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Indian E-music – The right mix of Indian Vibes… » Music


Carter the Unstoppable Sex Machine: how we made Sheriff Fatman

Delivered... Interviews by George Bass | Scene | Tue 19 Mar 2019 7:00 am

‘We used my flat’s rank toilet on the record sleeve with my guitar shoved into it – though I put a plastic bag over it first’

I had read about a dodgy landlord in the South London Press. The drug-dealing, the “phoney prescriptions”, the awful living conditions for his tenants: it was all in the newspaper, even his physical stature. All I had to do was change his name – and I’d turned an awful story into poetry and pop music.

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Music, fashion and town planning: how nightclubs change the world

Delivered... Anna Codrea-Rado | Scene | Mon 18 Mar 2019 1:37 pm

From architecture to drug policy, nightlife quietly incubates ideas that then flourish in the mainstream. But, with brands moving in, club-cultural innovation is under threat

In the popular imagination, nightclubs are sweaty basements providing a soundtrack to drunken fumbles in the dark; an alien world with no connection or relevance to the more wholesome things that happen during the day. But the reality is that anyone with an Instagram account, a fashion magazine subscription or an interest in social activism is ultimately engaging with club culture. Nightlife is like an angel investor in pop culture, silently incubating grassroots movements and social moments, and since the first iterations of the disco, clubs have been a breeding ground for cultural experimentation.

To avoid disappointment get down early if you are buying a ticket or on the guestlist. Ideally before 12! Reminder that there is no pressure to dress up tonight!! Come as you feel

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Stephen Malkmus: Groove Denied review – stark, forbidding soundscapes

Delivered... Phil Mongredien | Scene | Sun 17 Mar 2019 9:00 am

(Domino)

With a couple of honourable exceptions – specifically his self-titled 2001 solo debut and last year’s excellent Sparkle HardStephen Malkmus has too often during his post-Pavement career found himself bogged down in amorphous, sub-Grateful Dead jams. Indeed, Frank Black aside, it’s hard to think of a solo canon that’s been quite so consistently underwhelming.

Which makes this long-delayed adventure in electronica such a surprise. In fact, it’s such a radical departure that his record label initially refused to release it – hence the title. Largely written in Berlin and recorded alone at home in Oregon, its stark and forbidding soundscapes owe much to the early-80s synth movement, the likes of opener Belziger Faceplant far more concerned with texture than melody; the deadpan A Bit Wilder, meanwhile, could be a mechanically recovered New Order offcut, circa 1981. Curiously, this bold new direction isn’t sustained; the further into the album Malkmus gets, the more normal service resumes, as if he isn’t entirely convinced of his new direction. Forget Your Place’s loops and treated vocals recall the Beta Band at their wooziest; Come Get Me sounds like a flab-free demo version of one of his Jicks songs; Ocean of Revenge, for all its flirtation with drum machines, is an unashamedly lovely acoustic ballad. It doesn’t make for a particularly cohesive album, but perhaps that’s the point.

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The Cinematic Orchestra: To Believe review – heartbreakingly brilliant

Delivered... Damien Morris | Scene | Sun 17 Mar 2019 8:45 am

(Ninja Tune)

I’ve always found the Cinematic Orchestra too pretentious, too austere, a band whose ambitions outran their abilities. With this fourth album, 12 years after their last, that austerity is over. To Believe is heartbreakingly brilliant: a collection of exquisitely assembled songs that appear delicate from a distance before revealing a close-quarters core strength. Band leaders Jason Swinscoe and Dominic Smith have loosely arranged seven lightly jazzy tracks around the themes of belief and what it means to believe. Much as the pair attempt to make movies with their music, the best song has no dialogue: the meandering instrumental Lessons is a glorious balm, nine minutes of murmuring conversation between the players, dominated by Luke Flowers’ gently military drums. It has depth and meaning without context, the ideal soundtrack to a film that doesn’t exist. The sweeping grandeur of A Caged Bird/Imitations of Life is another cinematic collaboration with the always articulate and engaging Roots Manuva, a sort-of sequel to the epic All Things to All Men, and just as good. Every song here could easily be five or 10 minutes longer. A triumph.

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The BBC cutting Late Junction is a blow for experimental music

Delivered... Luke Turner | Scene | Fri 15 Mar 2019 5:22 pm

The Radio 3 show dropping from three nights a week to one deprives audiences of musical diversity and removes a vital lifeline for left-field musicians

At the end of February, hundreds of people packed into the artfully dilapidated surroundings of Earth, a former art deco cinema in east London, for the inaugural Late Junction festival. Over two sold-out nights, it showcased exactly the kind of programming that makes BBC Radio 3’s flagship experimental music show great: a stunning set by revived post-punk pioneers This Is Not This Heat; the fractured state-of-the-nation techno of Gazelle Twin; the first ever performance by doom-jazz troupe Pulled By Magnets; and a new project featuring singer Coby Sey and Under the Skin soundtrack composer Mica Levi.

Related: Thurston Moore, Holly Herndon and more on today's musical underground

Related: Lullabies for air conditioners: the corporate bliss of Japanese ambient

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The Cinematic Orchestra: To Believe review – soundscape originators’ accomplished return

Delivered... Rachel Aroesti | Scene | Fri 15 Mar 2019 10:30 am

(Ninja Tune)
The sound of TCO’s tasteful electronica has become ubiquitous. This new album isn’t experimental or idiosyncratic enough to stand out

Even if you believe yourself to be unaware of the Cinematic Orchestra, the London collective formed in 1999 by Jason Swinscoe, you will more than likely be familiar with one of their songs. To Build a Home – a spare and exquisitely beautiful piano ballad featuring the Canadian musician Patrick Watson – has become a TV score standard in the decade since its release, soundtracking a slew of blockbuster dramas. Yet while the song’s ethereal melancholy has proven enduring, its makers have dipped out of view in the intervening years. To Build a Home was the opening track on the Cinematic Orchestra’s 2007 record Ma Fleur – until now, the last proper album they released.

That makes To Believe a comeback of sorts, an opportunity for the 20-year-old group to restate their relevance. To those ends, Swinscoe has described the album as a contemplation on belief in the age of Brexit. Yet while the verbose track titles hint at lofty ideas, the songs don’t so much pin down and interrogate our modern malaise as transpose it into wilful abstraction. Sonically, meanwhile, the topic leads the group to set up camp in the space between their second and third albums – the former ominous, jazzy, trip-hop-informed; the latter a prettier, more wistful collection of featured-artist crooning. At one end of the spectrum is A Caged Bird/Imitations of Life, which sees the group reunite with Roots Manuva – who guested on their edgy, expansive 2002 track All Things to All Men – for a mellower collaboration. To Believe’s titular opener, a pared-down vehicle for Moses Sumney’s soft, airy and soaring vocal, cleaves most closely to Ma Fleur’s style, but can’t quite recapture its muted majesty.

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Karen O & Danger Mouse: Lux Prima review – complex and lingering

Delivered... Ben Beaumont-Thomas | Scene | Fri 15 Mar 2019 10:00 am

(BMG)
The Yeah Yeah Yeah’s frontwoman shines beyond her signature yelp on this cinematic, subtle album

After lucratively manning the boards for a series of big pop names in recent years – Red Hot Chili Peppers, Adele, Portugal, The Mancorrect et al – Danger Mouse delivers what feels like more of a passion project. It’s reminiscent of another of these, his 2011 album Rome with composer Daniele Luppi: both are heavily influenced by Ennio Morricone’s compositional style of pattering drumbeats and sweeping strings. His cinematic ambition is foregrounded in the opening title track, a nine-minute symphonic pop suite centred around a theme that is revisited on the closing Nox Lumina, and, truth be told, isn’t particularly exciting. It serviceably denotes grandeur and romance but without any real melodic invention.

Where the album comes alive is with more traditional songwriting, anchored by Yeah Yeah Yeahs frontwoman Karen O, who co-writes throughout. Her image in the popular imagination – a makeup-smeared sex banshee – does her a disservice: she has huge emotional and textural range, something that the handsome production helps to foreground here.

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Visualize pitch like John Coltrane with this mystical image

Delivered... Peter Kirn | Scene | Wed 13 Mar 2019 3:12 pm

Some musicians see Islamic mysticism; some the metaphysics of Einstein. But whether spiritual, theoretical, or both, even one John Coltrane pitch wheel is full of musical inspiration.

One thing’s certain – if you want your approach to pitch to be as high-tech and experimental as your instruments, Coltrane’s sketchbook could easily keep you busy for a lifetime.

Unpacking the entire music-theoretical achievements of John Coltrane could fill tomes – even this one picture has inspired a wide range of different interpretations. But let’s boil it down just to have a place to start. At its core, the Coltrane diagram is a circle of fifths – a way of representing the twelve tones of equal temperament in a continuous circle, commonly used in Western music theory (jazz, popular, and classical alike). And any jazz player has some basic grasp of this and uses it in everything from soloing to practice scales and progressions.

What makes Coltrane’s version interesting is the additional layers of annotation – both for what’s immediately revealing, and what’s potentially mysterious.

Sax player and blogger Roel Hollander pulled together a friendly analysis of what’s going on here. And while he himself is quick to point out he’s not an expert Coltrane scholar, he’s one a nice job of compiling some different interpretations.

JOHN COLTRANE’S TONE CIRCLE

See also Corey Mwamba’s analysis, upon which a lot of that story draws

Open Culture has commented a bit on the relations to metaphysics and the interpretation of various musicians, including vitally Yusef Lateef’s take:

John Coltrane Draws a Picture Illustrating the Mathematics of Music

Plus if you like this sort of thing, you owe it to yourself to find a copy of Yusef Lateef’s Repository of Scales and Melodic Patterns [Peter Spitzer blog review] – that’s related to what you (might) see here.

Take it with some grains of salt, since there doesn’t seem to be a clear story to why Coltrane even drew this, but there are some compelling details to this picture. The two-ring arrangement gives you two whole tone scales – one on C, and one on B – in such a way that you get intervals of fourths and fifths if you move diagonally between them.

Scanned image of the mystical Coltrane tone doodle.

Corey Mwamba simplified diagram.

That’s already a useful way of visualizing relations of keys in a whole tone arrangement, which could have various applications for soloing or harmonies. Where this gets more esoteric is the circled bits, which highlight some particular chromaticism – connected further by a pentagram highlighting common tones.

Even reading that crudely, this can be a way of imagining diminished/double diminished melodic possibilities. Maybe the most suggestive take, though, is deriving North Indian-style modes from the circled pitches. Whether that was Coltrane’s intention or not, this isn’t a bad way of seeing those modal relationships.

You can also see some tritone substitutions and plenty of chromaticism and the all-interval tetrachord if you like. Really, what makes this fun is that like any such visualization, you can warp it to whatever you find useful – despite all the references to the nature of the universe, the essence of music is that you’re really free to make these decisions as the mood strikes you.

I’m not sure this will help you listen to Giant Steps or A Love Supreme with any new ears, but I am sure there are some ideas about music visualization or circular pitch layouts to try out. (Yeah, I might have to go sketch that on an iPad this week.)

(Can’t find a credit for this music video, but it’s an official one – more loosely interpretive and aesthetic than functional, released for Untitled Original 11383. Maybe someone knows more… UMG’s Verve imprint put out the previously unreleased Both Directions At Once: The Lost Album last year.)

How might you extend what’s essentially a (very pretty) theory doodle to connecting Coltrane to General Relativity? Maybe it’s fairer to say that Coltrane’s approach to mentally freeing himself to find the inner meaning of the cosmos is connected, spiritually and creatively. Sax player and astrophysicist professor (nice combo) Stephon Alexander makes that cultural connection. I think it could be a template for imagining connections between music culture and physics, math, and cosmology.

Images (CC-BY-ND) Roel’s World / Roel Hollander

and get ready to get lost there:

https://roelhollander.eu/

The post Visualize pitch like John Coltrane with this mystical image appeared first on CDM Create Digital Music.

50 great tracks for March from Tierra Whack, Hayden Thorpe, Squid and more

Delivered... Ben Beaumont-Thomas and Laura Snapes | Scene | Wed 13 Mar 2019 12:30 pm

Punk-funkers Squid step on the gas, Jessie Ware moves left of centre and Tierra Whack breaks the one-minute mark – read about 10 of our favourite songs of the month, and subscribe to the 50-track playlist

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Watch My Panda Shall Fly play KORG volcas with bits of metal

Delivered... Peter Kirn | Artists,Scene | Mon 11 Mar 2019 6:08 pm

“Play your KORG volcas with bits of metal instead of your fingers” isn’t one of the Oblique Strategies, but maybe it ought to be.

Sometimes all you need for some musical inspiration is a different approach. So My Panda Shall Fly took a different angle for a session for music video series Homework. Since the volca series use conductive touch for input, a set of metal objects (like coins) will trigger the inputs. Result: some unstable sounds.

I mean, maybe it’s just all part of an influencer campaign for Big Coin, but you never know.

My Panda Shall Fly is a London based producer covering a wide range of bases:

And he’s done some modular loops. We’ve seen him in these here parts before, too:

Artists share Novation Circuit tips, with Shawn Rudiman and My Panda Shall Fly

The post Watch My Panda Shall Fly play KORG volcas with bits of metal appeared first on CDM Create Digital Music.

Badgers, coke and Zac Efron: why Hollywood gets club culture wrong

Delivered... Leonie Cooper | Scene | Sat 9 Mar 2019 11:00 am

The life of the DJ is often presented as a utopia on screen. Can Idris Elba’s new show Turn Up Charlie buck the trend?

Vacant-looking women in bikini tops. Huge fluffy mountains of cocaine. Pretty people gently rutting on a brightly lit dancefloor. No sweat. No shirts. No one over 30. Congratulations! You are watching a film about dance music and DJ culture! Yet anyone who has ever been to an actual club will know that the chasm between what we see in movies and on television compared to the real experience of being in a sticky warehouse in Hackney Wick at 1am on a Friday night is vast. From the lurid It’s All Gone Pete Tong and glossy We Are Your Friends to the pilled-up gurn-fest that is Human Traffic, we have had well over two decades of clubbing on our screens, yet it is rarely depicted truthfully.

Evidently, there is something about the role of a DJ that is impossible to capture, but the new Netflix comedy series Turn Up Charlie, starring Idris Elba as a washed-up garage DJ, comes closer than most. That’s mainly because Elba’s character is far from a major player. There are no sold-out shows at Printworks, weekly residencies at Phonox or headline slots at Dekmantel for Charlie. Instead, Craig David pities him, he does wedding sets for £50, dosses about with his perma-stoned sidekick – played by Man Like Mobeen’s Guz Khan – and ends up as a nanny for a spoilt 11-year-old whom he takes to Cyberdog instead of the cinema.

Related: Kill Your Friends review - Nicholas Hoult is a poor man's Patrick Bateman in tiresome comedy

Related: Eden review – the perfect mix of music and melancholia

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Mournful drone sounds of a repurposed HP test device

Delivered... Peter Kirn | Scene | Fri 8 Mar 2019 6:44 pm

Hainbach continues to make beautiful sounds with esoteric or forgotten gear – this time, the “saddest drone machine,” a used HP 3782A Error Detector telco device.

It’s wonderful sometimes the things esoteric gear makes. In the earlier, more analog age, a lot of telecommunications worked in the audible spectrum with tones you can hear. In this case, this HP device produces a set of patterns that sounds surprisingly musical, if melancholy:

Hainbach doesn’t include the description, but surprisingly a quick search suggests people still repair and use these devices. Oh yeah, and these actually work on digital equipment, but in audible-range patterns:

The HP 3782A Error Detector used with a HP 3781A Pattern Generator forms a flexible, high-performance error measuring system for digital transmission equipment in the CEPT digital hierarchy. They provide 2, 8, and 34 Mb/s interfaces and binary ECL operation up to 50 Mb/s. Automated or remote measurement capability with HP-IB. Measurements can be made on all types of digital transmission systems including cable, digital radio, satellite, and lightwave. The pattern generator provides a wide range of test patterns including PRBS for simulating live traffic and shorter WORD patterns for checking pattern sensitivity in transmission equipment. Binary and code error injection capability is included for stress-testing line terminating equipment. A jitter modulation input is provided to add controlled amounts of jitter to the output test pattern and perform jitter tolerance tests on equipment interfaces.

Sounds like a wholesome good time for the whole family.

More:

Keep the machines lit: https://patreon.com/hainbach
Questions and answers: http://reddit.com/r/hainbach
Chat: https://discord.gg/MUBp5AB

The post Mournful drone sounds of a repurposed HP test device appeared first on CDM Create Digital Music.

Design, meet music: gorgeous graphic scores from LETRA / TONE fest

Delivered... Peter Kirn | Artists,Events,Scene | Thu 7 Mar 2019 7:11 pm

Nine designers created graphics scores. Next, nine musicians will interpret them. LETRA / TONE festival is one of the more compelling experiments in festival programming – an adventure in crossing media. Here’s what it looks like.

Now, in these here parts, we’ve been fans of visual-musical synesthesia, from live visuals and VJing to graphics. LETRA / TONE makes that connection in the score. Curator (and composer/musician) Hanno Leichtmann had the idea. Five years ago, I covered one of the earlier editions:

Pattern and Design: A 2-Day Festival Turns Vintage Type into Musical Scores

The gathering has since blossomed to include a wide arrange of international designers and big-name (and fringe) musical artists across various instruments. There’s a complete exhibition and loads of concerts this weekend.

And you never know quite what you’ll get, because it’s up to these artists to determine how to translate the visual ideas they’re given into performances. This being Berlin, there are some major electronic artists – modular electro duo Blotter Trax (Magda and T.B. Arthur), turntablist Dieb 13, JASSS, Nefertyti, and DEMDIKE STARE are all involved. But you also get pianist Magda Mayas, and Schneider TM takes to experimental guitar, composer and avant garde rocker Jimi Tenor. Hanno has not only paired artists with musicians, but produced some arranged musical marriages, too – commissioning Blotter Trax, pairing Nefertyti with Jimi Tenor.

Graphic scores come from Katja Gretzinger, Anke Fesel, Scott Massey, Daniela Burger, Stefan Gandl, Joe Gilmore, Sulki & Min, Julie Gayard, and T.S.Wendelstein.

To bring a bit of this festival to you, here’s a selection of images from past editions (and current sketches) to show the visual range. You can imagine yourself how you might make music from these.

And snippets of 2019:

To give you a feel of the music, some selected artists:

JASSS:

Demdike Stare:

Blotter Trax:

Nefertyti (bad video but… I’m enjoying this punk aesthetic here):

Facebook event if you’re in Berlin this weekend:

https://www.facebook.com/events/2212145495720491/?active_tab=about

The post Design, meet music: gorgeous graphic scores from LETRA / TONE fest appeared first on CDM Create Digital Music.

‘Blackness will never go away’: how Solange takes pride in her roots

Delivered... Britt Julious | Scene | Wed 6 Mar 2019 3:47 pm

At an immersive, city-wide multimedia presentation of her new album When I Get Home, the singer-songwriter explains how her childhood home of Houston nourished her creative spirit

‘It’s one thing to think with your spirit,” says Solange Knowles. “It’s another to actually live it through your body.” The Solange of today works with feelings, grooves, and frequencies in mind. If A Seat at the Table, her breakthrough third album, was a lyrically dense record about the complexities and struggles of the black American experience, then When I Get Home, her latest release, is the sonic manifestation of that blackness. Staccato rhythms and meditative mantras – designed to ground and heal her after time on the road – ripple on through the bodies of her listeners. It’s an album about settling into familiarity: with yourself, the people around you, and the places one calls home.

At the SHAPE community center in the third ward of Houston last Sunday evening, the record comes to life during a screening of a film, also entitled When I Get Home, that Solange created and directed to accompany the album. Despite the celebrities in attendance, this isn’t a premiere. The album arrived days before, with the film launching simultaneously on Apple Music and the recently revived, early-internet social network Black Planet. Instead, it is a celebration of her return to her roots.

Thank you to alll of uuuu! I’m coming up for air and overwhelmed with gratitude for all the love U sharing. Thank you for always giving me the space to expand and evolve and express. For constantly opening up my world, and allowing me to show you my own new ones. I express for survival, for breath. This shit gave me so much joy to make! I wasn’t afraid. My body wasn’t either, even at times of uncertainty. I love and appreciate u guys infinitely. You make me feel safe and held even in this big big strange world. I can’t thank you enough. It’s been hard to answer where home is, hard to know if it’s past or future...this album and film is one stream of thought and reflection into answering that. I thank you for your time and energy experiencing it with meee. So much love!

my Sol-Angel... no one talk to me ever again

I’ll always be a black woman, and I’ll always create work from this black woman’s body

Related: Solange: When I Get Home review – lose yourself in Knowles' hazy vision

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Self care in the music business: reflections from Frankie of Discwoman

Delivered... Peter Kirn | Scene | Tue 5 Mar 2019 7:01 pm

We talk a lot about survival tips for the music industry, but rarely does that get into the personal. So the moment is right for Discwoman’s Frankie Decaiza Hutchinson to tackle music’s greatest obstacle: ourselves.

Frankie is the co-founder of Discwoman, with Emma Burgess-Olson (aka techno producer UMFANG) and Christine McCharen-Tran, as well as the booker for Bossa Nova Civic Club. Each of those projects has become influential, as Bossa has become a fulcrum for the new Brooklyn scene and a highlight of post-Bloomberg/Giuliani New York, and Discwoman a template for building a collective and booking business around women and non-binary artists.

Frankie is not a DJ or producer (“thank God,” she tells me), but I think it’s then even more relevant that she’s taken on a new role for Crack Magazine – advice columnist. (She’s taken on the role “Agony Aunt.”)

For instance, in the latest installment, she answers a Berlin (huh) writer who worries about comparisons and self-doubt. (Frankie even concedes she can struggle: “It’s completely irrational and I often feel like I’m falling apart but there’s very little space for me to fall apart as there are so many people dependent on my work so it’s a lot of pressure,” she responds.)

This is the thing we often don’t do in the music world – talk honestly about ourselves. The cost of that lack of honesty can be depression – and worse. So just as Discwoman’s motto, is “amplify each other,” emblazoned in enormous letters across their merch and even website, I think it’s high time music makers and the people working with music makers talk about things like – gulp – self sabotage. That can be devastating for people who seek music as a hobby or as a profession.

Frankie was kind enough to take time from her busy schedule at Bossa to answer some questions about that and building Discwoman.

You spoke to Crack a bit about handling social life and partying – then there’s the matter in this business of handling work and communication. I know these cycles can become really intense. And especially in a city like Berlin or NYC, it seems it can be really easy to get lost. How have you coped with that?

I fail at it all the time. I think that’s important to always say when you give an advice, I’m not just giving advice to the person asking me; I’m also giving advice to myself. I used to drink pretty much every single day; I’d often find myself at bars at closing time and making questionable decisions as a result. For me, everything shifted when I started becoming more interested in my work, i.e., Discwoman, and then there was more responsibility. I only really had one option: to not drink everyday and or go out everyday. It’s literally impossible for me to work if I’m hungover – and, in addition, my anxiety is horrendous. I quit weed recently, and that helped me dramatically. But I have routine relapses every now again, which fuck up my days.

It strikes me you’ve really built an extraordinary business around Discwoman. Has that really been about focusing on this existing roster? Or do you see diversifying important – is it important to have merch, for instance, for awareness or even for revenue?

Merch is important for both awareness and revenue; that’s literally how survive. My favorite part is definitely running our booking agency – I’m just so proud of it, honestly. It’s not perfect, but we built something from scratch that we felt was lacking: an agency that represents women/nonbinary talent. Our big vision is to keep on building the agency and perfect a home for even more talent.

You touch a bit on self doubt. I think from the outside, we’ve gotten to see Discwoman’s rise, its successes. I’m sure we don’t always see some of the challenges. Where we cases where you had to learn or adjust what you were doing?

At the beginning the language we used “female-identified” was not sufficient – and the term “female” is [itself] archaic and problematic. So we adjusted our language to be more inclusive and expansive. Now, we tend to use “women” and “non-binary.” But, again, being open to changing your language is part of the process of being inclusive, so no term is ever set in stone.

We’ve learned as we go. When we started the agency, none of us had any real experience; we just kind of made it up and learned on the job. [We were] taking contract templates and rider templates from the internet. There’s no one to really teach you those things, so we had to teach ourselves.

Photo courtesy Frankie Decaiza Hutchinson.

You’re managing a lot of social media for yourself and Discwoman, right? Do you ever find that can feed this sense of comparing yourself to others, or to some idealized sense of what you want to be? How do you manage that – especially since I would imagine in your role, isn’t it hard to unplug from all this media and communication? How do you hang onto yourself in those situations?

Absolutely; I feel jealous or shit about myself all the time, and social media compounds those feelings. But I rarely act on those feelings, and I try my best not to speak hatefully on my accounts, as honestly, it just gives me more anxiety. Like recently, I tweeted that I felt more non-black folks in the scene should have supported the black history event we did at Bossa, and I just felt really shit after tweeting it. Not because it’s not true, but because it mentally makes me spiral and become paranoid which is unnecessary, because the event was a great success. But sometimes I cant keep my mouth shut, ha!

I’m also definitely projecting a narrative into the world. I use my Twitter and Instagram as a storytelling device. For me, that’s fun and creative. I know people are critical of these mediums for being inauthentic, but that’s honestly not something I care about that much. People love to hate famous women on these apps for projecting a false representation of themselves; I personally find this critique extremely boring and short-sighted, which ends up targeting these women as scapegoats for a much bigger problem. Like the way Jameela Jamil’s popularized feminism really bothers me.

[Ed.: For more on that last comment, in case you’re curious about context, here’s one take from The Atlantic – there are others with similar sentiments.]

If you want to check out Frankie’s advice:

Dear Frankie: Tips on self-sabotage and finessing the life-club balance (latest episode, or check out the debut) [Crack Magazine]

Fader in 2017: We Need Discwoman

Let’s get some music here. Just as a sampling of who Discwoman have on their roster (apologies for my own Berlin bias)…

I’ve gotten to know Munich-born mobilegirl based on her great work for Staycore and unique take on production and DJing, including a dynamic high-powered set she played at the bottom of a well (really) when we were all part of Nusasonic Fesival in Indonesia:

Warsaw-to-Berlin artist VTSS has been doing some great mixes between industrial and acid, so I was already jamming out to this Newtype podcast this week:

Akua can mix techno that’s fast, weird, fast and weird… sold. More, please. Oh yeah, and this mix for Discwoman has a tracklist to go with it, as well as an interview. (Because tracklists are good.)

Actually, you know what, let’s throw in another Akua mix.

For another collective that comes from a background that’s more leftfield (and that’s based in Poland rather than New York, which makes for a different landscape), we’ve also talked to Oramics:

In Poland, a collective for women and queer artists becomes an agency

The post Self care in the music business: reflections from Frankie of Discwoman appeared first on CDM Create Digital Music.

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