Welcome to the web home of Tara Rodgers (Analog Tara). I am a multi-instrumentalist composer and historian. I’m originally from upstate New York and now based in the Washington, DC area.
My music spans jazz piano performance, techno and electronic dance music production, electroacoustic composition, and computer music made with SuperCollider. I’ve also written about the cultural history of sound and music technologies. Occasionally I do lectures and workshops on topics in electronic music history and practice. Contact me using this form.
Analog Tara – Fundamentals EP
“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.” — NPR Music
“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.” — The Washington Post
Sketches with Piano + Analog Noise
“Rodgers’ approach varies widely from release to release, performance to performance, spanning electroacoustic drift, atmospheric techno, and sublime layers of droning synth. sketches features sinuous, jazz-inflected improvisations on grand piano, augmented with layers of buzzing, skittering analog electronics.” — Bandcamp Daily
Tara Rodgers – Pink Noises (Duke University Press)
“A modern mainstay of feminist electronic music discourse.” — NPR Music
“[Pink Noises] was and is an absolutely singular undertaking which has staked a claim to changing the ways in which we think about electronic music.” — Cycling ’74
“One of the most fascinating writers on the topic of gender and electronic music history… Pink Noises is a must for any electronic musician.” — LANDR
“[Pink Noises] challenges us to listen differently, and more musically, to the electronic musics these women have made.” — International Alliance for Women in Music
“Feminist and queer musicology in the U.S. has [an] established presence… and Rodgers is one of its most interesting voices.” — The Wire