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When Henning asked me to write the review for Pull My Hair Back in August, I found myself imagining the album as instrumental. There have been certain articles that have left me out in terms of production, like completely. These misteps and "natural assumptions" do indeed reflect sexism and negligence in spheres far behind electronic music. Natasha Kmeto's recent submission, which is also a response to our discussion of the lack of female artists at festivals in hubs as big as Seattle and Berlin, confirms the contemporary criticisms about treatment of female producers vs. I just think that the dialog about women and what women generally do and don't do needs to change, or even be had in the first place. Is gender disproportion present due to the technology being genderized, the male and female audio cables, color-coded pitch ranges, the higher, the brighter, the lower, the bro-er? Working for a rather extraordinary cause, Jessy seems to have found a way to combine both music teaching and electronic production. In conclusion, the general unwillingness to listen to an unaccredited artist become slightly pushy in her limited recognition is cultivated by irresponsible attitudes toward women. Haring is singer and vocalist of Tel Aviv outfit Vaadat Charigim, whose full-length The World Is Well Lost is out now. From Vienna I took a train to south Austria, where I was supposed to switch to a bus to Venice.
By the time we reached the small town in south Austria where I was supposed to switch to a bus, I was so drunk I couldn't walk straight. I found a cheap, probably not so great pizza place and got a slice, then proceeded down the route all the way to the Piazza San Marco. I had never traveled between countries by boat before, except between France and the UK on tour. I remember getting off in Haifa and boarding a train to Tel Aviv, feeling like an alien again, even though I was home. Get The World Is Well Lost on cassette on Burger Records or pre-order the vinyl via Warm Ratio.
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This year sets focus on a particularly large amount of underground acts, morphing different sub-genres in electronic and world music into a delightful mix, and we're obviously quite eager to go down there ourselves and (hopefully) dig up some new discoveries. But "Collapse" also manages to keep a cool, collected distance, as much a summer breeze as a winter rush. I had the opportunity to speak with her about numerous topics, including the endearing and well-known fact that she is a music teacher on the side of being a producer.
Wouldn't an up-and-coming male producer demand credit for the guitar part he played on a friend's album in the event that his name is left out of the album sleeve?
Taking charge in this way could boil down to individual awareness of assumption, catching ourselves quietly before stating things, thinking to check the facts first, or overall avoid speaking in a grandiose style - be more sensitive and sensible. It is what keeps mouths closed, what continues to push this disucssion into lulls of silence as it creates an acute fear of coming across as problematic or inconvenient for bringing it up. This very website certainly wouldn't be able to survive without it, and even if we felt we could, its absence alone would be reason enough to pack up and leave Berlin for good.
Watch the video for lead single "Odisea" below (and read about it over on Self-Titled), and stream the whole album after the break.
Getting on a plane is a task that requires me to be medicated, and at times, also intoxicated. When I got on the train it was completely empty, but then right before it was about to leave, dozens of teenagers boarded it, and came on my car.
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Listen to "Collapse" below, and then fall, sobbing, to your knees; and then go get a beer with your pals.
When I told her I wanted to learn some of her thoughts concerning women in electronic music, she enthusiastically complied but warned me that she dislikes how she has to come across as fussy or bitchy in order to gain recognition where it is absolutely due. The review concluded with the proposition that, while Jessy's voice is indeed one highly enjoyable narrative element, we should treat the work like an already excellent production with a beautiful voice on top as a special treat. An alternative antidote could reside in education, specifically a free type like what Jessy and other producers, such as Christina Sealey (the modular half of Orphx), in Hamilton, Ontario have established. The end project was us putting together clips from the movie Carnival of Souls and had the girls do a soundtrack for it.
It is instead a proactive and communal antidote against gender disporprotion and under-representation. It bears a busy-ness that doesn't ever explain itself, like the decayed voice saying something with conviction yet without comprehension. The question of feeling at home, and of the definition of "home" as such in a globalised world, if you find yourself privileged enough to be in a position to actually travel or move.
This idea had come to me after reading a story in a magazine about a man who devoted his life to traveling the world by cargo vessel. They started unpacking their backpacks, taking out an astonishing amount of alcohol and juices, beers and so on.
I went to bars, ate out, went to galleries, went to shows, had friends in the music scene, but it always felt to me like we were a bunch of kids, from a bunch of different countries, waiting for the grown-ups to come back, spending time in the best way we could together, till they get back to take us home.
But since I had been away from the Tel Aviv music scene for so long I felt the urge to start a project while I was there. Get all dreamy and wistful below, and forget about this grey November afternoon for a few minutes.
Plus I was of course thinking about the issue with labeling women as singers and not producers.
But I think that’s just a reflection of the general popular scene being really sexist. It makes me endlessly happy to see these things being discussed because I believe that all conversations around this are a microcosm of women's experience in almost any industry.
In the Loop is a freshmen workshop for girls aged fourteen to eighteen, advocating the spread of girls doing techno.


Interestingly, Jessy's description of coaching young female producers reflects on a defensiveness when it comes to girls using technology with their "leave me alone" reaction to her pedagogically checking in on their progress with the software. As for now, before we arrive again to the future, let's keep the discussion going further, and be articulate, inarticulate, angry and subtle as we need. Steel blue and pristine machinery used with irony comes to mind midway through the song, when the pitch shifts slightly to make the entire song sway into a different mood. In this sense, the story Tel Aviv native Juval Haring is telling us below transcends his own experiences as someone leaving Berlin to return to the land and the city where he was born. I felt like I was totally alone in the world, and that the world is happening around me in such a way that it is making my head spin. I had always felt baseless, my family far away somewhere in the Middle East, and me, in an old Berlin building, looking out of a window at a grey north European sky. The ship would go out to sea, and you would have nothing but endless blue around you, or black if it was night time, and then after a day or so it would reach a port, dock, and you could peek from your high balcony into the lives of the tiny people living in the port city where you happened to stop. Today, I am happy to be here, but at the same time I am haunted with the thought that I have no real reason to be here but my fear. The following article is another contribution to No Fear of Pop's discussion on women producers, their under-representation, and a suggestion for steps toward finding antidote, informed by the talented Jessy Lanza. It also opens up the gates to a much needed discussion about gender roles and about women and technology in particular. It demystifies electronic production for young women and, in a way, places electronics back into the hands of its perhaps rightful owners (in recollection to Daphne Oram and Delia Derbyshire, whom Sealey definitely replicates as she dances wearing a vintage-looking dress turning the oscillator, next to her bandmate Richard Oddie). Pristine machinery doesn't always go hand-in-hand with unpredictability, yet it works so well in this track.
But aside from that almost universal perspective, it is a deeply personal account, and we think for that alone well worth five minutes of your time.
They explained to me that they were on their way to a skiing vacation and that they are all employees of the train company.
That I will always be alone, because I am a coward, because I never let anyone help me, because I never listen. Sure, there are a lot of Israelis in Berlin, but most of us are there for the same reason: we were tired of trying so hard to live in Israel. For years  I had been a driver for my own bands, and had my wife Mickey next to me to navigate, and talk to. When the cruiser, which turned out to be just like a plane, only longer, and weirder, passed between the islands of Greece, I remember looking out at them for hours.
We had a lot in common, were all kind of older, kind of weirder than other people, kind of outsiders, kind of homeless, kind of tourists. But I have been here since I got off that ship in Haifa, and I have thought a million times about the dark room I had locked and left behind.
I was lonely and kind of terrified of the thought of being on a boat for five days, so getting drunk seemed like a logical thing to do. They must be looking at me, all sweaty and holding a half eaten pizza like a bum, thinking I must be homeless.
I had a balcony in my room, which was just like a hotel room, only on water, and I would sit there for hours, looking back at the white foam line formed in swirls as the ship pushed forward, and at the horizon where pale white and grey montains rose off rocky islands. We stopped in Bari, Rhodes, and then finally after five days, in Haifa, the port town of Israel, north of Tel Aviv. I was surrounded this time by young, 18 to 19 year old soldiers in uniform, all looking at my skinny jeans, buttoned shirt and snow cap, ironic moustache and large sideburns, probably thinking I am some tourist.
So maybe in life, you are always stranded out at sea, and every shore seems like the place you ought to be.



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