“This past month, Rodgers’ decision to finally and formally release an album feels necessarily tangled in her lifelong historiographic work. Animated by the perpetual need to clear space for women’s work in the form, Fundamentals, her aptly-titled EP, places imagined pressure on electronic music’s history, fitting itself into the music’s long continuum uncannily like a key element of its past and its present at once.
You don’t need to know much about techno for Fundamentals to register as something special. … A beautifully austere, four-track exercise in quality control and rigorous decision… it is assertive work, bold in the precision and subtlety it takes to mix such signals with thrill and grace and restraint.”
Read the full review on NPR Music.
“Now based in Washington, DC, Rodgers has come off a 15-year hiatus from releasing recordings as Analog Tara with a new EP, titled Fundamentals, on the DC label 1432 R. Fundamentals is an amalgamation of the artist’s influences and personal experiences, exploring everything from techno, electro, analog sound sources, jazz, funk keyboard performance, sound art and explorations of sound as sculptural material. The music is soulful, serene and celebratory, featuring jubilant rhythms, magnetic synths and an overall free-flowing energy. …
In the following interview, we delve into her childhood interactions with music and technology, the impact of women on her work, her creative processes and inspirations, and the role of online communities and feminism in electronic music. …”
Read the interview with Truants.
“The most instantly satisfying thing about “Fundamentals” — the first saucer of vinyl that Tara Rodgers has released under her nom de techno, Analog Tara, in 15 years — is how balanced it feels. Top to bottom, this is well-crafted dance music — the kind that makes the floor feel sturdier beneath your feet while still allowing your head to get all-the-way loose.
Maybe that’s because Rodgers has spent the past two decades thinking hard about craft. She quite literally wrote the book on women in electronic music…”
Read the full review in The Washington Post.
“A composer and thinker who explores sound and sonic meanings from multiple angles, Analog Tara builds her tracks on analog sources and recorded loops, layering improvised sounds and melodic lines into an intricate and inquisitive design…
The author of numerous essays on music, technology and culture as well as the groundbreaking 2010 book Pink Noises: Women on Electronic Music and Sound… she’ll present a keynote talk at MUTEK’s Symposium this year.”
Keynote: Monument-National, August 22, 2018, 14:00-14:45
Performance: Expérience 4, Place des Arts, August 25, 2018, 16:55 – 17:40
More information at the MUTEK website.
“Academic, musician, writer and activist Tara Rodgers revisits her Analog Tara alias for rising D.C. label 1432 R. Like fellow multidisciplinary artist Terre Thaemlitz, Rodgers’ dance floor material is warm and immersive. Body music from a heady source.”
Preview the track “Propulsion” from the Analog Tara Fundamentals EP on Resident Advisor.
“When I first walked into Tara Rodgers’ house, the sounds of Kamasi Washington are floating through the space…
Rodgers, or Analog Tara, seems at once thoughtful, deliberate, and careful, yet in a way that seems delightedly open to new textures and perspectives. She somewhat sheepishly shows me her studio, a room with a perimeter stacked of modular synthesizers and pretty drum machines. …”
Read the full article and listen to Analog Tara’s 30-minute Strawberry Moon mix for Extended Family DC at Head Shoppe.
“Each [interview] is extremely personal but also technical and conceptual, exploring the artist’s unique relationship to sound and space…”
Pink Noises is on Artforum‘s Top Ten list for May 2018 by Lyra Pramuk, the American singer, composer-producer, and performance artist based in Berlin.
Find the full article on Artforum.
Tara Rodgers visits the School of the Art Institute of Chicago (SAIC) for the Sound Department Colloquium series on April 18, 2018.
Learn more about SAIC visiting artists and scholars.
“Inspired by Jean Toomer’s experimental 1923 text of the Harlem Renaissance, CANE explores memories of African American sharecropping held by a technologically-devised canefield.” Friday, February 16, 2018, 7 p.m., Rubenstein Arts Center, Duke University.
Read more and watch a 2013 performance on Vimeo. (Performed by Tanya Wideman, Thaddeus Davis, Kalin Morrow, Amber Mayberry. Conceived by Thomas F. DeFrantz, Visual Design and Programming by Eto Otitigbe, Music by Tara Rodgers, Sound Programming by Jamie Keesecher, Additional Programming and Sound Discoveries by Jung-Eun Kim and Peter Whincop. Lighting by Jesse Belsky, Costumes by Marissa Erickson. Production Dramaturg: Jules Odendahl-James, Production Management Shireen Dickson.)
“There has been a lot of talk in the past year about the need for greater gender and racial diversity in programming from large performance organizations… For this series on building curriculum diversity, I interviewed various scholars, performers, and educators who have been creating wonderful resources that highlight these often ignored communities.
Tara Rodgers is a performer, composer, and scholar based in D.C. Her book Pink Noises: Women on Electronic Music and Sound is a collection of interviews with some of the greatest minds in electronic music today. She generously agreed to an in-depth interview over email…”
Read the interview with Anne Leilehua Lanzilotti on NewMusicBox.