miley cyrus and the wrecking ball is amaze. hate b gone.

Did not understand all the language and terminology in this essay but feel the over all positive message you are portraying on our behalf. Thank you ❤️

Sorry forgot to put name ❤️ VEGAN VOCALIST

I admire your courage to give such a wonderful and much needed speech in front of an audience ❤️ VEGAN VOCALIST

Saturday 01.02.2014, CTM 2014 – Dis Continuity, Berlin

Lectures & panel discussion with Sadie Plant (UK/CH), Susanne Kirchmayr (AT), Fender Schrade (DE), Marie Thompson (UK. Moderation: Annie Goh (UK/DE)

Recent discourse on the subject of women and electronic music falls tendentially into two categories; either writing forgotten histories of pioneering work of women such as Daphne Oram, Elaine Radigue, Delia Derbyshire, Pauline Oliveros, Maryanne Amacher amongst many others, or with reference to the recent statistics via female:pressure, highlight the huge quantitative discrepancies between male and female musicians, DJs and producers represented at labels and music festivals worldwide. Whilst both can be considered worthwhile approaches in their own right, the former approach risks creating fetishized figures of "patchbay nuns" (Abi Bliss) and the latter finds hostile responses and risks ostracization in its own field. In both, one fundamentally important aspect remains overlooked - Judith Butler formulated this as the necessity not only to inquire how the category of “women” might become more fully represented - for example here in music -, but also crucially to understand and critique the very categories and structures of power in which these discourses operate.

Taking root from an abstract ontological level, in which binary categories of sex and gender have long been refuted (biologically as well as culturally), the panel aims to assess the interactions between sound, gender and technology from various philosophical and artistic positions. The widely discussed "cyberfeminism" borne in the early 1990s questioned the perpetuation of technology as a male-dominated domain, whilst also inciting digital culture as an ideal flourishing ground for subversive strategies. Though the relationship of this purported digital utopia never largely or explicitly addressed sound, it shares dimensions in its affective power as well as non-linear, decentralized and unhierarchical characteristics. 

After approximately two decades since cyberfeminism boomed - how can we assess the cyberfeminist dream of the subversive potentialities within technology in the current status quo? How does an inquiry into the nature of sound tally to the broader aims of cyberfeminism? Does a gendered understanding of technology and sound technologies help the dismantling of the structures which form sound, gender and technology today, or does it perpetuate these? Referring to both levels of feminist activism and feminist theory outlined above, as well as the dual tendencies within cybernetics towards order and chaos at the core of cyberfeminism – what can be identified as continuity and discontinuity in the structures of sound, gender and technology?

CTM 2014: Sound, Gender, Technology – "Where to" with Cyberfeminism?

Electroménager invite two special guests for their november show on Rinse France: Amsterdam based DJ and radio host Jasmìn, and the New York based photographer and techno DJ, Sam Clarke !

Rinse France Podcast

Electroménager avec Jasmín & Sam Clarke - 25 Novembre 2023

Bank NYC is very excited to present the definitive statement of Collector, "No Prospects". Collector is the solo guise of Jason Campbell, resident of Newcastle, Australia. Since 2014, Campbell has been channelling the industrial malaise of his hometown through his unique take on heavy electronics. After a series of releases on global-spanning labels such Steel City Dance Discs (UK), Nice Music (AUS), Clan Destine (SCO) & Night People (US), the debut long-player for Bank NYC finds Collector embracing true album form for the first time in his discography. Across eight pieces, Collector delivers a bleak sonic narrative via a hardware-only approach to production: Analog drum machine patterns are intricately intertwined with menacing synth lines, and driving bass is met with the unrelenting clatter of tightly-sequenced field recordings taken straight from the heart of local industry.

Thematically, "No Prospects" navigates the downfall of Newcastle's BHP Steelworks at the end of the 20th century. Acknowledged widely as the largest de-industrialisation event in Australian history, the closure of the Steelworks in 1999 marked a dramatic cultural shift where blue-collar vocations were vanquished due to an economic slump, and were consumed by the trending cosmopolitanism seen in adjacent cities. "No Prospects" draws on Campbell's family lineage in the Newcastle's steelworks, providing a rich, personal context to an industry that both gives and takes away. The sharp intensity of the album is sustained by dramatic shifts in pace: the devestating slow burners of 'Two From Five' and 'Ricochet' are instinctually offset by the frenetic 'CFT' and 'Workers Club Collapse', which showcase Campbell's no-nonsense approach to shaping an almost club-ready breed of modern industrial techno. Although diverse across both sides, cohesion is found in Campbell's toolkit of samples that are unmistakably Collector. The album's eponymous track, 'No Prospects', serves as an introspective centrepoint - a largely arrhythmic excursion shrouded in familiar brooding, textural drones, and underpinned by the chug of machinery on the brink of collapse.

Although forever indebted to the spirit of local electronic outcasts, Bloody Fist Records, Collector's "No Prospects" is a remarkably distinct statement straight from the heart of Australia's Steel City. The complexity of arrangements speak to Campbell's long association in experimental music communities, whilst the persistent feeling of dread conveys a uniquely regional story of decay and futility. Pure Novocastrian industrial electronics.

No Prospects

Collector - Gauze (BNK-040)

brutalist poem is an exploration of Eastern Europe's electronic music ethos. The set presents a raw, unfiltered journey showcasing both local talents and those carrying their heritage in their beats - embodying the resilience and boundless creativity of this region.

www.operator-radio.com

brutalist poem w/ silver pearl - 9th January 2024

Clay Louis (@clay_louis) turns in a storming power-hour for MIX011. The Tāmaki Makaurau-based artist showcases his unique and eclectic style with clinical precision. 

Special thanks to
Zero Plussed / Commander Cambo (@commander_zeroplussed) and the rest of The Dojo crew

For bookings
claylouis@protonmail.com

Live from Twisted Frequency Festival
Tākaka, Aotearoa
for The Dojo
2300—0000 
Rāhina 1 Kohitātea
Zoom H4n Pro


Design by Freddie Williamson
Type ROM by Seb McLauchlan
Handstyle by Freddie Williamson 

© Racquet Club 2024

Mix Series 011 — Clay Louis

This is a guest mix by https://soundcloud.com/vlennes on Stegi Radio.

_Tracklist_

Le Motel - Sueños
Braian - El Bolero de Raquel
ROOi ft. Jaijiu - Agite
Galtier - Bruised, but Not Broken
Yilan ft. Ren - Ark
Don Zilla - Shots
Sorcery - Orbature
Felix K - Earth (Deconstruction by Forest Drive West)
C. Coiffure - Tongue Tied
Lara Sarkissian - In The Form Of A Sphinx
Jlin - Holy Child
Raime - Cold Cain
Lurka - Beater (Stenny Remix)
D-ΞR-ꓕꓛΠꓤꓕS - HPNC-0R64-4 - 05 -=4-R`-TLK
Gal Bashir - Pireas Kifisia
BOX CRUISE - XE D# 34 APASS OVER
ANGEL'S CORPSE - OPTIMUM GAS

Ice_Eyes_w_Vlennes_STEGI_RADIO_210224

Don't forget to keep it real


﻿Ici Nast pour un nouvel episode d’Easy Life.
Je suis trop ravie d’inviter ma reus MÀNAA pour ce mois qui marque le début du Ramadan

Mânaa est une artiste suisse-marocaine basée à Zürich, qui évolue depuis plus de 7 ans sur la scène alternative.

Touche à tout DJ, curatrice et résidente sur osa radio avec « Time to heal », elle nourrit son travail musical de l’histoire, de la mémoire et des émotions. Sa pratique se raconte au rythme d’une musique qui fusionne, aux influences bass et électroniques, la sensibilité du RnB et l’énergie des musiques populaires actuelles.

Fondatrice du collectif VOUS ETES REUS ?, elle offre des espaces de programmation et d’expression aux voix marginalisées de la musique.

Véritable reflet de son engagement en faveur de l’amour et de la diversité, ses soirées sont l’occasion de rencontres inoubliables entre projets sonores émergents et talents internationaux.

L’occasion pour moi de la remarcier pour son travail, sa force et sa présence sur notre scène, je l’avais dit au pour le select mais sans elle la scène culturelle suisse serait encore plus un entre soi blanc, elle est au front pour nous toux et j’ai un respect immense pour son engagement et sa force à péter tout les plafond de verre.

NVST EASY LIFE avec MANÂA - 11 Mars 2024

Know V.A. presents Strange Days, a monthly residency at Echobox. Experimental electronics that are rooted in club music, ranging from hard dance to ambient. Strange Days is hosted by duo Know V.A. - occasionally inviting guests that are involved in the experimental club scene.

This months show; Traumgarten founder Vox supreme (https://soundcloud.com/voxsupreme) goes b2b with hosts Know V.A. - turning into a genre-bending hour of hard hitting bangers for solidarity.

more info ☆

Strange Days #9 - Vox supreme b2b Know V.A  - Echobox 24/11/23

Pink.wav is blissfully roaming sounds and vibes yearning for collective manifestations as a Greek DJ and artist based in Athens. Her journey keeps unfolding; from playing among friends and introducing herself through novel communities to sharing stages with renowned artists for some of the most important festivals in Greece.

From Athens to Brussels with love w/ pink.wav @ Kiosk Radio 19.03.2024

DjSport brings you on the steep slope for an hour of intense ski jumping.

Tracklist: www.radioflouka.com/shows/ski-jumping-with-djsport-22-03-2024

Ski jumping with DjSport 22/03/2024

Release Date: 090424
Artist: SAM CLARKE
Courtesy of the Affix Broadcast Network

ABN110424 SAM CLARKE

Berlin’s CTM Festival supports an open, networked, mutually-collaborative, global music culture through its yearly 10-day festival as well as countless collaborative and research initiatives, co-commissions, concerts, and other constantly-evolving formats. The 2 decades old festival stands out for its conscious pairing of daring artistic content and adventurous club experiences with an in-depth discourse programme, framing today’s sounds and music cultures within a shifting, hybrid global society.

CTM 2014: Sound, Gender, Technology – "Where to" with Cyberfeminism?

CTM Festival

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