All posts by Feminatronic

I am an electronic musician who, as someone recently said to me, set up Feminatronic to act as "soft PR" for female electronic artists from all genres and styles. If I can give a little helping hand then why not?

Mutek + Elektra = EM15

a closer listen


The 15th edition of the venerable electronic music festival Mutek begins in Montreal Tuesday May 27, running until Junday June 1. Opening night features performances from Tim Hecker, Oneohtrix Point Never, and Kangding Ray (and many more), with the programming getting progressively clubbier as the week progresses, including long sets from Richie Hawtin, Ricardo Villalobos, and Nico Jaar.  What began as a small festival to show off Montreal’s best electronic musicians and foster the connections between Europe and North America has become one of the most anticipated and consistently innovative festivals in electronic music, having long since branched out to successful editions in Barcelona and Mexico City.

See the complete festival PROGRAM

This year Mutek have joined forces with (erstwhile rivals) Montreal’s Elektra festival of digital arts to jointly celebrate their crystal anniversaries. The Musée d’art contemporain de Montréal will serve as their HQ, one…

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“When I am writing, I am trying to find out who I am.”

How eloquent and a creative giant who had such poise and grace. Her words, although primarily about the written word, can be applied to music creation and this is why I am reblogging this article.

The Daily Post

Maya Angelou by Spanglej, CC BY-SA 2.0.Maya Angelou by Spanglej, CC BY-SA 2.0.

Words mean more than what is set down on paper. It takes the human voice to infuse them with deeper meaning.

Find a beautiful piece of art. If you fall in love with Van Gogh or Matisse or John Oliver Killens, or if you fall love with the music of Coltrane, the music of Aretha Franklin, or the music of Chopin — find some beautiful art and admire it, and realize that it was created by human beings just like you, no more human, no less.

There is no greater agony than bearing an untold story inside you.

The idea is to write it so that people hear it and it slides through the brain and goes straight to the heart.

When I am writing, I am trying to find out who I am, who we are, what we’re capable of, how…

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Wave Maker Magazine’s Farewell

Technically not an Electronic music site but one Curated and Edited by Charmaine and only discovered by me recently but I will be reading back posts. Really sad to hear the demise of another wonderful music blog.



Boy, oh, boy, where do I begin?

As you may have noticed, Wave Maker Magazine has been inactive since March 6, 2014. Since that time, I’ve been thrown into a maelstrom of unfortunate events, which have forced me to put W.M.M. on hold.

On March 12, 2014, my father passed away. I lacked the energy and motivation to do anything, so I trashed my untouched, but always growing, to-do lists and tucked my fat agenda under my bed. Saying “No” to being busy eventually gave me the opportunity to not only savor the time I had with my family and friends, but also savor the stillness and quiet that surrounded me as I grieved my loss. Unsurprisingly, it was also during this time when I realized that I could no longer stand the business of music, especially music journalism. I say “unsurprisingly,” because I knew that my passion for music journalism…

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SO! Reads: Susan Schmidt Horning’s Chasing Sound: Technology, Culture and the Art of Studio Recording from Edison to the LP

Sounding Out!

SO! Reads3 The recently published , Chasing Sound: Technology, Culture & the Art of Studio Recording from Edison to the LP is historian Susan Schmidt Horning ’s first book. Veering away from the usual sound recording suspects (like the phonograph), Chasing Sound shows how the studio and the audio engineer are central to the cultural and technological changes associated with the production and reproduction of sound.

According to Schmidt Horning, such changes were reflected in the shifting ideal of recorded music as a representation of live performance to the ideal of recorded music as a studio-engineered creation. Using the accounts of those responsible for recording sound, Schmidt Horning constructs a rich narrative that manages to be accessible while still focused on the highly technical work required of studio workers. That said, by focusing so heavily on user practices and anecdotes she misses an opportunity to engage with the theoretical implications of the…

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