DISCWOMAN 12 x TRNSGNDR/VHS

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Baltimore based producer TRNSGNDR/VHS aka Alexandra Brandon, who typically plays live, has been confronting the underground scene with her thought-provoking noise sets this past year. We ran into her in Boston and were very very excited she wanted to do a mix for us as this is an area she’s explored relatively less. This mix is beautiful, therapeutic and gave us goosebumps: get ready to cry, heal and absorb this session. Listen and read Q&A below:

tell us about this mix
I feel it reflects a lot of what I’m influenced by right now. I wanted to give people a mix that was more therapeutic and brief.

when did you start djing?
In public…near the beginning of 2016. Very recent but that feels like forever ago.

First gig:
I’ve been playing instruments since I was 11. I played saxophone while I was in middle and high school but my first time doing electronic music was when I was 18. I was making witch hop type stuff at the time with a friend. I started doing TRNSGNDR/VHS in late 2014. I look back at everything with a very cringing sense.

Favorite party ever played:
My most memorable experiences are performing for people who haven’t seen you before. I went on tour this summer and my favorite stops were Chicago, Montreal, and Atlanta; in a way it’s more about making friends, connections, and acquaintances than just displaying yourself. I currently live in Baltimore and my favorite events here this year were opening for Hatis Noit (this amazing avant-garde performer from Japan), and getting commissioned to perform at the Walter’s Art Museum. Another highlight is that I played in New York City at Ende Tymes Festival, that was special.

Fave DJ:
I try not to make any favorites, I think most of the DJs I admire are club music and EDM DJs. The nature of it requires a lot of dynamics and stability. There’s a sizeable scene of people in Philadelphia and New York City doing that who are amazing. Some of them blur the line between DJ’ing and sound art, especially the ATM and KUNQ associated stuff.

Fave producer:
Changes every month. Lately I’ve been getting into Elysia Crampton’s music.

Pet peeve when DJing:
A lot of things. I’ve gotten entire genre requests. Being able to watch an entire room of people interact after dark can enter weird territory. DJing makes me study the audience in a way that I don’t get when I actually perform music.

What’s best compliment you’ve ever gotten?
Anyone who takes it a step further than “I like your stuff”. I like getting advice, constructive criticism, or when people go into detail about how what I do impacts them. It’s nice to know people have thought enough about your art enough that they can respond to it constructively.

Place you’d like to play:
Anywhere outside of the United States.

Something you want everyone to know about you:
I suck at getting back to people on social media, but a lot of people have DM’d or commented a lot of nice things and I’m thankful for that <3

Hatis Noit – “Illogical Lullaby” (Matmos Edit)
Oneohtrix Point Never – “Sdfk”
Embaci – “Flight and Destruction”
CMOV – “Twins of Eternity”
Moro – “Libres”
Swan Meat & ssaliva – “Nightmare Fuel”
Laurel Halo – “Oneiroi”
Balasa – “Teri Duniya” (Drum Mix)
Puce Mary – “No Memory”
Holly Herndon – “An Exit”
Yatta – “Summertime”
James Ferraro – ‘Vanity”

DISCWOMAN 11 x CL

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CL aka Cindy Li aka force of nature is a DJ promoter living in Toronto who’s been a close friend of Discwoman’s for over a year now. She brought us up to Toronto to play her Work in Progress party when we were still considered a “risky” booking (lol still are) and it remains one of our fave parties to date. She has become an invaluable voice in the techno community championing feminist politics to ensure women are represented and booked correctly in the scene. Today she plays our two year anniversary party, and released an enigmatic mix with us to celebrate. We couldn’t be more honored. Below take a listen and read her Q&A:

tell us about this mix:
I recorded it in one take in my bedroom. It’s basically a reflection of the types of dance music I love to play the most on the dancefloor. As a DJ, I hate being restricted to a particular style in a dj set, and I play a lot of opening to close sets so it’s important to me that sets are dynamic and have movements and grow in momentum. I’m really into breaks-tinged house, acid of course (!), and trippy electro, so there’s quite a bit of that in my mix.

When did you start djing?
I bought my first mixer and a pair of super crappy Numark CDJ racks (no platters lol) during my third year in university when I first started getting into electronic music. I’d always had an insatiable appetite for weirder music of different styles so at that point I had already been a radio DJ for two years at my campus radio station (where I also had a show where I only played music made by women). Around that time, it was my foray into Kompakt and BPitch Control and a lotta minimal techno like Marc Houle and Magda (She’s a Dancing Machine is still one of my favourite mixes of all time), and I threw my first techno parties back then. I even won a campus DJ contest! But it was very much a hobby that I quickly abandoned after university when I moved to Asia. It wasn’t until 6 years later when I started DJing again, which I very much think of as a rebirth of some sort, and since getting my first residency at a techno club in spring of 2015 and starting Work In Progress around the same time, things have sort of taken off really quickly.

First gig:
It’s been so long that i have a really hard time remembering but some of my earliest gigs were in campus nightclubs where i’d have to play more top 40, which was annoying, but it was also really fun to mix stuff like Justin Timberlake with Cut Copy and Miss Kittin & the Hacker.

Favorite party ever played:
Wow this is so hard to answer with just one…so I will give you a top 3 in no particular order:
1. With Volvox for Strange Allure in Buffalo this past February, it was my first U.S. show and the energy and the space were both so incredible. I still think about it all the time.
2. The first time I was booked by someone in Montreal who wasn’t a friend of mine, I played with Jayda G and R. Wong in a DIY afterhours space, definitely stands out as one of my favourite memories.
3. And this past Sunday, when I opened for DJ Sprinkles, it was hands down the best party we’ve ever thrown and that was one of the only sets I’ve played at my own parties that I felt really good about.

Fave DJ:
Lena Wilikens

Fave producer:
Impossible to pick just one…but I guess either Dan Curtin or Susumu Yokota or JTC / Tadd Mullinix

Pet peeve when DJing:
When you B2B with another DJ and they touch your EQs during your mix or they mix out of your track after it’s only been playing for like 2 minutes.

What’s best compliment you’ve ever gotten?
When women tell me that seeing me play and throw parties and do my radio show has given them the inspiration to pick up the craft themselves.

Place you’d like to play:
De School, Sustain Release & Golden Pudel

Something you want everyone to know about you:
My favourite ice cream flavour is black sesame.

Tracklist
1. pilgrims of the wind – loosejaw
2. cc not – wearing
3. dj xanax – ???
4. globex – untitled
5. regelbau – untitled b1
6. andras – gold coast (surfer’s paradise mix)
7. r.wong – terranium
8. metropolis – angstpolitiek
9. kat chanel – and then I met you
10. hell & jonzon – lifeform
11. peel md – muc
12. deputy dawg – gunslinger
13. credit 00 – snake charmer
14. dj nori – 80s drugs
15. damon wild – avion
16. major problems – overdose (the final trip)

Track Exclusive: Ziúr’s Remix of Tomás Urquieta’s “Distopia”

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“Pop music all happy happy feel can basically suck it,” Ziúr recently said in an interview with Indie-mag.com. That quote could serve as a manifesto for the Berlin-based DJ and producer (real name: Mika Risiko), whose sinister, unsettling take on deconstructed club music acts like a middle finger at sugary, cookie-cutter pop. Earlier this year, Ziúr’s EP ‘Taiga’ on Infinite Machine established her as a rising talent in the experimental club music scene; she’s also gotten shouts from the likes of Peaches, who she recently remixed and went on a European tour with. A strong proponent of gender equality in dance music, Ziúr played the first party in Berlin by feminist collective Sister with Linnea, Mobilegirl, and Dis Fig back in March. Now, she’s cut a blistering remix of “Distopia” by Santiago-based artist Tomás Urquieta, on his new EP due on Infinite Machine on September 30. Check it out below, and read on for our interview with Ziúr about Berlin’s current clubbing climate and her “no compromise” approach to music.

Interview/text: Michelle Lhooq & Nadine Blanco
Photo: Claudia Kent

Before your music took off, what was your life like?
I tried studying some crap, but got caught up in promoting DIY shows, working in clubs, and driving/tour managing bands. I tried getting into the serious music business, but figured out it’s mostly jerks with an image neurosis. I had a vegan restaurant for a while, did some tour booking for friends, then was working more in clubs while figuring out my artistic career—and here we are.

What got you into producing?
I played in a punk band and the scene structure was dragging me down, so I tried finding new ways developing into something not as attached to classical structures. Basically I started using a computer as an approach to step out of my comfort zone.

Your music sounds like it is made with machines what is a must have for you (in terms of instruments, softwares etc)?
the only thing i desperately rely on is having good speakers, a computer with tons of ram and a second screen. i’m definitely a software person but also don’t mind recording a salad bowl for example.

A hard/ ominous tone seems to be the common theme in your music—what inspires you?
I had times when I wanted to write something really pleasing, but luckily I decided to go for an approach of “no compromise.” When it comes to art, nothing is worse than not being able to move people with your output. I am almost equally into playing people out of the room [as much as] blowing people’s minds—both happen frequently, and always reassures me that I’m doing something right. What I hate is when music doesn’t resonate with an audience. There’s nothing pleasing with putting people to sleep.

What is the process of making music like for you?
Emotional.

What are some of the upsides and downsides of being based in Berlin?
The music culture that has been talked about around the world and carries the Berlin smell is probably techno. I’m no rave gal and don’t pretend to be an expert, but even modern Berlin “mainstream” clubs wouldn’t be the same without the city’s history in punk and DIY culture. When the wall fell, the city profited by the confusion created by two governments trying to become one—people squatted spaces, opened clubs, and slowly built infrastructure that is still visible if you look closely, even though it’s now institutionalized.

The downside of all the freedom this city provides is that it is very inviting to be lazy, and people tend to not use their full potential simply because they don’t have to. The city is full of artists, musicians, and DJs, but unfortunately, most of Berlin’s creative output is rather on the medium side of things. Sometimes I think a more competitive environment would make people work harder. Don’t get me wrong—fuck gentrification and all, but half-assing it is never sexy!

What’s Berlin’s current club scene like?
Recently there is more space in Berlin’s club scene for underground club music that is not techno. This is a definite breather. Furthermore, it is really important and makes me happy to see see female collectives like Creamcake pushing female-identified artists without talking about it as an agenda. There’s a lot of work to be done but we’re on it!

What advice would you give to beginners and other female-identifying musicians out there?
Don’t believe the hype. There is no right or wrong in music—as far as it has a beat, a loop, a melody or even noise, it probably counts as music. Don’t be shy to go your own way.
Trust your ears, go with the flow, be inspired but don’t steal, be passionate, and most importantly, don’t be afraid to break the rules.

What artist or collective deserves recognition and attention right now?
Kablam is killing it—we played together quite a bunch recently, and she constantly makes my jaw drop! Kajsa is a total boss.

What are you working on next?
Besides doing tons of remixes, I’m focusing on my new record. I might do some collaborations with visual artists, vocalists, and theatre folks. More is more, you know!

Where do you think your music is headed?
The beauty in music is that it is not linear. Music is headed in all directions at the same time, and I would love to see the same thing for my own music. I think the only important thing is to keep on finding new ways of writing and not to get caught up in old patterns—mix shit up.

DISCWOMAN 10 x Quay Dash

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This mix takes you back to the rave cave you know you belong in, Bronx’s Quay Dash makes you want to live life nocturnally. She also just released her debut rap EP “Transphobic”, which you all have to listen to here. She’s a multifaceted artist, each medium of her music always tells a story, and each story is compelling as the next. This mix of assorted electronic beats, varying from hard techno/house etc, is the story of her life and we’re all the way here for it. Check out her Q&A and mix below:

photo: sonny martinez make up: raisa flowers stylist: michael louis hair: kira stuger editing: ashley smith

tell us about this mix
The mix is a story line of my life – each part of the mix – from beginning to end.

when did you start djing?
I started djing in my early 20s. Getting familiar with the standard way of mixing by using computer applications such as virtual DJ

first gig:
My first gig ever was at Contessa Stuto’s party. I didn’t have much of a crowd but I was really glad to embrace whoever’s dancing on the dance floor with non stop tracks that are in my opinion “poppin” for the event .

favorite party ever played:
There has not been yet a party that I’ve played that I’d call exciting.

fave DJ:
My favorite DJ at the moment would have to be Dj Rush. He’s a black Chicago based DJ that has been around since the early 90s.

fave producer:
I love Neil Landstrumm. His sounds are very next level and definitely will get any party started right.

pet peeve when djing:
I hate really hate when people stand around me while I’m djing or request a song that I don’t bother to ever play or listen to . It’s really disrespectful.

What’s best compliment you’ve ever gotten?
Best compliment I got was from my friends. They really love my style and taste of music. I usually get things like “this is really next level ” or “this is really good “. I accept any compliment.

Place you’d like to play:
I’d love to play in Berlin, I think my sound would definitely work well there due to the large dance music crowd that they have. Also I’ve heard Berlin has the best techno parties.

Something you want everyone to know about you
I just want everyone to know that I’m not only a rapper, I’m an artist.

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DISCWOMAN 09 x Dis Fig

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First found out about this gem by walking into the Purple Tape Pedigree Boiler Room earlier this year, her set was nothing short of captivating. So stoked she brings that same compelling energy to this mix for us, she skillfully layers club, ambient, noise and other genres resulting in a very thrilling listen. Check out her mix and q&a below :)

tell us about this mix:
It’s a chain of emotional, multipolar reactions.

when did you start djing?
2013. I was super bummed I had been disconnected from doing music for over 5 years. I was spending every weekend in NYC being a bass zombie and obsessing over club music at parties, so I thought I’d give it a go.

first gig:
Friends’ 2 floor kegger in Bushwick on a VCI-100. Shout out #234 and Panch.

favorite party ever played:
The most meaningful so far has been the PTP Boiler Room in New York as it was the first time I had played at home since I moved to Berlin two years ago. It was an amazing homecoming and night of love and fam.

Honorable mentions: every Trade party; playing KitKatClub where there’s a red button in the DJ booth that ignites a big fire-breathing dragon above and behind the crowd.

fave DJ
Geng, father of PTP. We have very similar tastes in music and near realms of influences. His mixes are emotional stories that really make you feel, and he’s fearless when it comes to challenging an audience.

fave producer
Ones I’m excited about right now… Ziúr, v1984, Club Cacao

pet peeve when djing
People trying to speak to you or introduce themselves while you’re playing. Can’t concentrate homie.

place you’d like to play:
Sick sound system + warm spa pool like the one at Liquidrom in Berlin (you can listen to music underwater)

something you want everyone to know about you:
I did my best.

DISCWOMAN 08 x UMFANG

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Co-founder of DISCWOMAN, UMFANG gives us all the techno we need on this mix. Check out her Q&A and mix below

tell us about this mix
I had recently bought some new records and was feeling really inspired by UR electro and experimental noise music. I wanted to make a mix for my collaborators in Discwoman and not have it affiliated or released by a man ha.

when did you start djing?
2009

first gig?
Botnet in Kansas City

favorite party ever played?
Hot Mass in Pittsburgh was one of the most amazing opportunities for exploration- a huge honor and challenge to play open to close.

fave DJ
ah so hard but probably Dj Stingray. No one else makes me dance like that.

fave producer
Robert Hood, Jeff Mills, Steve Bicknell, Joey Beltram, Timbaland, Allergy Season affiliates, 1221 affiliates.

pet peeve when djing
Don’t come in to the booth, don’t touch anything in the booth while I am djing.

what’s best compliment you’ve ever gotten?
My booking on Sept 11 2016

place you’d like to play?
A cave with a pool

DISCWOMAN 07 x stud1nt

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stud1nt, a member of queer artist collective KUNQ, gives us our latest mix. a mesmerizing 30 minutes of sounds that pair their own productions with some of our favorite local producers such as DJ Haram, quest?onmarc, NA Nguzu, & HITMAKERCHINX. Read more about them below whilst listening to this power of a mix.

Tell us about this mix
Euphoric accidents in rhythm and extended blends.

When did you start DJing?
Mid-college. I was isolated in Middlebury, Vermont after growing up in Queens and going to GHE20G0TH1K, 285 Kent, Glasslands, any-kind-of-music shows almost every weekend. I tried to come home as much as possible, but it was easier and more cathartic to create my own sound palette.

First gig:
Opening for Venus X, Brenmar, Alvaro Diaz and Fuete Billete at Santos Party House.

Favorite party ever played:
I threw a word-of-mouth New Year’s party this year in a 90s residential loft with the KUNQ crew, Tygapaw, Kala, Todd P, and Jesse Hlebo. We set up the DJ booth and fog machine in the living room, the kitchen was as our bar, and there were 4 bedrooms with mattresses intact that we installed LEDs in. It was pretty surreal.

Papi Juice and Joey LaBeija’s Legendary.

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Fave DJ:
SHYBOI, Juliana Huxtable, Mike Q

Fave producer:
DJ Haram, Syd the Kid

Pet peeve when DJing
Sound guys getting on stage to “fix” things soon as I start. I’m always baffled like I’m DJing and you’re not for a reason. DJs standing over my shoulder for track IDs. Requests.

What’s best compliment you’ve ever received?
In terms of DJing, a bunch of people have told me they play DETENTION “religiously”. I kind of made it like that, too.

Place you’d like to play:
In the middle of a desert or below a waterfall.

Something you want everyone to know about you:
I’m a perfectionist learning to let go of control.

INTERVIEW: TT THE ARTIST

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This week, we are featuring TT the Artist, who will be performing at Discwoman’s upcoming party in Baltimore today.

TT has earned her title as a multidisciplinary artist in every right. One of the most hard-working artists in the underground music scene, she’s involved in everything from MCing and singing to filmmaking, fine arts, and creative direction—she even produces her own visuals.

Drawing influences from Miami Bass, Baltimore club, hip-hop and EDM, TT has collaborated with big names such as Diplo in “Dat A Freak” and Baauer in “Make It Bang.”

At her core, she’s a “Fly Girl”—a feminist-inspired ethos she first paid tribute to in the track and music video off her Art Royalty EP. Her second release Queens continued this theme of female empowerment, paying homage to women of color in the media who have defied discrimination and other odds stacked against them. We can’t wait for her forthcoming debut album Queen of the Beat—which features songs like “Dig” a party banger with soca, Miami bass sounds.

Check out our interview with TT the Artist below.

Words Nadine Blanco // Photos Thats CALY // Wardrobe Joshua Hollman

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What’s the story behind your artist name? Is TT The Artist a sort an artistic alter-ego?

TT was a nickname I got in college and I always wanted people to know that I am an all-around artist, not just musically. So, TT The Artist isn’t an alter ego—more like who I really am.

Tell us about the current Baltimore club scene and why it’s important to you, both creatively and personally?

The Baltimore club music scene today exist in pockets. Right now it’s very underground and consists of the Baltimore club dance community, as well as old and new school DJs and performers who are pushing the sound forward.

On the outside looking in, many people have the impression that the scene died when DJ K Swift passed away. K Swift was a well known female DJ who kept [Baltimore] club music in heavy rotation in the clubs and on the radio. She was connected with the DJs and the dance community, so when she passed there was a void in the scene. Over the years, with the closing of venues and spaces for the club music community, the scene went under the radar, but it never died. It’s very much alive.

Presently, the local club scene is organizing itself and actively taking ownership of this homegrown gem. I was attracted to the sound of club music because I grew up in Florida and was heavily influenced by Miami Bass music. So the beats and sounds of club felt nostalgic for me and it was natural connection.

In 2009, I recorded my first club record “Let Me Show Em” on a project with the Yo Boys. I was in a room full of guys who were very serious about the music and I felt like I had to earn my stripes and write a dope verse… and I did lol. Creatively, I love the percussive sounds of club music and people connect with the music. It’s important to push the sound because for many people in the club community this is all they have as an outlet of expression.

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Before your music took off, what was your life like and what were you doing?

I don’t feel like my music has taken off yet to be honest. I have so many goals and feel like I am just getting a toe through the door. The only thing I do that is different is work harder. I have become a perfectionist. I invest more time and money in my craft. I am fully independent right now so it involves self-funding all of your projects unless you get a grant or some backing from an investor. I also study business more so I am educated on best practices in my profession.

How and when did you start exploring your passion for music?

I was a freshman in high school. One of my home girls was a rapper and she use to battle rap all the boys and win. That’s when I knew I wanted to rap. I admired the fact that I could be respected for my voice and the things I said. I professionally started pursuing music after I graduated from college. I was living in New York at the time traveling back and forth to Baltimore. I eventually moved back to Baltimore in 2009 and started performing and building my name up in the local scene.

Your song “Fly Girl” is a message to empower girls across the world. What do you hope to achieve with your Fly Girl movement?

The Fly Girl movement is an everyday way of life. It’s all about empowering women to tap into there power and passions in life. It’s about being strong in a time of adversity and understanding your purpose. I want to be a positive role model and spokesperson for you for Girls. I used to teach so I have a special connection with the youth.

Tell us about Art Royalty—what kind of statement were you trying to make about yourself as an artist with this debut solo EP?

On my Art Royalty EP, I wanted to introduce people to my sound. Art Royalty has reocurring themes of sexual freedom in songs such as “Pum Pum” and “Pussy Ate.” I also wanted to do some fun records that would really work in the clubs like “Imma Shake” and “Giddy Up.” I wanted to fuse the Baltimore club sounds with more structure through tracks that have hooks and verses like “Thug It Out” and “Let Me See,” which at the end I give shouts to a few pioneers in the Baltimore club movement.

“Lavish” was that one track where I really wanted to showcase a more traditional lyrical rap style, which is also a big part of my style when I do full out rhymes. “Freaky Life” is one of those songs that really meshed everything together and at same time introduced something new.

What advice would you give to beginners and other women DJs/vocalists out there?

Be yourself. Develop your sound. Ask questions and build a thick skin. Also study and learn everything you can about your craft. Understand the history and respect those who have paved the way for you. Remain humble and be open minded. Don’t put yourself in a box.

Why do you believe women representation in music is important?

Because women can offer an entire new shade to the spectrum. We have different experiences that a man could never articulate. Too much of one thing is never good and gets boring after a while. We need all types of women, all shapes, sizes and shades need to be represented. It’s important that young girls and the millennial babies have more realistic reflections of themselves. Women are just as talented as men and it’s time for the industry to let us in.

However, we have to take ownership as well. We need to collaborate with each other more and stop being scared that someone is going to overshadow you. See, I have the mind of a business woman. The way I see it is if I work with other women artists who are doing big things we can do epic things together—and then who can stop us? Why do you think so many male artist collaborate? They know how to capitalize off of each other’s networks. We have to stop waiting for the industry to change and make the change ourselves.

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What should we expect from your upcoming Discwoman performance?

I bring a lot of energy and crowd interaction in all my performances. I will also be performing some of my new music, so I’m excited about the show! I recommend wearing your favorite pair of dance shoes lol.

Which song do you perform most frequently during your sets, and why?

Anytime I perform my song “Pussy Ate” the response from the crowd is always the same: mouths open wide, shock, and laughter …it’s priceless. “Pussy Ate” is a fun record and truthfully I think it’s how a lot of women feel or think lol

What are you working on next?

My debut album Queen Of The Beat is dropping soon. I’ll be doing more touring and hope to go overseas to play some shows. I am working on a couple of film productions and creating new art. I am also developing a youth-led mural program called Proverbs, which will allow inner city youth to explore street and public art through a series of workshops. This summer and fall I will also be hosting Baltimore club and dance concert series called a Rock Off Shake Off. Last but not least, I host a monthly open mic series called The Wav at The Windup Space every first Monday. It’s gonna be a productive season for me and I am excited about all my new and future ventures.

What artist or collective deserves recognition and attention right now?

I am excited to be featured on this new production duo called Hands Up!’s upcoming project. Hands Up! is a Baltimore-based production team consisting of two producers Mighty Mark and Mike JR. They will be putting out a lot of fresh new Baltimore club music. Their productions are definitely what the game has been missing.

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DISCWOMAN 06 x MARCELLINE

I first listened to Marcelline when she played our Lot Radio show months back. We met her through DJ Haram who she runs ATM with in Philly. The layers and layers of sounds she using was so compelling, so couldn’t actually wait too ask her to do mix for us. And it’s just as compelling as the first time we heard her, a politicized collage of sounds that make you stop, listen, meditate and dance. Check her mix/Q&A below

-Frankie

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photos: Tiph Browne

Tell us about this mix
MAPPAMARCELLINEMANTRA04: Pulling Out Red From Her Sexe is the score that accompanies a performance of the same name, both of which premiered at the #BlackGirlLit exhibition organized by Dell Hamilton at Five Myles Gallery. The sound foliage is an exercise in suspending time with sequences of gestures accurately matched to points of transitions within the mix in order to amplify the moods that the choreography evokes. Informed by Audre Lorde’s text “Uses Of The Erotic: The Erotic as Power” MAPPAMARCELLINEMANTRA04 deals with the subject of the erotic as “deeply female and spiritual” untapped resource of energy and power for womxn and non-binary femmes. Its predominant function is to enhance our knowledge of ourself beyond superficiality, giving more intentional room to richer feelings such as joy and pleasure. It’s a way to be more sensitive to our own inner truths and how we can use our personal experiences to form more productive bonds with each other.

When did you start DJing?

My desire to build and experiment with soundscapes developed out of a necessity to have
more control over the atmosphere I create during performances. Back in January 2015, after
feeling frustrated with my school administration’s lukewarm response to the Baltimore
uprising, I made a conscious decision to be even more disruptive in the art spaces that I
exhibited by bringing what was happening in the street right into the ivory tower. As an artist working with the body as my primary medium, one of the impulses was to make a lot of noise so I fabricated a series of sculptures that would also function as homemade instruments. Those objects felt really impotent once combined with my own vocals and at that moment I realized how slow I am for not initially taking an easier route: Music.

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First gig:
“Edge Control” which is a quarterly function organized by BALTIGURLS

Favorite party ever played:
#ATMDATA. I technically djed for the first time at ATM back in August, which was also my first time attending the party. A week before I formally met SCRAAATCH and Dj Haram after performing at Rockers, a longstanding DIY/underground festival in Philly that was organized by Moor Mother. In keeping up with the momentum of having introduced some of my work to folks in Philly, I reached out to them asking to get put on the bill for the next party with intentions of doing a straightforward DJ set. The night of the party I ended up not only doing a dj set but also a brief performance that accompanied the soundscape Bearcat composed to honor the late Sandra Bland.

Fave DJ
My boo ISABEJJA, I remember a period of time right after she began DJing two years ago in Baltimore where she was booked for like 10 weekends back to back cause she always delivered really fire sets.

Fave producer
My friend Jared Brown just released a “Techno Myth” a week ago that everyone should check
out, including an interview I conducted with them about the production of MYTH 0:001.

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Pet peeve when DJing:
People not enjoying my set then subsequently coming up to the DJ station to make a request
that I’d play something they like.

What’s best compliment you’ve ever gotten?
During a performance series curated by Whitney Vangrin at Company Gallery at the end of
May, I read and performed some of the personal writing that informs the
MAPPAMARCELLINEMANTRA
tracks project. Afterwards, Skyshaker who I had just seen perform alongside NON at RBMF came over to congratulate me on the performance even commenting that he was impressed with the selection of tracks I had mixed to lay vocals on top of.

Place you’d like to play:
Not a place per say but my parents have never seen me perform live so that would be a major
accomplishment, you know, just to muster up the courage to face them in that way or for
them to become open enough to see me that exposed.

Something you want everyone to know about you:
One of my life goals is to perform at a queer wedding so whoever can make that happen
should definitely, lol, she’s available for bookings.

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Track list:
Marcelline & Sunatirene_Pt.1 A Spell, Pt. 2 A Rare Sound
Quay Dash_Ain’t Gon Stop It
ANGEL HO_REVOLVER
Arca_Xen
O S_PROSTHETIC
House of Ladosha_Total Domination
Beyonce_6 Inch
Dj Haram_So Fucking Money
Celestial Trax_Together
Quest?on Marc_Golden Dawn
Lawd Knows_Endgame Savage (rough edit)
Sofia Reta_Control
Akito_Two Chevrons
Gil_OCD
Abdu Ali_Did Dat
Leonce_Untitled
FAKA_Ama Gwynia
Dj Rashad_On Your Face
Dj BeBeDeRa_Gangsta Guetto Zouk
Jocelyne Labylle_J’ai D’epose Les Cles

We Tie Dyed Discwoman & TechnoFeminism Shirts Just For You

Because we love coming up with ideas that are time consuming, we decided to tie dye some shirts for y’all. Not only our usual Discwoman logo but also a Technofeminism shirt to pay homage to UMFANG’s and Beta Librae’s night at Bossa Nova Civic Club.

In order to guilt you in to spending 40$ on one of these LIMITED EDITION shirts, we took pix to prove the labor we spent doing it. There are only 24 shirts for sale and each one is different.

CLICK HERE TO PURCHASE BABES

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