Women in electronic/dance music

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