Analog Tara / Fundamentals is a 2019 Wammie Award Finalist for Best Electronic/Techno Artist. Thank you to The MusicianShip and the Washington, DC music community for your support! Wammie Weekend at the Lincoln Theatre is March 30-31, 2019.
Interview with Ted Coffey for the Society for Electroacoustic Music in the United States (SEAMUS) on composing across genres and working with electronic musical instruments, including the ARP 2500.
MailTape invites a guest to co-curate a playlist every Sunday morning. On January 13, 2019, Analog Tara joins MailTape for this set that also includes Sarah Vaughan, Moodymann, Jeff Mills, Dawn of MIDI, Jlin, Moor Mother/King Britt. Listen to the playlist on MailTape. Illustration by Anthony Dujardin.
“In the four years I’ve been compiling FACT’s best house and techno tracks, I can’t recall a 12-month period that’s been so full of innovative, diverse and – most importantly – fun music as we had in 2018.”
Analog Tara / Propulsion (1432 R) makes FACT’s year-end list for the best of underground house and techno.
Find all the selections on FACT and listen to the playlists on Spotify or Apple Music.
Analog Tara, Geo Rip, Majeure at Black Cat, Washington, DC, November 29, 8 p.m., $10.
Majeure is the alter ego of A.E. Paterra, multi-tasking extraordinaire and one-half of progressive synt-rock duos Zombi, and Contact. Decidedly more dance-oriented than Zombi, Majeure combines the dark Moog-driven film scores of Vangelis with the relentless drive of Can and the transcendent minimalism of Steve Reich and Philip Glass.
Geo Rip is John Jones (Dope Body, Nerftoss) with Aaron Leitko and Mike Petillo (Protect-U). Mulched samples and electronics improvised live in concert. Transcendent and grotesque. Crashed rhythms for crashed times.
Dr. Tara Rodgers (Analog Tara) is a multi-instrumentalist composer and historian of electronic music. She is the author of Pink Noises: Women on Electronic Music and Sound (2010) and numerous articles on the history of sound and synthesizers. Her music, from analog techno to generative sound installations made with SuperCollider, has been presented around the U.S. and internationally.
In the Warsaw-based Glissando magazine, Marta Beszterda writes:
“One of the conference’s great assets was that multiple stakeholders were called to participate in an effort to answer the big questions about diversifying the music industry. Participants included festival curators, artists, decision makers and institutions, as well as researchers and scholars (Marie Thompson’s presentation on the sonic cyberfeminism and Analog Tara’s presentation on the feminist movement in electronic culture were definitely some of the symposium’s highlights). …
What particularly stood out for me with regard to the need for diversity and intersectionality in electronic music industry, was Analog Tara’s keynote presentation … where she explained that acting for gender diversity in electronic music is inherently intertwined with the issues of personal and social identity, wider cultural experience as well as racial and economic justice. As she said: (…) ‘creative expression is an embodiment of freedom. And more often, creative expression embodies many different dreams or yearnings that move in the direction of freedom. And we need as many different dreams of freedom as we can get.'”
From Ithaca, NY-based label VF Industrial: “a pretty amazing album by the one and only Analog Tara Rodgers for your listening pleasure… quite possibly one of my favorite discs of the year.”
A 20-minute album of ambient, algorithmic soundscapes combining piano performance with recordings of vintage modular synthesizers.
She Recalibrates (2018) is a series of drawings by the London-based artist, Aura Satz, featuring the hands of women who contributed to the development of electronic music, including Pauline Oliveros, Laurie Spiegel, Eliane Radigue, Delia Derbyshire, Daphne Oram, Maryanne Amacher, Wendy Carlos, Tara Rodgers and more.
Aura Satz’s Listen, Recalibrate solo exhibition runs at Fridman Gallery, 169 Bowery, NYC, November 7–December 14, 2018. Learn more and download the exhibition catalog at the Fridman website.
INSERT [coda] HERE (2015) with Sharon Mansur (performance), Tara Rodgers (music), and Brian Harris (photography, edit) plays at the Oregon Cinema Arts Film Festival, 5th Avenue Cinemas, Portland, August 17-18, 2018.
In August 2018, Routledge published Andrew Hugill’s 3rd edition of The Digital Musician, an “introductory textbook for creative music technology and electronic music courses. Written to be accessible to students from any musical background, this book examines cultural awareness, artistic identity and musical skills, offering a system-agnostic survey of digital music creation. Each chapter presents creative projects that reinforce concepts, as well as case studies of real musicians and discussion questions for further reflection.”
Read the interview with Tara Rodgers and access other artist case studies online.