SOUVENIR, Mika Oki, Filles de Blédards, River Yarra, Vazy Julie...One-OffTuesdays12PM - 1PM

As an echo to the 8th of March, OKO DJ has curated a series of podcasts about feminism through music, gathering the radiophonic pieces of 8 different artists and entities, from all over the globe.

Far from the colonialist image of Latin America as an exotic paradise always warm and
optimistic, this rare selection of obscure synth-pop, weird fusion grooves, industrial
soundscapes and early musique concrète from Chile and Argentina, reflects the melancholic beauty and harshness of southern urban decay. Buenos Aires-based Diamin (CL) and Fango (AR), founders of Family Affair DJ collective, outline an alternative retrospective of south american electronic sounds research from the 1960s to our present days.

Presque quarante ans après le film Born In Flames, quel est le constat ? Phoenix Ragazza Radio pirate les ondes de LYL avec un show avec une sélection de productrices actuelles entrecoupée d’extraits de films, témoignages de différentes époques.
Emission produite par Mika Oki, productrice et DJ basée à Bruxelles.

Claude de Bruits de la Passion prend la parole pour parler de Mysoginoir, autour d’une sélection musicale en lien avec son propos.
Mo-Mo-Motus ! Mysogynoir en 10 lettres.
Il ne s’agit ni de la dernière collection lingerie de Princess tam tam, ni même de la nouvelle saveur chocolat de Lindt.
La mysogynoir, c’est le fait de cocher plusieurs cases : celle d’être une femme et celle d’être noire (KEUMS!). A l’air du post #Metoo, du racisme assumé et de la Ligue du LOL, le féminisme prend plusieurs formes et plusieurs couleurs.
Parlons ensemble de racisme, de fétichisation, d’amour et de réconciliation avec soi-même…

“The turn of the millennium sparked fears globally of a technological fallout: computers would crash at the changing of a ’99 to a ’00, security systems would fail, the world’s nuclear stockpile would be triggered. The impending panic of inaccurate ordering of automated dating in digital systems spread its fear far and wide and came to be known as the Y2K bug.
On the under side of the world, in Australia, where most things arrive late, distorted or totally different to their original form, there were two women embracing analog and digital technologies in all their glory. Nicole Skeltys and Kate Crawford were better known as B(if)tek, a pioneering electro-femme outfit. Feminism with a wink and a bleep. Ladytron before Ladytron. Nicole’s eccentric solo project was Artificial – Hillbilly House – as she likes to call it.
River Yarra speaks to Nicole & Kate about their time as B(if)tek and Artificial paired with a 1hr mélange of the two women’s music.”

Here is the retranscription of their Q&A session:
Q: I read somewhere that B(if)tek started in Canberra (1.) Can you tell me how that came about?
Wikipedia says B(if)tek’s debut album “Sub-Vocal Theme Park” was released on Geekgirl, but wasn’t it on a German psy-trance label? Who is Geekgirl and what was your relation to them?

A: In 1996, when Kate and I realised our late night noodlings with analogue machines in my garage in Canberra had accidently produced enough material for an album, we approached our friend Rosie Cross to help us with the costs of pressing and promoting the CD. Rosie Cross was a digital feminist pioneer, she had set up the first on-line e-zine/site/blog for women into tech & tech related arts called Geekgirl. So Subvocal Theme Park was released in Australia thanks to her support and encouragement. But seems like it was only a few weeks after that, that we got contacted by a German trance label called Nephilim who wanted to release the CD in Germany and Europe. So we agreed to that too. To this day, I still don’t know how they found out about our obscure independent antipodean release. But I’m glad they did, because Subvocal got a cult following in Europe, and even just a few years ago, it reappeared at top of the electronic charts in Hungary!

Q: Most of your associated acts from the turn of the millennium seem to be males. At that time, were there any other female identifying musicians in your circles?

A: We were (and I still am) a member of a seminal electronic arts collective in Australia called Clan Analogue. It was (is) a collective of artists – mostly electronic musicians – who support each other and release own material, put on our own events etc. Yes, there were very few women doing electronic music production & performance back then, we were certainly the most successful in Australia at the time. But Clan had/has some great women artists & DJs like Sobriquet, Lush Puppy, Bass Bitch, Charlotte Wittingham (in Telemetry Orchestra), Cindi Drennan (in Tesseract). It was only after we’d released our second album 2020 in 1999, that Ladytron hit the scene – and are still going strong today. I sometimes quip that ‘we were Ladytron before there was Ladytron’.

Q: What do you feel your experiences in the music industry were stacked against your male counterparts?

A: Because we surrounded ourselves with – and often chose to perform with our friends in the electronic arts community, particularly Clan Analogue, there was a political awareness and aesthetic & intellectual support for what we were doing. We also had a lot of fun taking the piss out of feminine stereotypes in live performances – we used to dress up as nurses, space-age airline stewardesses, geishas, girl guides etc and hop around on stage. So that all worked well for us, but when we stepped outside of that cognoscenti electronica world, we sometimes came face to face with the reality of male dominated rock. We were one of the support acts for the 1999 Beastie Boys Australian tour, but the first night we appeared on stage in nurses outfits, we got harassed and leered at by the mass of ‘right to party’ boys in the front row who didn’t get us (or indeed what the Beastie Boys then stood for). So we dressed in ‘normal’ clothes for the rest of the tour.

Q: In your 2020 album, were you imagining what the future might hold and how close are we to your predictions?

A: Ha ha! I was asked that last week in an interview for a forthcoming documentary about Australian electronica in the 20th century. And my response was/is – if you look at the cover of 2020, you see a lovely girl against a retro-futurist ‘life in space’ background, looking at her smart watch/ gadget – possibly for inspiration. And I can guarantee, that we are on track to next year looking EXACTLY like that. Not only that, but back in 1999, there was no 2020 – but very soon, there will be. How spooky is that? We were always ahead of our time…

Q: Your 3 albums are all quite different while still retaining the same analog vision. What influenced your genres and what did the change between them look like?

A: Subvocal was just a glorious outcome of innocent noodlings and experimentation in a Canberra garage, dark, brooding, cinematic, a bit magical. Canberra feels pretty remote, and we used to play a lot in our own forest parties late at night, so perhaps the music reflects some of that atmosphere. 2020 was more upbeat, perhaps reflecting the fact that by then we were in demand to play at clubs, raves and festival dance stages across the country. Our final album Frequencies Will Move Together was quite heavily influenced by Boards of Canada at the time, and we also had the pleasure of asking some of our local and international friends (like Monolake) to do remixes for the 2nd album in this double album release – thanks to a generous grant from the Australia Council.

Q: You played some live performances on SBS (2.) and won an ARIA (3.) for best dance record in ’99 How did that arise? – In the same year’s hottest 100 the only dance song in the top 10 was Fatboy Slim’s “Praise You”

A: Yes, we were on TV a fair bit from about 1999 – 2001 – including Saturday morning Video Hits show, which was kind of the Australian equivalent of Top of The Pops! We were nominated for best dance act that year, but didn’t win. However, that inspired us to set up own own awards to reward artists who were genuinely pushing the aesthetic boundaries, taking risks and had a political conscience. The WINK awards ran for 3 years, and were funded from our own pockets, with some equipment & venue support from the Australian Centre for the Moving Image. We gave away cash prizes, had a proper ceremonies with hundreds of attendees, & provided each lucky winner with custom made lightbox awards designed by a local craftsman. We got entries from all around the world. That is one of my proudest achievements, it was rewarding artists for all the right reasons (as opposed to just being commercially successful which is the mainstream music industry’s only criteria of worth), and it made a lot of people very happy.one hour show in March to the theme of women, feminism, and women’s rights…

(1) Canberra (Lands of the Ngunnawal people) is the capital city of Australia. It was decided as such after a bitter feud between the two established metropolitan areas of Australia – Melbourne (Birrarunga – Lands of the Kulin nations); situated on the south eastern coast, and Sydney (Lands of the Eora nation); the eastern coast- couldn’t agree on which city would best suit the capital. Thus they picked somewhere in the middle.
(2) Special Broadcasting Service providing multilingual and multicultural radio and television services that inform, educate and entertain all Australians and, in doing so, reflect Australia’s multicultural society.
(3) Australian Recording Industry Association and the ARIA awards is an annual series of awards nights celebrating the Australian music industry

OKO DJ and her fellow companion from Bruits de la Passion Danse-Toujours join forces to explore the world of feminist radical lesbian band Ova and their unique music.
All the material in this show is issued from the Womens’ liberation Music Archive, documenting the Feminist music-making in the UK and Ireland in the 1970s and 80s.
Learn more here: https://womensliberationmusicarchive.co.uk/o/

FILLES DE BLÉDARDS est un collectif d’artistes basé entre Paris et Marseille qui explore et propose des réflexions autour des identités de l’immigration.
Aujourd’hui, Kahina Djemani, Rasheeda Khobza, Mariam SaintDenis et Alexia Fiasco ont décidé de parler d’Afroféminisme, de désidentification et de l’urgente nécéssité d’occuper l’espace culturel. Elles parleront aussi de leur prochain festival qui aura lieu le 29 et 30 mars à Mains d’Oeuvres, La Station Gare des Mines et au Klub.
Sur une invitation de Daphné Praud.
Photographie de Laurianne Bixhain.

Cet épisode de Pu$$y Nightmare, édition spéciale “2 girls 2 mic, avec OKO & Vazy Julie”, s’inscrit dans la curation OKO’s March Curation: Feminism Through Music, qui s’étale sur le mois de mars 2019, en résonance avec la journée du 8 mars.
Pendant deux heures, Marine et Julie y explorent leur vécu de femme, et le mettent en perspectives avec les thèmes du féminisme, du plaisir féminin, de l’hystérie, de la vieillesse, mais aussi la notion de sororité, la figure de la sorcière, et la musique.

Avec des lectures, inspirations et discussions autour des ouvrages suivants :
La fabuleuse Histoire du Clitoris, Jean Claude Piquard
Sorcières, La Puissance Invaincue des Femmes, Mona Chollet
Nous Sommes tous des féministes, Chimamanda Ngozi Adichie
La puissance du féminin: Libre, sereine et sacrée : renouez avec vos forces profondes, Camille Sfez
Sorcières Mes Soeurs, Camille Ducellier
Hysteria, Tanya Wexler

This sound-podcast-collage by Megamal -Alicia Carrera & Bejotanova-, based on and around poems by Rosalía de Castro, an artist whose pieces express the feeling known in Galician as Saudade: vivid, sharp inevitable changes which are lamented. Nature is an omnipresent beauty which is so intense it causes the sharpest pain.
Known as the first female poet in Galicia and Spain, she expressed a refusal to accept false comfort, making her a foundation from which following female poets carried on building from.
The doses of remarkably sorrow yet sweet imagery read in this podcast are (in order of appearance):
– They Say That the Plants Do Not Speak
– The Atmosphere is Incandescent
– Hour After Hour, Day After Day
– I In My Bed of Thistles

Megamal is a musical project that combines Alicia Carrera’s vastly bizzare musical world and Bejotanova’s avid tape experiments to place listeners in a whirling, fizzy cassette spool of eclectic sounds complete with crackling, hissing and popping.

SOUVENIR is the handle of Claire Voyant & Elle Andrews.
For this Curation, they present us FTFY: Fixed This For You.
“Our focus was to step away from an easy categorisation of femininity, (against fetishisation, othering or tokenism) and instead explore the absurdities and quirks of what it is to identify as a woman in the present day.
So we delve into the realms of weird girl energy, via found footage and audio recordings that we’ve made, which examine modern phenomena such as vocal fry, overwatch gaming, pig squeals, mums-net, bongs & just every day chit chat.”

SOUVENIR are Dedicated London diggers, known for their esoteric & raw slant on electronic dance music & beyond. Claire has run the shop at Rye Wax Records Peckham for the past 3 years and recently co-founded anti-RSD festival The Run Out. Elle has been playing underground parties across the UK for the past ten years.

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