Kristina Childs

Kristina Childs

Seattle Weekly: As a DJ, you spin downtempo weekly at Fremont’s ToST and Gaspare’s in Phinney Ridge, but how’s your Krakt techno monthly going?

Kristina Childs: We’re in our second month at Re-bar, and previously we’d built up a great crowd at Jai Thai. I’d say it’s the only night of its kind in town. We don’t stick to one style—we’re going to bring minimal techno DJs all the way through the hard stuff, Detroit, German, tech-house. As long as it has that same dirty, gritty tech energy, it fits.

Is the lack of female participation I seem to notice in the scene really how it is?

I don’t think it’s equal anywhere, but it’s not so out of whack. There’s a lot of female DJs in this town: Chloe, Eva, the Motorbooty crew, Miss Funk, Emily Song, Tamara, Brandy Westmore, Miss Kick, the HitGirl collective, Mischa. . . . 

Given that, it’s surprising that you’re the only one on the performer roster for the Decibel Festival.

I’m DJ’ing the electro-pop showcase because they need someone to play ’80s, electro, and synth-pop between sets, although Camea, Mischa, and the Perfect Cyn are also DJ’ing in the Decibel Live Lounge. Decibel focuses on live performers more than DJs, so the question shouldn’t be “Why don’t girls play Decibel?” The question should be “Why aren’t girls making music?” I can count the female producers in the world on two hands; of those, not many are making techno, and that’s Decibel’s focus.

Why do you think more women aren’t making music?

Technophobia. Production and audio engineering are very technical areas, and you don’t see many females there. It’s kind of depressing, but I think it’s going to change as more start to do it. It’ll be easier for their friends, who’ve always been interested but maybe a little scared, to hang out and do stuff together, learn by proxy.

I’ve seen Web sites where women help each other figure out what gear or programs they need. It’s awesome, but it’s a huge commitment buying and learning to use that stuff.

It is. There’s a pretty steep learning curve, and it’s different from picking up a guitar. You cue, you’ve got to understand how waveforms work, MIDI, how your speakers work so you get the right mix. Then you get into sound design, which is an entirely different thing. There’s just so many aspects to learn. I’m a science major, and I’ve always been challenged and intrigued by technical stuff.

What would you like to see change in Seattle’s techno scene?

People supporting it more. A lot of people say they like and listen to techno, but just don’t come out. We promote, put up fliers, post to lists, and [the result is] often disheartening. There were under 500 people at the Richie Hawtin show. Richie fucking Hawtin!

rshimp@seattleweekly.com

Kristina Childs plays the Decibel Festival’s Electro Pop Showcase at Chop Suey with Styrofoam, Her Space Holiday, Mercir, and Mori at 8 p.m. Sat., Sept. 24. $12/$35 evening pass/$50 festival pass.

More in Music

Brandi Carlile Notches Six Grammy Nominations

Fellow Seattleites Alice in Chains, the late Chris Cornell, and the Seattle Symphony also are up for awards.

The boys are back in town: Phoebe Bridgers, Julien Baker, and Lucy Dacus combine forces to form Boygenius. Photo by Lera Pentelute
The Girl Power of Boygenius

Julien Baker discusses her new indie songwriter supergroup with Phoebe Bridgers and Lucy Dacus.

Cat Power (aka Chan Marshall). Photo by Julien Bourgeois
Cat Power Powers Through

The acclaimed singer-songwriter chats about her stripped-down new album ‘Wanderer,’ motherhood, and when performance gets in the way of the song.

Sloucher displaying surprisingly decent posture. Photo by Eleanor Petry
Sloucher Is Not Posturing

The Seattle band doesn’t shy away from embracing ’90s guitar rock on ‘Be True.’

Blues Traveler Still Giving the Run-Around

Now-local John Popper marks the 25th anniversary of his band’s big break.

Greta Klein (center right) brings the soft indie pop Frankie Cosmos to The Neptune. Photo by Angel Ceballos
The Soft Comfort of Frankie Cosmos

Sub Pop’s tenderest band brings its indie pop to The Neptune.

Pedro the Lion. Photo by Ryan Russell
Pedro the Lion Returns with “Yellow Bike”

After nearly 15 years without new music, the Seattle band releases a song and video from the upcoming album, ‘Phoenix.’

Mitski auditioning for a role in a new <em>Poltergeist </em>film. Photo by Bao Ngo
Seattle Halloween Concert Guide

With a handful of stellar options, how should one celebrate Rocktober?

Wild Powwers Gets Under Your ‘Skin’

With its new album, the trio proves that it’s the only modern Seattle grunge band that matters.

Merrill Garbus of Tune-Yards (left) brings her self-aware dance tunes to The Neptune. Photo by Eliot Lee Hazel
A Reflection on Musical Whiteness with Tune-Yards

Worldbeat art pop mainstay Merrill Garbus chats about the need creative culture to go beyond simple racial awareness in the current climate.

Death Cab for Cutie Headlines Deck the Hall Ball 2018

The annual 107.7 The End holiday bash moves to WaMu Theater.

The new Chris Cornell statue resides outside of MoPop. Photo courtesy MoPop
Seattle Rock Star Statue Breakdown

The new Chris Cornell statue at MoPop got us wondering about the statues honoring local music legends.