Electronic music is dominating pop, bringing brilliant female artists with it

With Rihanna, Beyonce, Lady Gaga, Robyn, La Roux, M.I.A and Janelle Monae, we just see further examples of women excelling at electronic music – just like they always have.

Way back in April, Kate Mossman commented on the lack of male popstars in today’s musical climate. “I can’t be the only one,” she wrote, “who has wondered what’s happened to men in pop – or how funny this period will look in hindsight, the world of music straddled by female Goliaths while the boys sit in the shadows. . .”

Though the male-dominated list of winners at the VMAs alone calls Mossman’s theory into question, I believe I know exactly how this period will look in hindsight. It will look like the first time in the history of pop music that electronic sounds have truly dominated to the point that rock bands count as the exception rather than the standard. That there are so many female Goliaths is incidental. Women have always excelled at electronic sounds.

Since its very inception, electronic music has always been daring, controversial and utterly fascinating. Give the matter a moment's thought and it's hard to ignore the fact that when it comes to electronic music, women have always been at the very vanguard of innovation and crossover appeal.

In the 1960s, when the form was still in its infancy, electronic music was seldom created for home listening. Rather, it was created for the stage, for the screen or purely for the sake of bold experiments in sound. It was painstakingly crafted in workshops and laboratories by individuals who were more scientist than musician, and many of these individuals were women.

Having realised Ron Grainer's theme to Doctor Who by entirely electronic means, Delia Derbyshire is about as close to a household name that any early electronic artist will ever be. Her work with The BBC Radiophonic Workshop now feels ingrained in the national psyche, but perhaps even more impressive is the legacy of the Radiophonic Workshop's founder, Daphne Oram.

Oram was creating electronic sounds for the BBC as early as 1948, but it was upon leaving the BBC and developing her “Oramics” technique that she really began to make waves.

But while the work of Oram and Derbyshire often feels cold, alienating and terrifying, on the other side of the Atlantic we find a like-minded pioneer whose work proved a lot more accessible.

While working for Bell Labs in the 1970s, Laurie Spiegel – who, not to mince words, is a genius - set the template for the way in which electronic music is still created today through developing bespoke compositional software.

Spiegel's groundbreaking music is warm, human and meditative. And, through creating accessible, intuitive software that made it possible for anyone to create music, she sowed the seeds that would ultimately allow for millions of bedroom wizards today to realise their electric dreams.

Indeed, the democratisation of composition might indicate why we find so many women in electronic music. In a recent interview, Spiegel spoke about the new possibilities for women that technology offered: “[Technology] allowed women to get their music to the point where it could be heard... so the public and powers-that-be could learn that we also could do this.”

That's perhaps why, if you look at the subsequent forty years of electronic music, wherever you find crossover appeal or startling innovation, you'll also find a strong female presence.

While experimentation for Dylan involved playing a different kind of guitar, by 1975 Joni Mitchell had recorded The Jungle Line – a spooky mood piece composed of distorted drums and honking synths that still sounds like very little else out there.

Meanwhile on the dancefloors, who wouldn't have been captivated by the electrified worldly disco and Bond Girl Glamour of Grace Jones? And, while the arpeggios of I Feel Love might have been programmed by Giorgio Moroder, would the song still have ignited the world without the ecstatic vocals of Donna Summer? Having revolutionised electronic music, women would go on to make it accessible, danceable and, above all, sexy.

The list goes on. Laurie Anderson's unprecedented storming of the UK top three with her minimalist O Superman. Bjork's irresistible marriage of orchestral arrangements and electronic soundscapes. Kate Bush's pioneering use of the Fairlight CMI digital sampler on her Never For Ever album – itself the first ever female solo album to top the charts and enter at number one.

Today, as the tedious and aggressive worlds of club-focused R’n’B, EDM and dubstep cast a grim shadow over popular music, I find myself increasingly looking to female musicians for a joyous and life-affirming alternative.

One of the most exciting artists working today in any medium is Laurel Halo. In the past three years she's produced three EPs, one album and one cassette, none of which sound alike yet each of which plays like a different interpretation of how music might sound in the future. The Haunted Man by Bat For Lashes still gets better with every listen. Then there’s Grimes, seemingly poised for superstardom, who has reminded us of how fun electronic music can be.

But how will this period look in hindsight? With Rihanna, Beyonce, Lady Gaga, Robyn, La Roux, M.I.A and Janelle Monae, we just see further examples of women excelling at electronic music – just like they always have.

So to answer Kate Mossman’s question, there’s not necessarily a dearth of male pop stars as much as a prevalence of electronic sounds. The female Goliaths just come with the territory.

 

Bjork performing in 2008. Photo: Getty
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How power shifted dramatically in this week’s Game of Thrones

The best-laid plans of Mothers and men often go awry.

Last week’s Game of Thrones was absolutely full of maps. It had more maps than a Paper Towns/Moonrise Kingdom crossover. More maps than an Ordnance Survey walking tour of a cartographer’s convention. More maps than your average week on CityMetric.

So imagine the cheers of delight when this week’s episode, “Stormborn”, opened with – yes, a map! Enter Daenerys, casting her eyes over her carved table map (Ikea’s Västeross range, I believe), deciding whether to take King’s Landing and the iron throne from Cersei or a different path. After some sassy debates with Varys over loyalty, more members of her court enter to point angrily at different grooves in the table as Dany and Tyrion move their minature armies around the board.

In fact, this whole episode had a sense of model parts slotting pleasingly into place. Melisandre finally moved down the board from Winterfell to Dragonstone to initiate the series’ most inevitable meeting, between The King of the North and the Mother of Dragons. Jon is hot on her heels. Arya crossed paths with old friends Hot Pie and Nymeria, and the right word spoken at the right time saw her readjust her course to at last head home to the North. Tyrion seamlessly anticipated a move from Cersei and changed Dany’s tack accordingly. There was less exposition than last week, but the episode was starting to feel like an elegant opening to a long game of chess.

All this made the episode’s action-filled denouement all the more shocking. As Yara, Theon and Ellaria dutifully took their place in Dany’s carefully mapped out plans, they were ambushed by their mad uncle Euron (a character increasingly resembling Blackbeard-as-played-by-Jared-Leto). We should have known: just minutes before, Yara and Ellaria started to get it on, and as TV law dictates, things can never end well for lesbians. As the Sand Snakes were mown down one by one, Euron captured Yara and dared poor Theon to try to save her. As Theon stared at Yara’s desperate face and tried to build up the courage to save her, we saw the old ghost of Reek quiver across his face, and he threw himself overboard. It’s an interesting decision from a show that has recently so enjoyed showing its most abused characters (particularly women) delight in showy, violent acts of revenge. Theon reminds us that the sad reality of trauma is that it can make people behave in ways that are not brave, or redemptive, or even kind.

So Euron’s surprise attack on the rest of the Greyjoy fleet essentially knocked all the pieces off the board, to remind us that the best-laid plans of Mothers and men often go awry. Even when you’ve laid them on a map.

But now for the real question. Who WAS the baddest bitch of this week’s Game of Thrones?

Bad bitch points are awarded as follows:

  • Varys delivering an extremely sassy speech about serving the people. +19.
  • Missandei correcting Dany’s High Valerian was Extremely Bold, and I, for one, applaud her. +7.
  • The prophecy that hinges on a gender-based misinterpretation of the word “man” or “prince” has been old since Macbeth, but we will give Dany, like, two points for her “I am not a prince” chat purely out of feminist obligation. +2.
  • Cersei having to resort to racist rhetoric to try and persuade her own soldiers to fight for her. This is a weak look, Cersei. -13.
  • Samwell just casually chatting back to his Maester on ancient medicine even though he’s been there for like, a week, and has read a total of one (1) book on greyscale. +5. He seems pretty wrong, but we’re giving points for sheer audacity.
  • Cersei thinking she can destroy Dany’s dragon army with one (1) big crossbow. -15. Harold, they’re dragons.
  • “I’ve known a great many clever men. I’ve outlived them all. You know why? I ignored them.” Olenna is the queen of my LIFE. +71 for this one (1) comment.
  • Grey Worm taking a risk and being (literally) naked around someone he loves. +33. He’s cool with rabid dogs, dizzying heights and tumultuous oceans, but clearly this was really scary for him. It’s important and good to be vulnerable!! All the pats on the back for Grey Worm. He really did that.
  • Sam just fully going for it and chopping off all of Jorah’s skin (even though he literally… just read a book that said dragonglass can cure greyscale??). +14. What is this bold motherfucker doing.
  • Jorah letting him. +11.
  • “You’ve been making pies?” “One or two.” Blatant fan service from psycho killer Arya, but I fully loved it. +25.
  • Jon making Sansa temporary Queen in the North. +7.
  • Sansa – queen of my heart and now Queen in the North!!! +17.
  • Jon choking Littlefinger for perving over Sansa. +19. This would just be weird and patriarchal, but Littlefinger is an unholy cunt and Sansa has been horrifically abused by 60 per cent of the men who have ever touched her.
  • Nymeria staring down the woman who once possessed her in a delicious reversal of fortune. +13. Yes, she’s a wolf but she did not consent to being owned by a strangely aggressive child.
  • Euron had a big win. So, regrettably, +10.

​That means this week’s bad bitch is Olenna Tyrell, because who even comes close? This week’s loser is Cersei. But, as always, with the caveat that when Cersei is really losing – she strikes hard. Plus, Qyburn’s comment about the dragon skeletons under King’s Landing, “Curious that King Robert did not have them destroyed”, coupled with his previous penchant for re-animated dead bodies, makes me nervous, and worry that – in light of Cersei’s lack of heir – we’re moving towards a Cersei-Qyburn-White Walkers alliance. So do watch out.

Anna Leszkiewicz is a pop culture writer at the New Statesman.