Non-binary genre comes to electronics to end the noise of patriarchy

Make noise against the oppressor. Seven editions later, the premise of She Makes Noise festival it remains the same: opening the door to groups that have been invisible for decades, in the world in general and in electronic music in particular. From October 21 to 24, the Casa Encendida in Madrid opens its doors both to vindicate the work of them and ‘them’ and to fight against an oppression that has not yet disappeared. But it does not mean that the steps taken so far have been in vain.

Techno demands to regain its lost throne in dance music

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“When we started with La Casa Encendida, back in 2015, there was no presence, or it was rather scarce, the participation of women in electronic festivals. Now, beyond the equal quotas, which of course must be met, many programmers and promoters ‘their eyes have been opened’ with the quality of their work and they take them into consideration on their posters, “Natalia Piñuel, curator of She Makes Noise, explains to

Unlike the previous edition, marked by the restrictions of the COVID-19, this time it has opted for a hybrid format that unifies the face-to-face with the online so that those who are at home or outside the capital can continue without problem certain activities. This year they focus on three lines of action: the local and Spanish scene, an international program to vindicate the emerging art of Asian cities (such as Shanghai and Taipei) and the presence of trans artists on stage.

“This evolution towards making trans artists visible responds, as does the feminist and decolonial gaze that we have been working on for some time, to the fact that today’s society is more plural and it demands it. In such an important year for trans people in Spain with the Trans Law, but also sadly with the violence and intolerance they receive, it was something that had to be there, “says Piñuel. He adds that it is not the first time that the festival has invited this group, and acknowledges that “it is an illusion to dedicate, at least one day of this seventh edition, to seeing and listening to two transsexual women ‘making noise’ from the Patio de La Casa On “.

Two of them are Ziúr and Slim Soledad, who choose Madrid to present their third album, Antifate. This part of an abstract idea, but in line with the demands of his collective. It tells the story of Cockaigne, a utopia that was talked about in the Middle Ages where work was not necessary and food was not lacking. “A place where we feel free and together with the people who allow us that freedom,” say the artists about an album that, in reality, addresses a very elementary concept: that of getting rid of chains.

The musical replicas of COVID

The coronavirus pandemic has hit the world and culture. During confinement, hundreds of artists decided to share their art when life was at a standstill. They had only one goal: to entertain the people who were at home. But now, although the restrictions are not so severe, COVID-19 is still present in the creations born from such a defining moment in modern history. “In few artistic disciplines I think that the coronavirus and the post-pandemic situation have gone through both the artists and electronic music,” says Piñuel.

This is the case of Sabiwa, who is in charge of kicking off the festival. She is one of the greatest exponents of electronic music in Taiwan and for this occasion she has prepared a performance where he reflects on the pandemic situation, virtual relationships and dependence on the Internet. “Work that ‘no place’, that indeterminate and blurred space where reality does not exist and the human being experiences true freedom, just before disconnecting and logging out”, the artist explains in the program.

But music is not the only field of action. “With the film series we have wanted to work on something essential such as the treatment of mental health and the disease process in the two feature films that we present for the first time in Madrid; Êxtase, by Brazilian filmmaker Moara Passoni and Le poireau perpétuel directed by Zoe Chantre “, highlights the curator.

There is still a long way to go, but spaces like She Makes Noise have already become an annual meeting place to share diversity and have new references, whether in electronic music or contemporary audiovisuals. Because, as Piñuel concludes, “it is important to rewrite history with a gender and non-binary perspective in all the parameters of society, and of course also in electronics.”


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