What's fascinating about ephemeral music is that for a brief moment or two, someone not of ever-lasting artistic significance recorded a song with that special something that struck a chord with the public. Today I talk about three one-hit wonders from the UK garage scene. Read on for more.
With her music swiping a big chunk of the 1980s, Pip Brown fittingly named herself Ladyhawke after the 1980s Michelle Pfieffer movie. Her music is evocative retrofuturistic electropop, nostalgia without a loss. Read on for more.
Radio DJs have long been important in making records hits and promoting of unknown artists and new genres, and this is no less true for electronic music. Read on for more about UK radio DJ Mary Anne Hobbs and her influence on underground music over the last decade.
With the extra amount of cultural pressure placed on women to discipline our bodies, it's unsurprising that some female artists would use the vocal effect to make their art and critically reflect on their relation to technology. Plus, and I can't stress this enough: Vocoders sound cool.
Making music is work. Rewarding and fun work, to be sure, but work all the same. Like just about everything in a kyriarchy, the divisions of labor in making electronic music lead to an unequal distribution of value, financially, and artistically—who gets paid and how much, and who gets credit and for what.
Women have always been involved in electronic music: behind the scenes producing, as musicians and vocalists, voices being sampled, as djs and dancers. But women's contributions have, as in just about all forms of cultural life, been excluded from the official record, relegated to the marginal, the exception. Read on to see what I'm going to be talking about over the next eight weeks.