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I know I read a couple of Rodgers's interviews back when the website was a going concern, so not all the material is new to me; still, it's awfully nice to have it collected conveniently between two covers. Reading about folks like Eliane Radigue, Annea Lockwood, Pauline Oliveros, Kaffe Matthews, Jessica Rylan, and Ikue Mori one after the other really helps to draw out commonalities and differences in the subjects' backgrounds and philosophies. Even when I don't much care for the artist Rodgers is talking to (I never warmed up to Le Tigre, for instance), the discussion is lively and interesting.
I also appreciate that Rodgers refrains from establishing or even implying a hierarchy among the different musical styles and approaches represented—she groups the interviews according to themes like "Space and Perspective" and "Nature and Synthetics." In her introductory essay to the book, she takes an openly feminist perspective, discussing the lack of writing on women working in electronic music and criticizing the tendency of many authors and historians to regurgitate the same simplified timeline, dotted with same old names, all of them male (the Futurists, Cage, Stockhausen, Kraftwerk, Eno, et cetera), but in the interviews themselves she doesn't push her politics too hard. Many of Rodgers's respondents breeze right by the question of whether their gender has affected their work or whether they feel they've been treated differently because they're women.
Stabat Akish, Stabat Akish (Tzadik)
Aki Takase and Louis Sclavis, Yokohama (Intakt)
Sun Ra, The Second Stop Is Jupiter (Norton)
Art Blakey & the Jazz Messengers, Roots & Herbs (Blue Note)
Lemur, IIIIIII (+3dB)