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The Femdex Podcast: Blackmoon77

Femdex and PW-Magazine are collaborating on a series of podcasts and interviews to highlight female talent from Vienna and around the globe.

Artist Name: Blackmoon77
Current Residence: Stuttgart (Los Angeles transplant)
Label / Crew / Projects: Discos Del Quebranto, Melodies Souterraines

Can you tell us about the ideas and inspirations behind this mix?

In this mix I wanted to take listeners on a journey through some music by producers and bands that have influenced me over the last 25 years up until now. Making this was a pleasure, this is how I like to get down… enjoy!

As far as you remember, what was your first song or band that you fell in love with when you were a kid or a teenager?

As far as I can remember two of my favourite songs were Tears For Fears Shout! which really left a heavy impression on me and next was RUN DMC Its Like That, this was in 1984. I was six by that time. Dead Kennedys Fresh Fruit for Dying Nothing blew my mind at 8 years old and never stopped listening to punk since that day.

Do you remember your first encounter with electronic music and can you elaborate on that?

I went to my first rave around 1994, but the first experience that got me seriously hooked for life was in 1995 when I saw Green Velvet play. I had never identified with dance music to my core like this. Definitely a life altering moment, I started digging and buying dance music after that. When I heard Model 500 No UFO’s and Aux 88 My A.U.X. Mind I pretty much lost my shit. I was already listening to Kraftwerk, Front 242, Cabaret Voltaire, Nitzer Ebb, Ministry, Psychic TV, Gary Numan etc. but at this time industrial/goth music was not common at all to hear at underground parties, I went to goth clubs and parties to hear that stuff.

Tell us about one of your best, worst, funniest or strangest DJ experiences.

I’ve had many funny moments DJing… freaks are fun. A memorable moment was actually this year when I got to play right before Carlos Souffront, TRAXX and Mick Wills, old school heroes. Playing in Europe has been extremely awesome, I hope I get to play more. Also, back in 2005 I got to play for Dita Von Teese’s special parties, those were rad. The worst situation I’ve ever had DJing (that I can remember) was at a party in San Francisco; I took something that fucked me up so bad I could not read my records and just kept putting one on top of the other when I was playing, I don’t even know if I was mixing, haha. It wasn’t long before I hid under the DJ booth, immediately my friend came to my rescue and finished my set. That was horrible for sure.

Our last featured artist Vernonika USA would like to know how much you think we are confined in predictive ways to external influences when listening, playing or producing music (without consciously noticing it)?

 And how your approach is of making music; how are your first drafts look like, how do you name your tracks?

Well, external influences are everything unavoidable if you live in a society, that is predictable. I feel technology has opened the door for external influence to be used as a tool for inspiring curious, passionate and creativity people to use with no confinement. I mean with technology comes way more expansive music exposure. So much accessibility and growth from so many external influences I believe has done the opposite of confinement. I think we are confined to use external mechanisms to listen, play or produce music, that’s it.

My approach of making music always starts with an idea I get from a sound I hear. While I am creating, I always try to block out any ideas about how I want a track to be structured. I focus on finding and manipulating sound and texture to fit spaces and create melodies. I love to experiment with machines, synthesisers, and good old fashioned instruments, as well as just manually making noise. I find this method of creating the most fun and natural for me. I heard this R.A. interview with Tom Ellard a couple of years ago and related on so many levels with his philosophy and perspective on music and production etc. After hearing that interview I felt like I was understood, haha.

Get in touch with our next artist Rosa Anschütz. What would you like to know?

I noticed that you work with modular synthesizers. What was the most impactful force, person or experience that inspired you to fully commit and actively start learning about modular synthesis? I have a deep respect and appreciation for Éliane Radigue’s work, I listen to her music at least a few times a month. Have you been inspired by any female modular synth pioneers/artists? Who and why?

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PW-Magazine is a bilingual online magazine for contemporary culture.