Interview: Jennifer Walton | NARC. | Reliably Informed | Music and Creative Arts News for Newcastle and the North East

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Jennifer Walton is an experimental electronic producer and film composer who incorporates a range of styles and puts them together to create truly wonderful works of noise art. Her undeniable talent has seen her tour around the world as well as contribute sounds and remixes to a whole host of creative projects. Jennifer’s latest release, WHITE NURSE EP (via Manchester based label Mutualism) channels her frustrations as a fan of Power Electronics, a genre constantly flirting with fascist imagery, so we fired over a few questions to find out more.

Describe your sound.
My sound tends to vary greatly depending on the needs of the project, but for WHITE NURSE I’ve been actively focused on Industrial and Noise music, specifically ‘Power Electronics’, from the 90’s till now.

Could you tell us about your music-making process?
WHITE NURSE was a complete departure from the refinement and iterative approach of my more club focused work, instead working on improvisation and one take recordings with little to no work in post. This gave a huge element of freedom while allowing vulnerability. 

Who was a creative influence on you growing up?
Before finding electronic music I was always drawn towards harsher textures in music, bands like Darkthrone and Mayhem, which i think has ran through my interests regardless of the form it occupies. 

You say that the White Nurse’ EP is ‘a direct response to the deluge of fascist leaning noise music that’s been released constantly since noises beginnings as a genre.’ Can you elaborate?
The beginnings of industrial/noise music start with Luigi Russolo, who wrote ‘The Art of Noises (L’arte dei Rumori)’ a Futurist manifesto detailing the how the rise of electronic music would allow for the creation of infinite timbres inspiring bold new possibilities for music. However the links between the Futurist and Fascist movements within the 1920’s are direct with Filippo Marinetti being the author of both movements manifestos. This thread runs throughout noise musics history and into the present day, with some of the biggest creators in the scene having a fetishistic obsession with the imagery, symbolism and ideology of Nazism and White Power movements. These acts ‘tow the line’ between artistic reinterpretation and dog whistling support for their causes, allowing them to stay afloat despite resistance, while emboldening that very demographic

My goals with WHITE NURSE was one of active re-contextualising of aesthetics, hoping to provide an alternative to those who are tired of leaning towards being apolitical to interact with a whole cannon of music. 
Maybe it is also worthwhile to elaborate on the title of the ep. ‘WHITE NURSE’ comes from Male Fantasies 1: Women, Floods, Bodies, History by Klaus Theweleit, which talks about representations of women in the writings of The Freikorps, a private army that helped the Nazi party find its beginnings in the gap between World War 1 and 2. White Nurse refers to one of the archetypes of women he finds throughout his writing. Women of the White Nurse variety are never entirely present; they are indistinct, nameless, disembodied. In fantasy, the good woman, the White Nurse, has no body at all; there is only a smooth white plain. In fantasy, she is already dead.’

Have you got any live shows coming up or plans to tour in the near future?
I do, however a lot of this is in process and will be announced shortly. Hope to see you all soon

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