PREMIERE: Madame Gandhi Shares “See Me Thru” Remix

Photo Credit: Djeneba Aduayom

“We should be emotionally intelligent instead of brute-force aggressive, collaborative instead of competitive, and pursuing a relationship that is linked and not ranked,” says Kiran Gandhi. Known by her stage name Madame Gandhi, she spoke with Audiofemme earlier this week between a trip to India and a U.S. tour stopping in LA, Denver, and Brooklyn. “That’s a very feminist style of leadership regardless of your gender identity.”

Gandhi has been advocating for these values, which she considers part of fourth-wave feminism, ever since she made headlines for free-bleeding while running the London Marathon on her period in 2015. Even before that, she played drums on M.I.A.’s recordings, and she’s also drummed for the likes of Kehlani and Thievery Corporation. She released her first EP as a solo artist, Voices, in 2016, and her latest album Visions came out last year to critical acclaim.

Gandhi describes Visions as a collection of music about “looking inward to imagine your best self outward.” She elaborates, “The Instagram inspiration culture around posting things that make you feel good is so popular because all of us are motivated to get that stimuli externally, but for me, the times when I’ve really made progress with my mental health have been when I’ve taken the time to ask myself what sounds like it would make me happy and what matters to me. Each song speaks to that theme in its own way.”

The video for the album’s latest single, “See Me Thru” — which Gandhi says describes her “vision for a healthy relationship” — gained attention not only for its depiction of queer love but also for Gandhi’s decision to work with an entirely female and gender-nonconforming cast and crew, which she did for the “Top Knot Turn Up” video as well.

“I feel more comfortable and respected by other women,” she explains. “To collaborate with anyone, people have to believe that if they take their own opinion or the other person’s opinion, the result will be fruitful no matter what. And I find that to be the case when I’m with other women based on a heightened sense of care for a person’s well-being. With men, there’s a lot of talking down, a lot of lack of respect for my contribution.”

Gandhi is preparing to release an EP consisting of remixes of songs from Visions, the first being a “See Me Thru” remix by DJ Sarah Farina, who imbues the track’s angelic harmonies and infectious rhythms with magical-sounding instrumentals and warps Gandhi’s already dream-like voice for an almost psychedelic effect. Farina, who remixed the album’s other songs as well, works with a style she’s dubbed “rainbowbass,” incorporating bass-heavy footwork, futuristic beats, R&B, and UK Funky.

Gandhi’s other recent projects include drumming for Oprah Winfrey’s 2020 Vision Tour (which she describes as “incredible,” as she’s a huge Oprah fan) and playing at the Bulova brunch at the Grammy museum during this year’s Grammys. “I like bringing my drumming and energy and positive vibes to more traditional spaces,” she says. At SXSW this year, she’ll participate in nine events total, including a panel discussion titled “How To Be Political In An Apolitical World” and a performance at the Women of the World Showcase presented by She Shreds x Word Agency.

Photo Credit: Djeneba Aduayom

As Gandhi takes over the world, her aim is giving people music that’s empowering rather than oppressive. “So often, when I go to the gym or in a dance club setting, I always hear the newest music, and I’m just kind of aghast at how we tolerate misogyny in this culture,” she says. “I’m not here to tell other people what to write about or sing about, but I am here to provide an alternative. Making music that beat-wise is exciting and interesting but providing lyrics that don’t contribute to the oppression of anyone else is very important to my mission.”

She also hopes to empower young people to make their own music and use it to express their thoughts, which has led her to work with organizations such as Beats by Girlz and Girls Make Beats. “As a young person, I was given piano and singing lessons, but nobody taught me how to write a song — it was just to regurgitate the song someone else wrote, and that education is so problematic,” she says. “You don’t develop the skillset of owning your own voice, telling your own story.”

Gandhi walks the walk of supporting and uplifting the people around her. During our phone call, she spoke in a confident, kind tone that made me feel genuinely appreciated, ending our conversation by declaring, “We killed it!” She embodies the paradox of being aggressively kind, firmly and unwaveringly soft, and the world needs more of that.

Catch Madame Gandhi live in Brooklyn at Elsewhere on March 10th, and follow her on Instagram for ongoing updates.

White Night Expand the Meaning of “Home” with INGO Remix

On “Home,” the new remixed single from electro-pop duo White Night, there’s a chime-like synth pattern and haunting vocal loops that swell over a percussive drumbeat. It’s classic indie electronica—and in some ways, not a sound that most people would associate with Seattle. Yet, White Night’s singer and violist, Elizabeth Boardman grew up right here in the Emerald City—this is where her musical journey began, and upon deeper listening, you can hear it.

Boardman remembers her parents playing everything from Nirvana to opera around the house, and at just three, she says she “begged” to start piano lessons. “I remember, from a very early age, taking comfort in the distraction and creative wholeness felt in sitting at the piano and improvising your own little songs,” she says. “I started playing viola when I was eight and as soon as I was old enough to join the Seattle Youth Symphony orchestra program, I fell in love with the sweeping romance and drama of composers like Tchaikovsky and Sibelius.”

After completing Garfield High School, Boardman moved to London to study viola performance at the Trinity Laban Conservatoire of Music and Dance and then later completed her Masters of Music at the San Francisco Conservatory of Music. It was there Boardman met German-born Willi Leinen, a Classical Guitar student, and the two began dating and making music together.

“Both of us had composed a bit on our own and Willi had been in a couple bands, where as I had only dabbled a little in pop songwriting before we started working together,” said Boardman. “But we both had that creative itch that was a relief to scratch amidst the stiffness and stress of our classical studies.”

Initially, Boardman and Leinen were only able to collaborate virtually, sending musical ideas to each other over the internet, since Leinen had moved back to Berlin and Boardman was still in the San Francisco Bay Area.

“Our first songs were put together across the ocean,” said Boardman. “We had our first radio airtime on a German radio station, [and] we hadn’t even played the music in the same room together. We’d only done it long distance.”

Boardman then moved in with Leinen in Berlin, partly to be closer to a major epicenter for classical and electronic music, and to take advantage of the city’s affordable living and vibrant culture. Since, the two have continued to hone the alternative synth-pop of White Night, drawing both on the mood of the Pacific Northwest and the electronic scene in Berlin.

For instance, on the title track from their 2018 debut album, Golden Heart, there’s the sweeping drama of Pacific Northwest scenery adorned with cinematic textures, strings, and a music video featuring many shots from the San Juan Islands. Musically, the track could sit alongside the music of Pacific Northwest indie-folk artists like Damien Jurado, Fleet Foxes, and Noah Gundersen. Meanwhile, another single on Golden Heart, “Money,” has more distinct Euro-pop flavor. A techno dance beat underpins as Boardman speak-sings, “Fancy cars/fancy clothes/what is real/what is fake/Money makes it yours to take.”

This newly-released version of “Home” is the best of both worlds. Originally appearing on Golden Heart, remix duties were handled by their friend, German drummer Hanns Eisler, who goes by INGO. The intoxicating momentum and precision in production ties the track to the vibrant electronic music scene in Berlin. At the same time, there’s also a good dose of the raw authenticity and quirkiness of the Seattle indie folk sound; “Home” brings to mind Northwest-bred Benjamin Gibbard’s work in Postal Service, as well as ODESZA and Feist.

Lyrically, the song explores what “Home” is and there’s a moody tension that swells throughout the track—almost as if the singer is in two places at once. “The song is about the concept of one’s ‘home’ being a collection of memories and nostalgic feelings which are untainted by time. Relationships, individuals, environments and circumstances are constantly evolving, appearing, and disappearing as one goes through life. Home is what we hold still in our minds and in our hearts,” explains Boardman.

The release of this single marks a new period for White Night, who have toured much with Golden Heart throughout Germany and the West Coast of the U.S. since last year. Right now, they are looking forward to writing a new EP, continuing to teach classical music from their home studio in Berlin, and eventually, to getting back out on the road.

“We are very excited to keep songwriting and hone our genre and style before we plan any bigger tours,” said Boardman. “For now, we are back to the songwriting grind-stone!”

Follow White Night on Facebook for ongoing updates.

PLAYING CINCY: Khari Unites Cincinnati Emcees In “Da Art Of Ignorance” Remix

Da Art of Ignorance remix

Earlier this year, Cincinnati rapper Khari released his debut project, Sinsinnati. Now, he’s enlisted some of the Queen City’s best talent to hop on a remix of the standout track, “Da Art of Ignorance.” Maintaining his hard-hitting chorus, Khari swaps his verses out for bars from Allen4President, Dayo Gold, Phresh Kyd, Roberto, B.A.N.K.$. and ¡Jay Hill!

The original “Da Art of Ignorance” arrived with a thought-provoking visual, directed by Kevin Garner and backed by Khari’s affiliated production company, Be The Best Entertainment (BTB). In the newly remixed version, the Cincinnati emcees apply the pressure to the bold and dance-worthy track.

After Khari’s initial hook, Allen4President cuts in around the :40 mark. “I seen it all / From the dope killings and the potholes / From the Queen City to the King’s Island / We got queens, really, so why kings wildin’?” he raps.

“I hopped on the remix for numerous reasons,” Allen told AudioFemme. “It’s a good song and I can relate to it. I truly believe it’s a crazy world, but I can’t speak to what I don’t know. I’ve seen, heard, and have done a lot in Cincinnati. It just made sense and was on par with what I normally make music about – the real-life experiences of Cincinnati.”

“I’m happy for Khari, simply because I like all of the moves he makes, along with his team,” he continued. “There’s a big support system behind Khari and the rest of BTB and I’m happy he reached out in the way he did. He’s 1,000% accomplishing a lot in a small amount of time and it’s inspiring to see. Gotta respect and show love to the real!”

Following Allen’s verse, Dayo Gold arrives to lay some heat of his own.

“Khari is just a guy with a lot of energy and passion when he’s performing and I immediately connected with that,” Dayo said of working with Khari. “He hollered at me about jumping on the remix and I said yeah, no question. I’ve always wanted to jump on a remix—it’s just so hip hop to me. Especially with the song being from someone I view with dope talent.”

Landing at around the 2-minute mark Phresh Kyd hops in with his own flow. “What’s inside I bet will differ / From whatever you consider / Let me guess, I’m a high-class pothead / On the way to penitentiary since I’m not dead,” he spits.

B.A.N.K.$. marks the track’s next arrival with a boost of energy. “Mr. Miyagi, we turn up the party / Popping the bottles, I’m pouring Bacardi / Feel Like a Migos, I’ll take a Ferrari / Offset, now I got me a Cardi,” he raps.

Patterns of Chaos’ ¡Jay Hill! and Roberto trade the remix’s remaining bars, maintaining fierce intensity until Khari closes out the track.

“I decided to recruit those guys because, first and foremost, they are good artist friends of mine here in the city and I respect all of their artistry,” Khari said. “The idea of doing a remix came about when I put on my show for my album Sinsinnati. All those guys were on the bill with me and we all put on a great show in front of a nice crowd at Arts’ OTA. The idea hit me instantly after seeing everyone rock their sets to do a remix with those guys.”

“‘Da Art of Ignorance’ was the fan-favorite off my album and every time I perform it people sing all the words,” he continued. “So it felt right to bring the city together even more with a remix that included some of my favorite Cincy artists.”

Check out Khari’s remixed “Da Art of Ignorance,” featuring ¡Jay Hill!, Roberto, B.A.N.K.$., Phresh Kyd, Dayo Gold and Allen4President below.

PLAYING CINCY: Princess Tiana Remixes Ella Mai’s “Shot Clock” in New Video

Photo by Kayla Rogers

Princess Tiana solidified her place in Cincinnati’s music scene earlier this year with her single “Trip.” Since then, she’s been dropping videos to tease her next release, a full-length project titled Going Places. The seven-track album follows 2017 EP Believe It, and although it took her two years to prepare and it’s been a long road, she’s very excited to release it this spring.

“Every song is fun,” Cincy’s pop princess told Donuts n Akahol in a recent interview. “It’ll make you wanna roll the windows down [and] pop the top back!” Her latest offering is a sassy remix of Ella Mai’s addictive single, “Shot Clock,” which Mai released late last year.

Directed by Dre Shot This, Tiana maintains the basketball theme in her new music video for the single but puts her own spin on it, showing off impressive choreography and her signature vocal versatility.

Princess T wrote in an Instagram post that the remix is the perfect way “to welcome [Ella Mai],” who arrives in Cincinnati Wednesday (May 1) for her sold out show at Bogart’s.

The new CJ Knowles-produced beat breathes fresh life into the song and lets Tiana’s vocals shine. She keeps Mai’s attitude in her lyrics, but gives her man a little more time to meet her needs. Contrasting with Ella’s deep soulful tones, Princess Tiana plays up her high-pitched vocal range, complimenting the new beat. “You better rush, pick it on up, come and brighten my mood / Shot clock / Twenty-four seconds, maybe one minute ’till I change my mind,” she sings.

Make sure to keep an eye out for the soon-to-be-released Going Places, and until then, enjoy Tiana’s spiced up version of Ella Mai’s “Shot Clock.”

Princess Tiana Shot Clock
Princess Tiana / Photos by Kayla Rogers

TRACK REVIEW: Memoryy “Read My Lips (King Deco Remix)”


Have you ever listened to a song that feels both fast and slow at the same time? Well, once you’ve listened to Memoryy’s “Read My Lips King Deco Remix” you can say you have.

Memoryy’s remix adds a sultry, sexy twang to King Deco’s original track, commanding your attention with spine-tingling synths and bass. The song carries you along a slow build up of snaps and airy vocals to end with a fiery synth explosion that’s endearingly cacophonic. It grows outward and upward, climbing like a vine along a wall, and before you know it, you’ll be sitting on the edge of your seat sitting straight up, fully immersed in its beauty as it blooms before you.

Take a listen to the track below, and let it shape your week.

TRACK OF THE WEEK: Vacationer “Go Anywhere (TAPES Remix)”


Where are you going for summer vacation? Well, Vacationer wants to take you on a trip via a new remix of “Go Anywhere,” a track from last year’s release Relief. TAPES, an experimental electronic artist, transformed the track  into a sultry song for the summer by slowing down the original’s bongo beat and adding tribal elements to the rhythm (and, of course, more reverb). The original “Go Anywhere” is a poppy, hopeful anthem, while the new version has the perfect touch of danceable playfulness: the sound of waves crashing on the shore, a pulsing beat, and squealing, squawking synths.

Check out both the original and TAPES remix of “Go Anywhere” below! (And, you can soften the blow of the end of summer by catching Vacationer on their Fall tour with Great Good Fine OK).


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TRACK REVIEW: Sofi de la Torre “What People Do (Mickey Valen Remix)”

Sofi de la Torre Remix

Sofi de la Torre What People Do Remix

“This is the beauty I want. Beauty has got to be astonishing, astounding – it’s got to burst in on you like a dream.” – F. Scott Fitzgerald, from “The Offshore Pirate”

When Sofi de la Torre sings of certain markers of opulence on “What People Do,” her smokey vocal and scaled-back percussion makes the things she longs for seem unobtainable. Like Lorde’s “Royals,” that inaccessibility gives way to a certain ironic tinge, and by its end the track shows something of a disdain for trite status symbols.

But leave it to NYC-based producer Mickey Valen to flip that script. “When looking for remixes I search for great songs that have vocals that inspire me to do something different, completely strip all the original production and build around it” he says. His lavish treatment of Sofi’s “What People Do” is so sonically disparate from the original that it adds a completely new dimension to the track’s sense of yearning. With flute flourishes, jazzy piano, and bubbly synth glitches fanning out from the Spanish singer’s distorted hook, the world Sofi created pops off like a Gatsby party under Valen’s skilled hand. It’s enough to make you want to put on a string of pearls and sip champagne on a yacht.

Valen has worked with emerging indie acts as Noosa and EVVY, and has four more projects slated for release in 2015. He’s taking a break from producing full-length albums to put out remixes every month, so be sure to follow his soundcloud for the latest.

TRACK REVIEW: Sylvan Esso remixes PHOX



Funky electropop duo Sylvan Esso just did a lovely remix of PHOX’s song “Slow Motion” and it is so deliciously silky and smooth. Sylvan Esso hails from Durham, North Carolina and is made up of vocalist Amelia Meath and producer/genius beat maker Nick Sanborn; together, they make really irresistible and groovy tunes.

Partisan Records labelmates PHOX, meanwhile, are a six-piece self-described as “a bunch of friends from the Midwestern circus hamlet, Baraboo, WI, a place where kids often drink poisoned groundwater and become endowed mutants.” They also make mesmerizingly mellow tunes tied together by Monica Martin’s stunning, velvety voice that you can’t help but fall in love with immediately.

We were already obsessed with “Slow Motion” but Sylvan Esso took the soulful song and gave it even more soul. The remix opens with an intense synth and bass beat, then it gradually introduces Martin’s voice in a delicate but calculated manner, which reaches octaves far, far away. Sanborn replaces the acoustic guitar and a jubilant, contagious clapping  from the original with a springy synth, building it up over the course of the song and slowly adding in percussive, chopped snippets of Martin’s vocal to carry it through to the end. It’s a rather perfect pairing, given Meath’s similarly smokey vocals. This latest version of “Slow Motion” crackles and smolders with a completely different vibe from the folksy original; it’s hard to decide which is best.


TRACK REVIEW: Julia Holter Remixes Boardwalk

Julia Holter

Experimental indie/electronic artist Julia Holter stripped down Boardwalk’s “I’m To Blame” (from the band’s self-titled 2013 LP) and made an unsettling and totally possessing remix. Boardwalk (Mike Edge and Amber Quintero) liked it so much that they decided to make the stems for the track avalaible to the public, encouraging people to remix the song, and even provided a soundcloud group for artists to post their remixes.

Holter’s remix of “I’m To Blame” begins with what sounds like the scraping and rattling of metal objects in apparently no particular pattern or rhythm. Taking the sinister vibes even further, Holter layers the metallic racket with a chilling humming, the kind of humming that you would hear from a demon child in a horror movie right before it kills its next victim. The creepy humming is eventually replaced by ethereal singing that elevates and withers away sporadically as new vocal elements are subtly introduced. Next comes a chordant piano and subsequent meandering bass section, making the track (only slightly) more melodic. These parts dissipate while the scraping and rattling persist. Finally the vocals enter. Doesn’t matter how we’re trying, we can’t get it right. You and I are not the same and I think I’m to blame. I think I’m to blame. This sets up the organ section to coax out a melody that is finally comparable to that of the original for the musical climax of the song we’ve been waiting for. But it’s taken away just as quickly, the track pulling back and slowly fading away into silence.

Offbeat percussion and dissonant, non-musical sounds have a way of instilling unease, but somehow the anxiety inherent in Holter’s mix of “I’m To Blame” is what keeps the listener alert rather than passive, making the occasional melodic moments more satisfying and the song more interesting throughout. While the original is more melodic and thus easier to listen to, Holter’s version is actually more captivating, maybe even moreso for ignoring most aesthetic characteristics of Western composition. It’s a perfect example of how technology opens up possibilities for collaboration, a sentiment reiterated by the band’s invitation for more remixes.

Listen to original side-by-side with Julia Holter’s remix below; maybe it will inspire you to make your own.