On International Women’s Day, a showcase for those women who work in the world of electronic music…
International Women’s Day, which falls on 8th March each year, has become an opportunity to not only recognise the achievement of women throughout history, but to also raise awareness of issues such as gender equality, violence, women in science & technology and to promote the aspirations of girls and women worldwide.
On the basis that women have made a significant impact on the world of electronic music across decades, with people such as Delia Derbyshire, Daphne Oram, Bebe Barron, Wendy Carlos and Laurie Anderson being pioneers in their own distinct ways, we thought that we’d celebrate in our way with an International Women In Electronic Music Day.
It’s not always been an easy time for women in music and even today there are challenges and problems that have made the path difficult for some musicians. Lauren Maybery of Chvrches has spoken at length about the rise in misogyny, particularly in online commentary. Equally, Claire Boucher of Grimes fame has had to address issues within the world of music production (which ironically led to some misinformed writers to conclude that Boucher was flying a flag for militancy). It’s also something that Katie Stelmanis of Austra has addressed more recently.
To celebrate the contributions that women have made to electronic music, we thought it made sense to flag up some of the musicians, composers and singers that TEC has championed in the past. This selection is by no means definite and certainly isn’t designed to present a complete picture of women in electronic music, but is purely a sampling of the broad range of electronic music that women are active in.
If there’s one particular star on the electronic music scene that’s been on the ascendant in recent years, it’s New Zealand’s Princess Chelsea. Scoring a cult hit with the indie charms of ‘The Cigarette Duet’, her 2011 album Lil’ Golden Book also demonstrated a fine talent for wistful electronica and tales of growing up in Auckland.
Her 2015 album The Great Cybernetic Depression cranked the electronic elements up to ’11’ and showcased songs that had a much more raw and personal edge. There was also a concept album approach which La Chelsea herself described as: “it represents a personal and societal depression due to social change triggered by technology.”
The varied musical career of Hannah Peel has presented a musician and composer with a particular ability to craft evocative melodies and compelling lyrics. Her most recent release Awake But Always Dreaming was assembled from the singer’s own encounter with the debilitating effects of dementia in her own family.
‘All That Matters’ combined fine electronic pop elements with a sweeping, uplifting quality to it. Released as a single, the track employs a combination of synth hooks and strings measured against Peel’s haunting vocal.
Hailing from Greece, Marsheaux combine the ethereal vocal style of Sophie Sarigiannidou and Marianthi Melitsi with distinctive percussive rhythms and unashamedly electronic melodies. Their 2003 debut album E-Bay Queen and 2006 release Peekaboo demonstrated both an ability for original synthpop married with a smart choice of cover versions (such as The Lightning Seeds’ ‘Pure’ and New Order’s ‘Regret’).
Their most recent release was Ath.Lon although, arguably, it was their phenomenal 2009 album Lumineux Noir that set the bar. That album demonstrated a clear linear progression from their early material through to the bold, impulsive electronic masterpiece that few contemporaryacts have managed to emulate.
Originally from Greece, but now resident in LA, Kid Moxie is the musical moniker of Elena Charbila. Kid Moxie’s music is a blend of powerful beats, pop sweetness and haunting melodies. She’s collaborated with the likes of Twin Peaks composer Angelo Badalamenti and Clint Mansell and more recently released the excellent Perfect Shadow EP.
Susanne Sundfør’s musical career set a particularly high standard with the release of her 2015 album Ten Love Songs. The Norwegian musician’s glacial landscapes of electronic melancholy had a very particular personal touch and it’s small wonder that the album received critical acclaim.
Katie Stelmanis was another Canadian musician who made an impact in the world of electronic music on the back of several releases by Austra. From 2011’s Feel It Break through to the most recent album Future Politics, Stelmanis has brought to bear not only a stellar talent for tunes, but on the latest release a more pronounced commentary on politics.
The familiar bassy synth tones that Stelmanis has crafted as part of the classic Austra sound provide the foundations for ‘Utopia’. This rumination on the “collective depression”, that Stelmanis suggests is a result of city living, has strong hooks and melodies as some smart percussive frills keep the song moving along.
The phenomenal success of her previous album Visions clearly caused something of a dilemma for Claire Boucher. The album had, in many ways, been a gear change from her earlier work in opening up the often cryptic soundscapes that had been the trademark sound of Grimes previous.
But Art Angels delivered a much more commercial vehicle for Grimes that could have swayed fans had it not been for the quality of the material on the album. Grimes goes electropop for ‘Kill V. Maim’ with its harsh percussion and insistent bass beat, sounding as if Hooky had dropped by the studio for a session. Again, it’s a fine example of the natural evolution of the Grimes sound. “I’m only a man/do what I can” intones Boucher on one of the more memorable tracks on the album.
Marina And The Diamonds
Marina Diamandis has consistently produced top tunes under the guise of Marina And The Diamonds, but also manages to switch gear on every subsequent release. The intimate Froot was an example of the talent that the Welsh musician can bring to bear.
‘Forget’ was one of Froot’s hidden gems with catchy hooks and a euphoric chorus. It’s lyrical themes of regret and moving forward utilise Marina’s smart wordplay as she regrets the times spent chasing rabbits when “I was born to be the tortoise/I was born to walk alone”.
There’s a good combo of the ethereal with the more intense part of the electropop spectrum in dark pop chanteuse Polly Scattergood’s material. Her 2013 album Arrows received critical acclaim and Scattergood describes herself as a storyteller: “I write about emotions and moments, not all are biographical”.
More recently Scattergood lent her vocal talents to a reworked version of ‘Video Killed The Radio Star’.
Christine And The Queens
French outfit Christine And The Queens managed to make an impact in 2016 via the subtle electropop touches of album Chaleur Humaine. Founder Héloïse Letissier, who has described Christine And The Queens’ sound as “freakpop”, managed to bring a Gallic charm to electronic music alongside visually arresting choreography for live shows. Huge in France, Christine And The Queens gained a broader audience through a 2015 US tour with Marina And The Diamonds.
2016 brought us the UK release of ‘Tilted’ whose oddly effective ‘reversed’ melodies and engaging beats helped pave the way for Chaleur Humaine. ‘Tilted’ represents an approach that slips easily into accessible commercial pop, but that’s not necessarily a bad thing for a catalogue of work that features an intriguing talent at work.
Occasionally on percussion duties for Austra (and formerly part of TR/ST), Maya Postepski has also carved out her own singular electronic music path under the guise of Princess Century.
Dipping into “minimalist cosmic disco psychedelia” as well as the “weird Krauty EDM vibe” of recent material, there’s something oddly compelling about Postepski’s unique electronic explorations.
The trans-global duo of Lola Dutronic have been pushing out quality electronic music since 2004. From adaptations of 60s French pop through to musings on modern pop culture, the outfit’s finest moment to date is arguably their 2015 album Lost In Translation album.
One of the strongest components of Lola Dutronic is the sultry vocals of Germany-based singer Stephanie B – here working wonders on a sequel to one of their best songs.
The collaborative duo of Alison Goldfrapp and Will Gregory have charted an intriguing career arc following on from debut release Felt Mountain in 2000. It included dips into ‘folktronica’ evidenced on 2008’s Seventh Tree and the synth optimism of Head First in 2010. Meanwhile, 2013’s Tales of Us was considered by some outlets as a return to form (as the phrase goes).
Forthcoming album Silver Eye has been in development for some time and appears to be cast firmly in an electronic mold.
Better known as being part of electropop outfit Ladytron, Helen Marnie has been keen to pursue a solo path in recent years, which led to 2013’s Crystal World album.
Marnie’s distinctive vocal style leaps out from any tune that she puts her hand to. With the reveal of new song ‘Alphabet Block’, she also announced details of a follow-up to Crystal World in the shape of the forthcoming Strange Words And Weird Wars. The official stance on the album is “soul crushing synths are wonderfully accented by hook-laden choruses as Marnie boldly explores up-tempo electro dream-pop”. Which we certainly can’t argue with.
Originally hailing from Bejing, Fifi Rong’s beguiling music encompasses a broad range of influences, including electronica, dub and hip hop. It’s a sound that’s continued to captivate both the music press and fans alike since her 2013 debut ‘Over You’. Or as Fifi herself once put it: “It’s a very individual and intimate language that I speak, with unfiltered and naked feelings of my own, for those who want to join me and listen to something real.”
‘Future Never Comes’ gives her sultry vocals a cinematic soundscape. “’Future Never Comes’ is by far the most epic-sounding track I’ve made” says Fifi, “with a lyrical theme going back to my initial breakthrough of the fear for pursuing my dream and answering my calling. Making this track as a collaboration feels like taking a glorious vacation away from being immersed building my own island.”
Learn more about International Women’s Day via www.internationalwomensday.com
Responsible for the creation of the original Official OMD Website, Paul also spent over 10 years administrating the site. As well as providing sleeve notes for many of the OMD reissues, he also provided design concepts for sleeve art and tour promotions.
He ran the Julian Cope-focused Screaming Secrets for many years and also administers Virginia Astley's official website.
Outlets and publications that have featured his contributions include Electronic Sound, Metro, Japan Update Weekly, J-Pop Go and Wavegirl.
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