“A modern mainstay of feminist electronic music discourse, the printed Pink Noises upholds the primacy of women across the electronic world’s lifespan by way of close examination, first by scrutinizing how female-identifying artists orbited about the music and its machines, then by investigating how lines of gendered history were contained and contested. …
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.
“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.
“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, as his sounds tend to do, and I try my best not to break the spells of his music as I hurriedly take my boots off as not to track water over her hardwood floors. The boots are soaking wet from another overcast and drizzly day in Washington D.C., a city not known for pleasant weather. Somehow, despite the gray murk wrapping the environment, there is a rosy light in the house; it feels like a warm and restful shelter of ease. It’s snug like you would imagine a bed of velvet roses without the thorns, and it’s not long before I realize that the light is not coming from the house of brick and plaster, but rather from Tara herself.
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 the May 2018 Artforum Top Ten list by Lyra Pramuk, the American singer, composer-producer, and performance artist based in Berlin.
Read the article on Artforum.