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: Rosa Anschütz
Current Residence: Berlin / Vienna
Label / Crew / Projects: Quiet Love Records
Can you tell us about the ideas and inspirations behind this mix?
I was staying in New York during February when I made this mix. I played a show and spent two entire weeks in the city. So these are the tracks that accompanied my journey. There is always some emptiness to fill when traveling alone and for me that has always been music. The most reliable company anyway.
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?
Looking back to childhood there is this quite therapeutic artist my father used to love, called Spool. He is from California and released his music merely online. Combining the both questions, I focused on America because that was the first artist that popped up in my mind right away. My father was so moved by the music that he wrote him an email and was the first one who ever did so. My parents both had a good taste in music. We used to live in the countryside, an hour far from Berlin and they’ve made big parties in this area, invited jazz bands and played loud music. One song I remember very well of that time is Bacative from Tricky and also artists like Portishead or New Radicals, Herbie Hancock, The Streets and Björk.
Do you remember your first encounter with electronic music and can you elaborate on that?
I was very curious about the nightlife as soon as we moved to Berlin and already went on my own to parties when I was very young, starting with clubs like Kater Holzig or the other clubs around Friedrichshain. The more I went partying the more my musical taste in electronic music shaped and I was starting to go to events in the Goth Industrial scene, which I still prefer. Also, festivals like Atonal influenced me a lot. Generally growing up with the nightlife of Berlin had an impact on how I work with music now.
Tell us about one of your best, worst, funniest or strangest DJ experiences.
I remember playing live in Japan in 2017; I toured the whole month of August with two other Japanese musicians, Julia Shortreed and Hiraku Yamamoto, and went to this small city in the area of Fukui. We had a tough ride with the car behind us and had to play two shows at the same day although everyone of us was super tired.
The venue was very small and we didn’t had a big audience, maybe three people showed up, which made that concert become so intimate and very emotional and felt like having a direct conversation with these three listeners. Something I’ve never experienced before.
The other show at the evening was much more crowded and we drank a lot of alcohol and took some interesting photos with the people from the city and they made the best sushi for us. I am still overwhelmed by the hospitality of the Nakano Shouten Bar.
Our last featured artist Blackmoon77 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? Have you been inspired by any female modular synth artists? Who and why?
I took me some time to be confident enough in trying modular synthesizers myself. Also, when I bought my first one I didn’t touch it for a month. But I remember the relieving evening when I just tried without reading the manual and found out how it works and how I want to use it myself.
The artist who inspired me to do modular the most is probably Robert Aiki Aubrey Lowe, as he is also doing a lot with vocals, which is a beautiful composition of two very »organic« sounds. Focusing on female musicians, I admire the work Kaitlyn Aurelia Smith or Suzanne Ciani.
Get in touch with our next artist Merel. What would you like to know?
I really like the beginning of your set for Rubber TIJD. How do you think of text as a tool in music generally; how to play with words in a musical context?