Our first mix of 2022 opens with multi-talented journalist, producer, and DJ Chloé Lula. After over a decade contributing to the electronic music scene as a curator, DJ, and label head, Chloé took on producing in 2019 after a month-long residency with Drew McDowall from Coil. Her debut EP Errant Bodies released on the Berlin-based label aufnahme + wiedergabe last year is a collage of heavy-hitting EBM, industrial, and techno electronica - raw, gritty, and dancefloor-oriented, a sonic sentiment she translates into her DJing, her monthly residency No Exit on Refuge Worldwide, and her mix for Endless Illusion. In addition to her work as a musician, Chloé is passionate about gender justice, LGBTQ+ and human rights, migration and mutual aid, and their intersection with music, culture, and nightlife. You can find her writing on Refuge Worldwide, a radio station that amplifies these issues (and much more) and a number of major international publications. She spoke with Jonáš about inequalities in the music industry, new horizons for Resident Advisor, the art of DJing, and her new studio setup and upcoming music.
Hello Chloe. Where are you at the moment and how was your end of the year? Is there any music playing around you?
Hello! Right now I’m drinking a cup of coffee, burning incense, and slowly getting back to emails and Slack messages. I’m listening to an ambient compilation called ‘Out of Season’ from the Australian label Theory Therapy.
The end of my year was extremely low key, which is exactly what I needed. I took some time away from my full-time job to write and do some synth shopping.
What were you writing about? And how did the synth shopping go?
I wrote a piece on Four Tet’s legal action against his label and the predatory market model of today’s streaming economy. It was published yesterday on RA.
The synth shopping went well! I tried out a couple that I really like, including the ASM Hydrasyth. But I ended up getting the Sequential Take 5.
It seems there is a growing number of artists and labels finding the strength to start doing something about the immense imbalance, financial but also in power, between them and big labels / streaming services. Four Tet, now also Ilian Tape guys.
Is there anything you'd like to emphasise after researching and writing about it? Do you use streaming services yourself? I have been using Spotify for a long time and it is such a convenient way to listen to music that it was hard to stop. I was worrying about not being able to stay 'in touch' with music I listen to. But when I finally stopped I realised how much I don't need it anymore actually.
Yeah, I mean tech companies have excelled at making products that are so easy to use that it’s difficult to move off of them once you’ve grown accustomed to their convenience (Amazon being one really good example of this). I personally don’t use Spotify, but I do use YouTube. These days I’m mostly on Bandcamp though.
Researching and writing this piece really resonated with a lot of what I’ve experienced in the music industry, and it made me aware of how complacent I've become with the normalcy of not being paid (or being paid very little) for my work. It's inspiring to see people turning to unions and collective movements. That's something I’d really like to get more involved in.
So would you say you are more hopeful now, after recognising this complacency and being more informed on the subject? Is there a positive change on the horizon?
Yeah, I am somewhat hopeful. It's hard not to be a cynic given everything that’s going on in the world right now and how accustomed the world has become with free art. But I think the pandemic has forced us to acknowledge some of the inequities that we’ve habituated to (in the music industry and beyond), and there are a lot of valuable conversations starting around how to address these at societal and legislative levels.
Is the full-time job you’ve mentioned your editorial work at Resident Advisor? You do so many things :)
Haha yes I do, possibly too many ... I am the full-time Managing Editor at RA. Most of my day-to-day work revolves around commissioning and editing pieces / sitting in meetings / answering emails, though, so it's uncommon that I get the opportunity to write.
It was good to hear you’ve started working there. I am sure you’re aware of the criticism coming from non-western scenes about the lack of coverage on them, except the kind of pieces which only exoticise other cultures. But you are one of the exceptions, you’ve covered artists and music from the east quite regularly.
What is the situation at RA now? Do you think such an electronic music media giant is able to become more “objective”, to use the influence it has a bit more fairly and responsibly?
I think we (at RA, but music media more generally) are turning a new leaf. There's definitely a long legacy of skewed editorial that doesn’t fairly represent musicians from non-Anglo-European cultures or artists from otherwise marginalized backgrounds, but I think that’s changing. The RA team is almost entirely new, and we’ve made it a priority to address this imbalance in our forthcoming coverage.
I’m personally really interested in covering issues of equity and displacement / migration (I focus on this a lot in my work at the radio station Refuge Worldwide), so I’m excited to help produce more work in this direction.
When I learned you have a journalism degree from Columbia University I started being a bit nervous to be honest :) What were the biggest challenges of your studies there?
I think the greatest challenge of the program was literally just keeping on top of the workload. I took a PhD course as my elective during the second semester, and we were literally reading a book a week in addition to all of the writing I was doing for my other journalism seminars. I love being in an academic environment (and will probably go back for another degree at some point), but it was definitely one of the most intense experiences of my adult life!
Let’s talk about Chloe Lula, the DJ and musician now. What is DJing to you? What is it about, in your own personal experience? For example, amongst other things, DJing helped me to become less afraid to perform in front of people.
Hm … I agree that DJing has allowed me to be a little more comfortable in front of crowds, but I still get really nervous to be honest! For me it’s always been more about creating an atmosphere and showcasing my taste.
Do you consider it to be an artistic practice?
I think DJing can definitely be an artistic practice. You can tell when someone thinks critically about the music they’re playing and the way they fit sounds together. I wouldn’t go so far as to say that I’m an “artist” as a DJ, but there are some people who really are. The strongest examples that come to mind right now are Patrick Russell and Erika from Interdimensional Transmissions, who have blown my mind innumerable times purely from how they layer genres and textures and rhythms in really hypnotic and unexpected ways. It's pretty amazing. Then there are artists like Elena Colombi, who I think is an “artist" as a DJ in the sense that she’s a great selector. So in short, I think it can be an art form in a few different ways.
For me personally I would say it is an artistic outlet, yes, but it doesn't totally fulfill my need for creative expression in the same way that production does.
So have you put your new synths to use already? How do you balance the time spent on music making with all the other activities?
No, my synth is sadly still in its box. I'm definitely digging in this weekend though.
To be honest the balancing act is an ongoing challenge, and I'm never able to do any one thing I'm involved with to the extent that I'd like to. Since I started focusing more on writing the last couple of years, music has definitely taken a back seat. But my goal for 2022 is to put some more boundaries up around my writing and spend my evenings and weekends on music.
I've had to become pretty self-disciplined about saying "no" to things that will take time away from doing productive work, like limiting the amount of out-of-town shows I play and generally staying away from too many late night parties. I'm hoping I can continue to sustain everything I've been doing!
Is there any music you've managed to work on recently despite the focus on writing? Can you show me your studio and walk me through it a bit?
Sure! So right now I'm actually in the process of moving into a permanent studio setup (that's actually what I've been doing this weekend—picking up cables, monitors, a desk chair, etc). It has a nice David Lynch vibe.
This is the setup I’ve been using at home (which has gotten way too cramped since I got this polyphonic synth).
I don't have a ton of stuff—I have a midi keyboard, a small desktop synth, a polyphonic synth, and a drum machine. Then I have a few effects pedals and a cello and an electric bass guitar. I usually work about half with software (especially the Arturia V collection) and half with hardware. I use the cello and effects pedals pretty frequently to record atmosphere and texture.
And yes I have managed to work on some music! The rate of my output has definitely gone down a little bit, but I have a ton of unreleased music from the last couple of years (some of which is still waiting to find a home) and I'm working on a few projects as well that I'm not yet at liberty to announce.
* The conversation took place via WhatsApp between 13:32 on Wednesday, January 7th, and 11:52 on Sunday, December 9th, 2022.
Tracklist:
K100 Signal - Exit 38
Vector Trancer - Rest For The Wicked
December - Je Sors Ce Soir
Tomislav Simovic - Welcome To The Planet Earth (Credit 00 Remix)
Echo 106 - Shifting Multiverse
LDWG - Kool-Aid Cyanide
Weith - Elan Noir
dyLAB - A Fat Little Insect (White Magik Remix)
Cool Front - Stars And Stripes
Devikorps - Life Call
Neuhuen - Personal Conflict
Rhys Fulber - Right Hand Of The Free World (Phase Fatale Remix)
Years of Denial - Confess
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Our first mix of 2022 opens with multi-talented journalist, producer, and DJ Chloé Lula. After over a decade contributing to the electronic music scene as a curator, DJ, and label head, Chloé took on producing in 2019 after a month-long residency with Drew McDowall from Coil. Her debut EP Errant Bodies released on the Berlin-based label aufnahme + wiedergabe last year is a collage of heavy-hitting EBM, industrial, and techno electronica - raw, gritty, and dancefloor-oriented, a sonic sentiment she translates into her DJing, her monthly residency No Exit on Refuge Worldwide, and her mix for Endless Illusion. In addition to her work as a musician, Chloé is passionate about gender justice, LGBTQ+ and human rights, migration and mutual aid, and their intersection with music, culture, and nightlife. You can find her writing on Refuge Worldwide, a radio station that amplifies these issues (and much more) and a number of major international publications. She spoke with Jonáš about inequalities in the music industry, new horizons for Resident Advisor, the art of DJing, and her new studio setup and upcoming music.
Hello Chloe. Where are you at the moment and how was your end of the year? Is there any music playing around you?
Hello! Right now I’m drinking a cup of coffee, burning incense, and slowly getting back to emails and Slack messages. I’m listening to an ambient compilation called ‘Out of Season’ from the Australian label Theory Therapy.
The end of my year was extremely low key, which is exactly what I needed. I took some time away from my full-time job to write and do some synth shopping.
What were you writing about? And how did the synth shopping go?
I wrote a piece on Four Tet’s legal action against his label and the predatory market model of today’s streaming economy. It was published yesterday on RA.
The synth shopping went well! I tried out a couple that I really like, including the ASM Hydrasyth. But I ended up getting the Sequential Take 5.
It seems there is a growing number of artists and labels finding the strength to start doing something about the immense imbalance, financial but also in power, between them and big labels / streaming services. Four Tet, now also Ilian Tape guys.
Is there anything you'd like to emphasise after researching and writing about it? Do you use streaming services yourself? I have been using Spotify for a long time and it is such a convenient way to listen to music that it was hard to stop. I was worrying about not being able to stay 'in touch' with music I listen to. But when I finally stopped I realised how much I don't need it anymore actually.
Yeah, I mean tech companies have excelled at making products that are so easy to use that it’s difficult to move off of them once you’ve grown accustomed to their convenience (Amazon being one really good example of this). I personally don’t use Spotify, but I do use YouTube. These days I’m mostly on Bandcamp though.
Researching and writing this piece really resonated with a lot of what I’ve experienced in the music industry, and it made me aware of how complacent I've become with the normalcy of not being paid (or being paid very little) for my work. It's inspiring to see people turning to unions and collective movements. That's something I’d really like to get more involved in.
So would you say you are more hopeful now, after recognising this complacency and being more informed on the subject? Is there a positive change on the horizon?
Yeah, I am somewhat hopeful. It's hard not to be a cynic given everything that’s going on in the world right now and how accustomed the world has become with free art. But I think the pandemic has forced us to acknowledge some of the inequities that we’ve habituated to (in the music industry and beyond), and there are a lot of valuable conversations starting around how to address these at societal and legislative levels.
Is the full-time job you’ve mentioned your editorial work at Resident Advisor? You do so many things :)
Haha yes I do, possibly too many ... I am the full-time Managing Editor at RA. Most of my day-to-day work revolves around commissioning and editing pieces / sitting in meetings / answering emails, though, so it's uncommon that I get the opportunity to write.
It was good to hear you’ve started working there. I am sure you’re aware of the criticism coming from non-western scenes about the lack of coverage on them, except the kind of pieces which only exoticise other cultures. But you are one of the exceptions, you’ve covered artists and music from the east quite regularly.
What is the situation at RA now? Do you think such an electronic music media giant is able to become more “objective”, to use the influence it has a bit more fairly and responsibly?
I think we (at RA, but music media more generally) are turning a new leaf. There's definitely a long legacy of skewed editorial that doesn’t fairly represent musicians from non-Anglo-European cultures or artists from otherwise marginalized backgrounds, but I think that’s changing. The RA team is almost entirely new, and we’ve made it a priority to address this imbalance in our forthcoming coverage.
I’m personally really interested in covering issues of equity and displacement / migration (I focus on this a lot in my work at the radio station Refuge Worldwide), so I’m excited to help produce more work in this direction.
When I learned you have a journalism degree from Columbia University I started being a bit nervous to be honest :) What were the biggest challenges of your studies there?
I think the greatest challenge of the program was literally just keeping on top of the workload. I took a PhD course as my elective during the second semester, and we were literally reading a book a week in addition to all of the writing I was doing for my other journalism seminars. I love being in an academic environment (and will probably go back for another degree at some point), but it was definitely one of the most intense experiences of my adult life!
Let’s talk about Chloe Lula, the DJ and musician now. What is DJing to you? What is it about, in your own personal experience? For example, amongst other things, DJing helped me to become less afraid to perform in front of people.
Hm … I agree that DJing has allowed me to be a little more comfortable in front of crowds, but I still get really nervous to be honest! For me it’s always been more about creating an atmosphere and showcasing my taste.
Do you consider it to be an artistic practice?
I think DJing can definitely be an artistic practice. You can tell when someone thinks critically about the music they’re playing and the way they fit sounds together. I wouldn’t go so far as to say that I’m an “artist” as a DJ, but there are some people who really are. The strongest examples that come to mind right now are Patrick Russell and Erika from Interdimensional Transmissions, who have blown my mind innumerable times purely from how they layer genres and textures and rhythms in really hypnotic and unexpected ways. It's pretty amazing. Then there are artists like Elena Colombi, who I think is an “artist" as a DJ in the sense that she’s a great selector. So in short, I think it can be an art form in a few different ways.
For me personally I would say it is an artistic outlet, yes, but it doesn't totally fulfill my need for creative expression in the same way that production does.
So have you put your new synths to use already? How do you balance the time spent on music making with all the other activities?
No, my synth is sadly still in its box. I'm definitely digging in this weekend though.
To be honest the balancing act is an ongoing challenge, and I'm never able to do any one thing I'm involved with to the extent that I'd like to. Since I started focusing more on writing the last couple of years, music has definitely taken a back seat. But my goal for 2022 is to put some more boundaries up around my writing and spend my evenings and weekends on music.
I've had to become pretty self-disciplined about saying "no" to things that will take time away from doing productive work, like limiting the amount of out-of-town shows I play and generally staying away from too many late night parties. I'm hoping I can continue to sustain everything I've been doing!
Is there any music you've managed to work on recently despite the focus on writing? Can you show me your studio and walk me through it a bit?
Sure! So right now I'm actually in the process of moving into a permanent studio setup (that's actually what I've been doing this weekend—picking up cables, monitors, a desk chair, etc). It has a nice David Lynch vibe.
This is the setup I’ve been using at home (which has gotten way too cramped since I got this polyphonic synth).
I don't have a ton of stuff—I have a midi keyboard, a small desktop synth, a polyphonic synth, and a drum machine. Then I have a few effects pedals and a cello and an electric bass guitar. I usually work about half with software (especially the Arturia V collection) and half with hardware. I use the cello and effects pedals pretty frequently to record atmosphere and texture.
And yes I have managed to work on some music! The rate of my output has definitely gone down a little bit, but I have a ton of unreleased music from the last couple of years (some of which is still waiting to find a home) and I'm working on a few projects as well that I'm not yet at liberty to announce.
* The conversation took place via WhatsApp between 13:32 on Wednesday, January 7th, and 11:52 on Sunday, December 9th, 2022.
Tracklist:
K100 Signal - Exit 38
Vector Trancer - Rest For The Wicked
December - Je Sors Ce Soir
Tomislav Simovic - Welcome To The Planet Earth (Credit 00 Remix)
Echo 106 - Shifting Multiverse
LDWG - Kool-Aid Cyanide
Weith - Elan Noir
dyLAB - A Fat Little Insect (White Magik Remix)
Cool Front - Stars And Stripes
Devikorps - Life Call
Neuhuen - Personal Conflict
Rhys Fulber - Right Hand Of The Free World (Phase Fatale Remix)
Years of Denial - Confess
Scroll to Top ↑