date female dubstep producers

asian ones

There's Vaccine, who's been on Mary Anne Hobbes' show.

thread needs more youtubes imo

https://www.youtube.com/watch?v=Ig3l42p7SNw

https://www.youtube.com/watch?v=YZDaf2_wTuk

https://www.youtube.com/watch?v=9qsUWui6bJY

https://www.youtube.com/watch?v=mvpgiiotL0U

https://www.youtube.com/watch?v=HlcLiQ09b4A

https://www.youtube.com/watch?v=MJ64DgfE6dU

https://www.youtube.com/watch?v=34dAPDM2W3E

Some things I just want to highlight...

i think sometimes music fans regard musicians in the way that creepy folks regard the objects of their desire in their real lives, and the idealized notion of who they ought to be can result in further enamoring or a whiplash sense of betrayal and subsequent hatred or condescending disappointment. maybe it's more pronounced w/dudes and how they regard female musicians.

A thousand times yes. Though music fans do this with artists they admire of both genders, most men are so homophobic as to utterly repress or deny the "creepy" aspect of their obsession with male musicians, in a way that they feel totally justified in doing to females. (I fully cop to being guilty of this phenomenon myself, with the genders reversed - but it's amazing how much more flack I get for that aspect of my fandom.)

it's interesting that pretty much all of the techno women we've been talking about also (co-)run their own labels and other projects - maybe to gain recognition even within a female-friendly scene like techno, you have to be the sort of focused and driven woman who will also take on the business side of stuff?

This is something that Frances used to say a lot, before she basically friend-dumped me.

Maybe it's that you have to be the slightly insane and driven enough to survive in an all male environment without being run off. (How I often feel in threads like this.) Maybe it's because traditional labels (mainly the majors, but the indies are just as bad) where they say, in all seriousness, things like "we'd sign you but we've already got a female artist." If you want to do things on your own terms, in your own way, without being squished into someone else's box, you have to create your space. Especially if you have to be an independent minded person in the first place to even *survive* doing this stuff.

Anyway, I'm gonna try to stop carping and check out some of these artists.

I suppose it's very different for the other people on this thread, because it is all just THEORY for them. Whereas this is the kind of shit that actually affects me every day of my creative life.

A thousand times yes. Though music fans do this with artists they admire of both genders, most men are so homophobic as to utterly repress or deny the "creepy" aspect of their obsession with male musicians, in a way that they feel totally justified in doing to females.

This is totally true, and I think it's more obvious and emphasized in largely male-dominated genres like electronic music, where there's not too many women to obsess with.

You'd be one of the non-homophobic non-repressed ones tho I take it Tuomas?

Yeah, but I don't generally obsess over musicians, male or female. Except maybe Marc Almond and Grace Jones.

Maybe ILX can arrange a meet'n'greet

So far, I've liked Ada and... erm, didn't catch the name of the artist with the light fixture the best. But that could be down to genre familiarity more than anything else.

I always get caught out by the trainspottery hair-dividing nature of the genre categories. I know one has to have labels with which to assign one piece of music's relationship to another, but I'm just not familiar enough with the terminology of electronica to have any meaningful discussion.

Oh, the artist with the light fixture just got really, really good. I like the use of the stereo field and the kind of slippery noises that ricochet about. What genre is this, oh hair-splitters of ILX? ;-)

Add Estroe to the list of producers I had no idea were actually female. I'm not sure what you'd call her really, just straight house music really.

i would like to see more (any?) f/f and m/f duos.

I don't think I even understand what "house" music is any more. It meant something completely different in the late 80s/early 90s, didn't it? There's not one single "OOM-tish" in that entire track. It's much more organic and textural.

kate, that's estroe. i'd just call her techno i guess. she fit into minimal when that was released, i guess, but hardly rigidly so.

xps

xxp there really was no-one who gave a shit about that last Miss Kittin & The Hacker album was there (me included)?

it was rubbish, but the miss kittin solo one last year was surprisingly great!

I'm listening to more Estroe stuff on YouTube, yes I like this. A lot.

"Not everyone understands house music. It's a spiritual thing. A body thing. A soul thing"

(^_^)

Um. OK, I don't understand house music then. Keep 'em coming, The Lex! I really enjoy the video linkage, good to have them all up in a line to listen to at work.

(Do you have to understand something to like it or enjoy it, tho? perhaps another thread.)

Sorry, not related to the post, but just thought I'd stick it here for clarity:

https://www.youtube.com/watch?v=9WpERMtL-AY&feature=PlayList&p=C40218B3F32E55D4&index=0&playnext=1

Just my little "joke", nothing personal.

Anyone like Vera's stuff? Only just heard her because of her remix of clan destino's last single, moodsupport, really love this! 'hooked up with da drums" is pretty good too

And Miss Fitz/Mayaan Nidam, too.

oh shit yeah i knew i was forgetting someone - really enjoyed the maayan nidam album this year. good late-night stuff.

yeah i like vera a lot, cherry blossom. will definitely check that remix. the first LLFO was one of my favorites from last year (ultra spacey minimal house tool)

i love vera, she's probably my favourite out of the whole oslo camp. very tracky in an aspect music/melchior productions sense. great dj as well.

how comes kate bush never comes up in these discussions? the dreaming is one of the great fairlight albums imo

http://farm3.static.flickr.com/2099/2068101929_e5ccb65484.jpg?v=0

http://www.lgblog.de/wp-content/uploads/2008/07/delia_derbyshire.jpg

beate bartel from liaison dangerouses?

http://paulineoliveros.us/site/files/Image/PO_Pieter_Kers.jpg

delia and pauline, yes?

also a fan of ursula...

http://blogs.sfweekly.com/shookdown/ursula%20bogner.jpg

gah http://blogs.sfweekly.com/shookdown/ursula%20bogner.jpg

and we can't forget daphne!

http://lh6.ggpht.com/abramsv/SKzrVrB3o-I/AAAAAAAAbAE/sWqhCTcIA9M/s640/Daphne276.jpg

johanna beyer
clara rockmore
bebe barron
pauline oliveros
daphne oram
delia derbyshire
cathy berberian
ruth white
alice shields
wendy carlos
eliane radigue
daria semegen
joan labarbara
annea lockwood
ruth anderson
maggi payne
maryanne amacher
laurie spiegel

― Friday, August 27, 2004 5:49 AM (4 years ago)

micheline coulombe saint-marcoux
else marie pade
beatriz ferreyra
pril smiley
priscilla mclean
laurie anderson
mireille chamass-kyrou
monique rollin
megan roberts
constance demby
suzanne ciani

that's through 1980

+ annette peacock
laetitia sonami
hildegard westerkamp
cynthia webster (have not heard her stuff, but she founded Synapse

Um, psychgawsple, isn't Ursual Bogner actually Jan Jelinek? And therefore not actually a woman?

Oops, I mean Ursula Bogner, of course.

as in Usual Boner? sorry, read it that way...

ALSO: cannot believe i fucking forgot ZEENA PARKINS.

also Carla Kihlstedt, from Sleepytime Gorilla Museum and Tin Hat Trio=== yeah, trad instrument but she uses lots of processors and pedals, etc.

Also, I've only read the recent posts, but nobody seems to have mentioned DODDODO yet. Not doing a vast amount at the moment, but she did play a show earlier this year, so still around.

Um, psychgawsple, isn't Ursual Bogner actually Jan Jelinek? And therefore not actually a woman?

from what i know this is just speculation, since jelinek was behind the reissue, etc.

also maryanne amacher deserves high honors for pulling off the feat of being the only artist who can consistently make me physically ill when i listen to their recordings

^^^fwiw i mean that as a compliment

Also, I've only read the recent posts, but nobody seems to have mentioned DODDODO yet. Not doing a vast amount at the moment, but she did play a show earlier this year, so still around.

― emil.y, Thursday, July 2, 2009 1:57 AM (5 hours ago) Bookmark Suggest Ban Permalink

^^^truth!! 100% incomprehensible 100% entertainment

What the fuck was that burst of vitriol in aid of?

In fact, that's pretty creepy and more than slightly stalkeresque to not even write your own burst of vitriol, but to dig up and quote someone else's words from, like, several years ago? I kind of have some sympathy for Tombot, considering what he was going through at the time he was writing vitriolic stuff like that but to dig that out and repost it in a thread that has nothing to do with it is almost borderline psychotic.

..................................

Drawing a line under that,

Anyway, I think the reason that no one brought up such goddesses as Delia Derbyshire and Daphne Oram was that it would be nice if this thread concentrated on people *currently* making music.

Barging into this thread only to say that I wish both Solex and Mira Calix would release more albums (yes I know they're still working, but still)

Followups to pinknoises.com ?

(replying to 2-day-old posts time, Mira Calix xpost synchronicity)

Re Anja Schneider - I have seen some people dismissing her work as the product of her various co-producers.
ellen allien got a lot of the "so her boyfriend produced it?" remarks

Yeah, this seems a common thing with, ahem, Women In (not just) Electronic Music. The number of Autechre fanboys who'd get very upset about Mira Calix being terrible dull uninventive and not like their heroes at all, oh and by the way clearly Sean Booth writes all her tracks... well then why aren't they sparkling Autechresque genius? You can't have it both ways!

(I have no real axe to grind for her, but have read many IDM heads rant about her out of all proportion to her music, which I found a bit dull but hardly distinctively terrible or "the first bad act on Warp" as I have seen claimed, and not really shifting too many undeserved millions as far as I noticed)

also on the UK side of things is mary anne hobbes

I don't even know if Hobbs is another example of this, since I've heard "oh she just likes whatever her producer tells her is hot", but on the other hand her show seems so faddish that it almost made sense. And then I felt dirty for thinking that, since it's such a common dismissive trick.

hobbs has a lot of cred in the dubstep/uk bass scene, at least. "faddish" - people's taste changes, scenes come and go, esp the underground ones that she covers.

forgot akiko kiyama yesterday too...nothing on youtube. youtube is so bad for some of these.

I love the way Mira's music can be dry and unfriendly and academic, a lot of the moaners hate her because she doesn't pander. That said, her last album was a lot more colourful and conventionally pretty and generally all-round pleasurable.

Why does she need her producer to tell her something's hot in order for her show to be faddish? Has she not ears of her own - or eyes - to read the blogosphere to tell her the same thing?

I think the argument was that her show suddenly became predominantly dubstep at the same time as getting a new producer. No idea if the second part is true (suspect not, now I've written it down), but as I generally care for dubstep less than the technoish end of things I'd noticed the former.

But I'm sure a lot of other people's listening habits did the same, and it probably is just down to her own enthusiasm, and some genuine enthusiasm for new scenes and strains is good to hear on the radio, especially now most of that support seems to be bundled off onto 1xtra or whatever.

The number of Autechre fanboys who'd get very upset about Mira Calix being terrible dull uninventive and not like their heroes at all, oh and by the way clearly Sean Booth writes all her tracks

Are they a couple then? Really glad I don't bother fucking with IDM msgboards or whatever, people who are *really into* the genre kind of seem like the worst people sometimes. I did however see a nightmarish clusterfuck when someone called Aunt Acid (who eventually released stuff as Syntheme, who I mentioned on the locked thread) uploaded some tracks on the Planet Mu forum - cue 100 douchebags convincing themselves that this was another Aphex pseudonym

kemistry and storm :(
tama sumo (supposedly doing the next panorama bar mix?)

xpost. IDM heads are pretty loathsome. Once went to an Autechre gig and a guy in front of me, with a skinhead and a North Face jacket no less, said to someone on the phone, rather pointedly, "there's a big cue to get in, loads of indie kids", while looking askance at me, I had longish hair swept over in the front, a checked shirt and well-fitting pair of jeans and a pair of converse on so obv. must be an indie kid!

AGF is still making some pretty incredible records these days, imo

Once went to an Autechre gig and a guy in front of me, with a skinhead and a North Face jacket no less

for all you know that could have been rob brown hisself!

i always say "loads of indie kids" on the phone to friends in tones of contempt - is the sign to move elsewhere, always

BE PREPARED:
to have your brain picked
to have the pickings misunderstood
to be mistreated whether your success increases or decreases
to have detraction move with admiration --- in step
to have your time wasted
your intentions distorted
the simplest relationships in your thoughts twisted
to be USED and MISUSED
to be "copy" to be copied to want to cope out cop out pull in and away
if you are a woman (and things are not utterly changed)
they will almost never believe you really did it
(what you did do)
they will worship you they will ignore you they will malign
you they will pamper you
they will try to take what you did as their own
(a woman doesn't understand her best discoveries after all)
they will patronize you humor you
try to sleep with you want you to transform them with your energy
they will berate your energy they will try to be part of your
sexuality they will deny your sexuality/or your work they
will depend on your for information for generosity they will
forget whatever help you give they will try to be heroic for
you they will not help you when they might they will bring
problems they will ignore your problems a few will appreciate deeply they will be loving you as what you do as what you
are loving how you are being they will of course be strong in
themselves and clear they will NOT be married to quiet
tame drones they will not say what a great mother you would
be or do you like to cook and where you might expect understanding and appreciation you must expect NOTHING then enjoy whatever gives-to-you as long as it does and however and NEVER justify yourself just do what you feel carry it strongly
yourself

jennifer cardini - probably most well known for her mix for kompakt, which i heartily endorse. it might be a bit sterile, but the tracklist and flow are expert. it's a spacious bouncy kompakt mix made with very few actual kompakt singles. neat. i was introduced to her by this mix way back in 2001 in paris. (on the same trip i got to hear a laurent garnier daft punk double bill at the rex. hell yes!)

tania vulcano - i rate her circoloco mix from last year: from sneak to freaks to mountain people. nice and atypical for a commercial ibiza mix.

Akiko Kiyama is pretty good.

others to mention: Miss Jools/Sleeper Thief

ubuweb has a full-text copy of Daphne Oram's An Individual Note: Of Music, Sound and Electronics: http://ubumexico.centro.org.mx/text/emr/books/oram_anindividual.pdf

Emika! Her album is ok, her work compiling (and contributing to) the Funf compilation and her more recent track are more instrumental but maybe even better.

there was a nice little box-out, and associated Spoitfy playlist in that new Electronic magazine full of this stuff. "The Electronic Music Archive At Spotify" if that helps (don't have spotify, and haven't heard all the following, anyway...)

Johanna M Beyer / Pauline Oliveros / Alice Shields / Ruth Anderson / Jean Eichelberger Ivey' / Ann McMillan / Sorrel Hays / Katherine Norman / Laurie Spiegel

http://nerdgirls.poemproducer.com/
^^ not even a complete list, just a great one

http://femalepressure.tumblr.com/

https://manymanywomen.wordpress.com/

awesome

http://www.bbc.co.uk/programmes/b07lg56k

Haven't heard it but this should be of interest here.

laurel halo?
olivia block
bonnie jones
andrea neumann
anne guthrie

i did listen to the late junction thing but i don't remember it being particularly special. website does contain the following howler though:

Delia Derbyshire & Lisa Stansfield
Circle of Light Part 2
Circle of Light (Original Electronic Soundtrack Recording). Trunk Records. 2.

complete with picture of Lisa Stansfield... (it's meant to be Elsa Stansfield)

there was an episode of LJ recently that had a female Buchla player on it, Kaitlyn Aurelia Smith with a great, almost unbelievably coincidental, Suzanne Ciano annecdote. She also asked for the bbc to supply her with an ems polysynthi for the session, thinking they hadn't a chance in hell of finding one...

http://www.bbc.co.uk/programmes/b07jmvbh

I really enjoyed this retrospective that was doing the rounds last year. Ruth White's "Flowers Of Evil" is a fantastic discovery.

http://www.synthtopia.com/content/2015/05/15/40-years-of-women-in-electronic-music/

Is that the one that was reissued on creel pone recently? About the witches? Yes, good.

i am appreciating how electronic music history listacles are finally reaching parity

http://blog.landr.com/moments-music-10-synth-wizards-machines-fell-love/

with that one it seemed like it was taking an affirmative action approach to gender parity

Just realized Barbara Morgenstern's work on "Sweet Silence" record is reminiscent of the band Insides, particularly a track like "Relentless".

http://www.bbc.com/culture/story/20170522-daphne-oram-pioneered-electronic-music

In the 1960s, though, Oram was taken up with her own invention: the Oramics machine. She had encountered a Cathode Ray Oscilloscope – which shows a visual image of sound waves – during her BBC training. Why not reverse it? If you paint in waves the ‘shape’ of the sound you want to hear on 35mm film, determining the pitch, vibrato, timbre and so on, scanners can read and convert that into layered sound. It was, in essence, an early sequencer – and more advanced than those that initially would become available in the 1980s.

The idea of a ‘graphical music’ system consumed Oram. It typifies her view of electronic music not as a soulless, mechanically-controlled thing, but as organic, human and joyously imperfect as any other music. “It’s quite a democratic view: on something like the Oramics machine, you can just draw,” points out McArthur. “That gestural interface means all people become composers, conceivably, which ties back into her philosophy which says that, at a molecular level, we are sounds. We are all made up noisy atoms and vibrations – sound is at the core of who we are. I find that really inspiring.”

In 1972, Oram also published her manifesto (of sorts): An Individual Note of Music, Sound and Electronics. It is a deeply odd but fascinating work. Oram may explain how, say, electric circuits work, but will then go on to use them as far-reaching analogies for the human body and psyche. Much of it would prompt scientists to snort, but there’s compelling conviction and playful imagination in her ideas. She considers humans as instruments, featuring “a whole spectrum of resonate frequencies which are never at rest, never in a steady state, but are vibrant with pulsating tension” – right down to our very cells and atoms.

...

Oram was only 23 when she wrote Still Point. A wildly ambitious piece, it predates equivalent experiments by the likes of Pierre Schaeffer and Karlheinz Stockhausen. The piece is a sort of warped call-and-response between the orchestra and 78rpm records, using turntables and microphones to live-manipulate the sound. Its long-delayed debut was hailed as a triumph, Oram’s visionary take on electro-acoustic composition finally unleashed.

there are so many dope female producers and DJs right now

list your top x

mine would be

LNS
stellar om source
helena hauff
laurel halo
amelie lens
jayda g
d. tiffany
charlotte de witte
black madonna

pretty sure i'm forgetting someone dope

not ms owens, i'm not so enthused about her work

Jlin
Willow
LAPS
Beatrice Dillon
Marie Davidson
Lena Willikens
Avalon Emerson
Rroxymore
Shanti Celeste
Karen Gwyer
Iona Fortune
Solid Blake

Jlin is probably my top electronic/dance producer right now

nidia minaj
Kaitlin Aurelia Smith
plus what everyone else said

oh yeah jlin!! and KAS!!!

both SUPER dope

don't know nidia minaj - dj or producer

beatrice dillon's side of the split cassette she did w/ ben ufo is super sickkkkkkkkk

oh shit SHANTI CELESTE

i saw her DJ on a rooftop in LA and it renewed my belief in the power of techno

avalon emerson YES

i think i need to check out k gwyer

i know she has been mentioned earlier, but only in passing.
after her mo'wax trip hop album, andrea parker then went totally into the bass music scene.
set up the label touchin' bass, and released some insanely fantastic stuff.
the 3 'nobodys perfect' mixtapes that she released via TB are worthy.
and for her own productions, she released a rather wonderful compilation, 'heres one i made earlier' that compiled stuff she made with david morley.
summary : tis all rather wonderful.

nidia's a producer, run don't walk

yeah andrea is a real trailblazer, i loved her mo'wax stuff (especially ballbreaker / some other level)

i kind of checked out after awhile because i was tired of classicist electro bass, but i remember "freaky bitches" w/ dj assault was pretty sweet

is she still active?

as long as we're talking about trailblazers, i first heard "freaky bitches" on WEISS.MIX by ellen allien

what a classic

andrea parker still incredibly fresh sounding almost 25 years later

https://www.youtube.com/watch?v=o2Ucdujdkcs

weiss.mix remains a total jam. i should beef up my collection of her work, i see all of her CDs at Amoeba on the cheap now.

Ziur
E.M.M.A.
Elysia Crampton
AMAZONDOTCOM
Ikonika
Zora Jones
Kablam
Abyss X
Coucou Chloe
Smurphy

huh

i literally know none of those producers

andrea parker's dj kicks is also a total jam

Inga Copeland

Nidia Minaj is great, Principe Discos crew

xp

is she still active?

she pops up on the radar from time to time, but she is not that active.
she once went up a mountain for 6 months i.e. the label/music is not the top groove for her these days.
and yes, the david morley collabs are fantastic.

Let me do that again with tracks:

Ziur
https://soundcloud.com/planetmurecords/u-feel-anything

E.M.M.A.
https://astralplanerecordings.bandcamp.com/track/glac

Elysia Crampton
https://soundcloud.com/breakworldrecs/the-demon-city

AMAZONDOTCOM
https://soundcloud.com/amazondotcom/tiny-shrimps-dream

Ikonika
https://nervoushorizon.bandcamp.com/track/ikonika-shovel

Zora Jones
https://soundcloud.com/fractalfantasy/ruby-fifths-ft-heavee-zora-jones

Kablam
https://soundcloud.com/janusberlin/kablam-furiosa-janus005

Abyss X
https://soundcloud.com/abyssxxx/nijinskian-ballad

Coucou Chloe
https://soundcloud.com/coucouchloe/doom

Smurphy
https://soundcloud.com/djsmurphy/garden-1

Nidia Minaj
https://principediscos.bandcamp.com/track/da-banda

Peggy Gou rules

Favourites:

Inga copeland
Marie Davidson
Keren gwyer
La vampire
Maria Minerva
Nina kraviz
AGF
Laurel halo

PEGGY GOU

Oh yeah and willow, who has been mentioned. She's the best

Nightwave
https://soundcloud.com/nightwave808/nightwave-wavejumper-fools-gold-records

been enjoying a bunch of amelie lens, sama and charlotte de witte sets recently

enjoyed chloé lula's set on hör berlin yt too (which looks like it was recorded in a toilet? iunno)

Wow this thread sure tells a story

yea a very bad one. the op ... jfc

whoa, this thread started back when blevin and jon l were in a band together ...

and when i used to book their band on the reg

what the heck

https://en.wikipedia.org/wiki/Harriet_Padberg

Fortran!

Fortran Hero

so rad

https://github.com/bgenchel/PyPadberg

https://www.youtube.com/watch?v=9OAqEgHpR3k

https://arxiv.org/pdf/1907.04470.pdf

remember last year when nina kraviz was racist and k. hand went to bat for her on twitter? that was weird

https://pitchfork.com/news/pauline-anna-strom-dead-at-74/

https://en.wikipedia.org/wiki/Pauline_Anna_Strom

New BBC Culture article on women composers: Oksana Linde and the forgotten pioneers of electronic music

waiting for another Karen Gwyer, hoped this thread bump would be that!

also my god that aya record im hole is outstanding

[MOD NOTE: TRANSPHOBIC BULLSHIT REDACTED]

what the fuck are you talking about, get the fuck out of here.

Uh. Yeah can we not be transphobic please.

if that fucking dickhead isn't perma-banned very fast I'm going to be having words

"Barging into this thread only to say that I wish both Solex and Mira Calix would release more albums (yes I know they're still working, but still)"

Alas Mira Calix passed away in March. I remember liking Skimskitta but I always wondered if she was a pseudonym for someone else on Warp. It turns out that she helped keep the label running in the background, which is why she had such a spartan discography. I was going to say "she was the only woman on the Artificial Intelligence compilations" but she wasn't actually on the Artificial Intelligence compilations. She was on Blech II.

Radio 3 did a tribute, now sadly unavailable:
https://www.bbc.co.uk/programmes/m0015v5h

Just for fun I remember going through the roster of Mille Plateaux Records and City Centre Offices and and Fax Records and counting all of the female musicians and "not British, German, or Japanese" musicians, and giving up because there weren't any. Which is probably true of any cross-section of heavy metal labels, but this music was supposed to be progressive.

It struck me as a kid that literally all of the acts on the European Warp equivalents* etc were male twentysomething graphic design students who spent their lives flying between Tokyo, Berlin, and London, which I suppose was a kind of wish-fulfillment fantasy if you were a teenager back then but ye gods a lot of that music is generic and indistinguishable from itself nowadays.

* Warp itself has working-class people, so it doesn't quite count.

Sky Arts showed Sisters With Transistors on friday which was a good watch, all the early female pioneers in original footage. (everything else they showed is being repeated throughout the week but i can't see a repeat for this before friday)

couple of new names to me: clara rockmore and maryanne amacher, the latter of who wins for noticeably scaring thurston moore.

(although both are mentioned upthead)

I’m sure I used to “play out” Amacher’s ear dances at our old Greenwich gatherings, koogs. Good way to clear the room at the end of the evening.

oh and there is a new Karen Gwyer! It’s under Karen Lee Gwyer on Bandcamp. Solid albeit nothing startling.

I feckin' missed most of it because I was watching Match of the Day!

had a look in programme guide and listings for a repeat of the Sisters with Transistors and can't see one 8(

if you can remember the old Greenwich gatherings you weren't really there. or you left early to get back to the other side of london before the rave music started.

https://archive.org/details/delia.-derbyshire.-the.-myths.and.the.-legendary.-tapes

This is the only way I can find to watch the Cosey Fanni Tutti Delia Derbyshire movie since it left the BBC site

FWIW, there's a 1080p encoding easily found on the dark net.

Sisters with Transistors is repeated tonight on sky arts, Freeview ch11, 00:40

should be earlier imo but they are busy with Floyd, byrds, Stevie Nick's and numnah from 18:00

(numan)