“The hardcore aesthetic is inspiring, informing and liberating a diverse generation of artists, yet the scene itself is still massively male-dominated… Historically there have been very few women in hardcore; so few you could count them on your fingers. According to Bianca Ludewig, hardcore scholar and member of the female:pressure network, this has translated into a lack of female role models which are needed to bring more women artists into the scene… “scholars, like Tara Rodgers, have shown how women are getting systematically written out of music history, and as a woman you need some inspiration through role models to show that it’s normal as a woman to be a DJ or musician.””
Jonathan Williger writes that DC has “a thriving underground community of musicians exploring adventurous, left-field, and avant-garde forms of electronic music, jazz, rap, and punk… There is a refreshing lack of barriers between these worlds, and a spirit of collaboration that exists across genres.”
“Rodgers’ approach varies widely from release to release, performance to performance, spanning electro-acoustic drift, atmospheric techno, and sublime layers of droning synth… These days, she’s working on a new techno release and workshoping new ambient compositions around DC.”
“Tara Rodgers es una de las teóricas fundamentales con respecto a la relación entre feminismo, tecnología y sonido. … La propuesta de Rodgers se dirige a pensar la posibilidad de establecer encuentros entre lo humano y la tecnología desde el desplazamiento de la supuesta familiaridad hacia la otredad que genera la electrónica. Esos cuerpos situados que propone lo que vibra, más allá de la imposición de lo visual, implicaría también otra forma de relación entre cuerpos que posicionaría cualitativamente el cuerpo femenino en otro lugar con respecto a la tecnología. Frente a la lectura futurista que une la novedad de los ruidos con la violencia de su aparición, Rodgers rastrea formas de fascinación a través del sonido. La labor sería “escudriñar cómo la electrónica puede (o falla en) expresar posibilidades para encuentros más imaginativos y éticos entre la tecnología y la diferencia” (mi énfasis).”
Analog Tara / Fundamentals is a finalist for Best Electronic/Techno Artist at the 2019 Wammie Awards. Wammie Weekend at the Lincoln Theatre is March 30-31, 2019.
Thank you to The MusicianShip and the Washington, DC music community for your support!
MailTape releases a playlist every Sunday morning, co-curated with a guest.
On January 13, 2019, Analog Tara joins MailTape for a set that also includes Sarah Vaughan, Moodymann, Jeff Mills, Dawn of MIDI, Jlin, Moor Mother/King Britt.
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.
Listen to FACT’s Deep Inside: The Best House and Techno of 2018.
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.'”
“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.”
“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…”
“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