In celebration of her latest release on Delsin Records, RinseFM mainstay and cybernetic starlet Machine Woman takes us to alien worlds in our latest //SNCMIX podcast.
Russian-born, London-based multimedia artist Machine Woman, debuts on Delsin Records with an ideological exploration of online/offline human behaviour on When Elegance Becomes Violence.
Functional and rhythmical in parts, glitchy and algo-rhythmical in others, the EP showcases Machines Woman’s versatile production style across its five track run. Sound design in tracks such as Voices immerse you in an audible Ghost In The Shell style system error, demonstrating her impeccable ability as a sonic world builder.
For her mix, Machine Woman floats between organic and machine-like worlds, juxtaposing soundscapes that are at one moment warm, vibrant, and familiar, then cold, dark, and alien. These contrasting elements dont merely exist within the realms of artistic imagination; however, they are embedded into her creative processing too.
Using an AI DJ program and a collection of pre-selected tracks, Machine Woman creates a mix that “leans towards a more experimental sound and is sonically challenging in places.” Her affinity with technology, both as a means of artistic expression and realisation, have seen her computerised brand of music find its home on labels such as Ninja Tune, K7!, and Technicolour, to name a few.
Whether it’s educating up and coming artists through informative lectures, connecting people together through her artist workshops, spinning new and experimental music through her radio show, or artistically representing observations of the world around her through music and visual art, Machine Woman amalgamates with the technology around her to spew out information in serendipitous fashion which makes her one of the most interesting artists to watch!
We spoke to her about When Elegance Becomes Violence, Machine Sound Electronics Club, her creative process, and more.
What was the Inspiration behind ‘When Elegance Becomes Violence’?
The actual name has been with me for a few years. I made an artwork for an exhibition in Berlin that took place in a Neukölln tattoo studio. I made a drawing and a sound together, and the name just popped up. I think at that time, and now, I was reflecting on the music scene and the state of politics. Again, both things keep showing close similarities.
‘Heavy Cream’ is a reference to Aphex Twin playing my track titled ‘Bristol Cream’ at Coachella a few years back. Sonically, I thought it has similar structure and vibe, but that may be due to my lack of technical ability and tracks sounding similar (ha!).
The track ‘I Received Your Email Today’ is about cutting ties for whatever reason and covers both sides. Sometimes, only one side wants to cut ties. Sometimes, it’s the last word you want to say, and you don’t need a response. Sometimes, people can’t let go and even years later get in touch but still receive no answer. I see it somehow detached if someone cuts me out of their life. It might be painful but that should be your closure and move on.
One of the tracks on the EP uses the British term ‘Yes Mate’ in its title. What influence, if any, has the UK had on this project?
YES MATE, 100% you got it! I hear it everywhere, and it can be used affectionately and sarcastically. Again, it goes with the title of the EP. Things turning to the worst. I sound like such a pessimist.
I always see myself as a pragmatic realist. At work I asked someone if they would survive a zombie invasion. In my head I had played out the survival scenario and how to last on specifics, but the person I posed the question to answered: “What’s The Point? We’re all going to die if zombies attack”. This shocked me slightly as I thought this person was very positive and optimistic, and they would often pull me up for my so called ‘realism’.
I found myself in some kind of psychological oxymoron. I tend to look at the situation with realism and see what solutions exist, even in hypothetical scenarios such as a zombie invasion. In short, ‘Yes Mate’ is 100% a British cultural reference.
Can you describe the creative process behind the project?
My creative process hasn’t changed since I started making music many years prior. I open Ableton and start testing the sounds, messing around. Sometimes, I will set the BPM to random numbers, but I like 142, 110, 127, 135 (Maybe I should play lottery with these ha!).
If I am making music at home, I will have a few tools around me like a sound card with mic, Ableton Push, NI Machine, some pedals, and a sampler. I might plug something in, but most of the time stuff happens inside the box. I would also go on random sites to find samples, picking them randomly to whatever sonically caught my ear.
I will also make samples in REASON or on my Machine. It’s pretty much free flow. In one session – that can be 5 minutes to a few hours – I often start multiple projects because something isn’t working. I like to move on quickly, but I collect all and save to all my demos.
How did the EP find a home on Delsin Records?
I knew the Delsin guys were following my music, and they often included some of my tracks in their radio shows, so I decided to reach out. I sent in a few demos, and they very kindly came back to say that they wanted to release it. It was a smooth process.
Can you tell us about Machine Sound Electronics Club? Why did you decide to start this project? What is the goal?
It’s a meet up within a club space with an element of music industry lectures and music production talks. We also host demo listening sessions of the people who visit each session. It gives people the opportunity to hear their work in progress, or finished tracks, on a club ready sound system. It is not by any means a revolutionary idea, and I had attended similar projects such as CDR (LONDON), Ableton User Group (UK, DE, IT), plus other lectures too.
I wanted to start something for several reasons. One is to create a project that will showcase my organisational/tutorial skills for future potential collaborators and endorsements sponsors. The other reasons are in between meeting new people, learning, hearing new sounds, and pushing myself out of my comfort zone. I want to improve at public speaking and presenting, as well as dealing with challenging situations.
It also feels great to create a community project that can inspire and enhance the people who take part. This also includes the business, The Marquise, N16. London’s favourite techno pub that provides us the space to run the project.
Tell us about your mix for //SNCMAG?
The tracks are selected by me and it just came to me to try out an AI DJ mixer. It mixed badly! I wanted to see interesting results and in the end I had to help it arrange the tracks. The mix leans towards a more experimental sound and is sonically challenging in places, but at the same time layers of ease come into play.
What’s next for Machine Woman?
I am developing my label and testing ideas so that my creative output can produce multiple sources of income. I would also like to create more video content and podcast too! I am also in contact with a number of labels for releases / remixes.
Machine Woman is constantly learning, just like AI – machine learning 😉
Tracklist:
Immediate Proximity – Eridania
COLA REN – Riot On The Hush
Basic House – Ice Pop (Little Helper Edit)
Demdike Stare – Kommunion (alternate version)
Kamau Baaqi – 300119
Willow – Phoebe
Serene – Option S
Tristan Arp – Circling Music
Ñenado – Slightly Closed Eyes
Katatonic Silentio – From
