jenocide
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jenocide

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"The Flavorpill Mixtape L: PJ Harvey, Hercules and Love Affair, J Dilla, Jenocide (Beachball)"

10. “Beachball” by Jenocide - Rather unfortunate moniker aside, Jenocide know how to make you get up off that thang and move. Her Knee Deep EP came out this week, and is full of the 1980s-era throbbing synths and insistent beats that her fans love so well. Check it out and try not to dance. We dare you. - flavorwire.com


"Mini-Review Knee Deep EP"

JENOCIDE Knee Deep EP (independent) Halifax synthpop starlet Jen Clarke rides again, making up for a somewhat budget recording with solid tunes that would slide in perfectly between vintage Prince and the Knife. 7.5 (LC) - Montreal Mirror


"The Coast Reviews Knee Deep"

Ms. Clarke packs all the sass she can into her stilettos for Knee Deep and hits the town, stomping on any old Peaches comparisons and ties to that Maritime sound. From beginning to end, the EP is soaked with synths brighter than MJ’s socks on Off the Wall, and moaning melodies that might make you feel guilty if someone catches you listening. Jen Clarke is cute and ruthless: “Street Rhythm” is a punch to the face and “2 Hot 2 Hold” is a swift kick to the groin. If her debut album, Machines to Make Us Wet, made you, uh, what the title says...then get ready to be drenched. - The Coast Weekly


"Jenocide- Knee Deep: Electropop"

Jenocide, aka, Jen Clarke just came out with her EP, Knee Deep, wich finally bridges the gap of accessibility and trades in her feminist electrothrash sound for turbo-powered keytar dreampop! Jenocide charges up, cocks that keytar and takes aim at electronic awesomeness. What comes out when she fires is a mystical, twinkling, eargasm energy beam that can make anybody want to dance. I love the angelic voices singing in the background and the smokey haze of all the synthesizer effects that help Jenocide create such a cool retro sound. - This Band is Sick.com


"New Song : Jenocide : Beachball Review"

If you survived the 80s, you are to be forgiven if the sight of an attractive young woman working it out on the keytar gets you a little tingly in your naughty bits. Yes, Jenocide is an attractive young woman, and she plays such a mean keytar that the Devil is probably glad he ignored popular trends and stuck to the fiddle back in the 80s.

A mainstay on the Halifax music and party scene since the mid-2000s, her first two solo releases (EP bikerides.barrettes.bruises and full-length Machines to Make Us Wet, both 2009) featured women’s empowerment themes inspired by Peaches and Le Tigre. You know, just the kind of thing that gets the panties of the less enlightened among us all up in a bunch. Stylistically, Jenocide seems to be drifting toward accessibility, as the electrothrash of bikerides.barrettes.bruises gives way to danceable bubblefunk. Beachball is the lead single from Knee Deep, a five-song EP designed to take Jenocide’s oh-so-nummy power and party platform to the masses, and suggests Apollonia 6 or the Mary Jane Girls if they had pulled a coup d’etat and put the heads of Prince and Rick James on pikes.

So if you are concealing a keytar fetish interest, don’t be ashamed. Just hold tight until November 30th when you can pick up Knee Deep at your local music retailer. Or you can get it online, which is likely better, because we know sickos like you prefer to keep your transactions private. - My Old Kentucky Blog (MOKB)


"URBNET Reviews Knee Deep EP"

Having been immersed in the Halifax underground scene for some time with performances in bands such as Windom Earle & hotshotrobot, Jen Clarke has a positive and alluring effect on your senses. With her past debut EP bikerides.barrettes.bruises being a smash hit at festivals and the Canadian radio/alternative charts we now get to hear her explore more of the up-tempo array of electronic dance music. Fun and poppy lyrics caress the tracks with nu wave sounds and a deeper empowering meaning. The twisted and uplifting "2 Hot 2 Hold" takes you back to a more glamorous era where Blondie ruled the new genre of electro disco rock. Bring it back once again with an energetic and explosive vibe and you’ve got Jenocide in a nut shell. With rave reviews from The Coast Magazine her stage shows and abilities to rock any venue she touches be sure to visit her soon. [Oxide] - Urbnet.com


"Quick & Dirty - Jenocide"


If you find yourself in the crowd for one of Jenocide's shows, be forewarned, she endorses a hands-on approach to her audiences.

"I like to become very actively involved with the crowd and make sure everyone's having a good time," says the Halifax-based musician. "There's nothing better than to be involved in a live show, to get in the middle of it, to get into the crowd and feel what they're feeling and hype them up and have a good time.

"I guess it can get aggressive," the electro artist adds, "but it's always in a playful way."

After cutting her teeth in the East Coast indie scene by singing and playing keyboards with HotShotRobot Jen Clarke decided to strike out on her own. Heavily influenced by the riot grrrl movement, Clarke adopted her new persona and focused her energies on writing music geared towards women's empowerment.

"Jenocide isn't me; Jen Clarke is not Jenocide," she explains. "Jenocide is an alter ego I have. It's a conglomerate of a lot of female artists that I've been inspired by, anything from queercore to Le Tigre or Kathleen Hanna and Bikini Kill to Debbie Harry and Blondie to Belinda Carlisle and the Go-Go's.

"I try to take facets of all those women that have inspired me to pursue music and create a super character that has dynamics of all these performers."

After two EPs, Jenocide has dialed back the aggression somewhat on her first full-length release. On Machines To Make Us Wet, though the feminist message is still there, Clarke does her best to make sure nobody is left out.

"I don't go out there to beat anyone up or anything," she says with a laugh. "I jump around and we sing songs, I pass the mic around, it's a good time."

http://www.soundproofmagazine.com/Canada/Features/Quick_Dirty_-_Jenocide.html - Soundproof Magazine


"Machines to Make Us Wet Album Review"

The pounding distorted bass and fuzzy synth shrieks opening Jenocide's Machines To Make Us Wet recall the sweaty genius of her first EP. But three tracks in Nine Inch Nails-like staccato drum beats introduce Jen Clarke's haunting, subdued vocals, setting it apart from your standard electronic dance album. From there, Clarke navigates vocal history with PJ Harvey wails, Sleater-Kinney grit, Blondie rhymes and a Morrissey-like croon atop changing electronic blips, bounce and buzz. More than sass and distorted beats, Machines skews preconceived notions of typical girls and riot grrrls alike, with an offering as complex as contagiously fun. - By Mike Landry for The Coast, Entertainment Weekly (Halifax, NS, 2009))


"On the Map: A Tangled Web of Riot Grrrl"

Kathleen Hanna was the first person I though of when I read about feminist music newcomer Jenocide whose synth pop, distorted vocals, and political lyrics come together on her debut album, Machines That Make Us Wet, just as Hanna's Le Tigre leaves the stage.

Jenocide's leading lady, Jen Clarke, isn't a newcomer to making music. She's been a mainstay of Halifax's indie scene in bands like Murder Sounds, Hotshotrobot and Windom Earle--not to mention a one-night Blondie tribute--but Jenocide is Clarke's first dip into the waters of kitschy, thrash-infused, dance pop with overtones of snarly grrrl power space reclamation.

In an interview with Pink Triangle Press, she cops to the obvious influence: "Sleater Kinney and Bikini Kill changed my life. I've been criticized for aestheticizing riot grrrl. I don't think I am that radical. It's not the same time or the same place, though I certainly borrow elements."

She borrows a lot of elements, actually, and fans of the genre will no doubt love Jenocide. Although Clarke's music isn't inventive enough for my current musical sensibilities (that full-time college job I had was slingin' records in an indie music shop, and was its own form of education), I'll definitely keep my eye on Clarke's budding aural escapades. After all, I don't have to participate in them in order to enjoy the stories.



http://bitchmagazine.org/post/a-tangled-web-of-riot-grrrl - Bitch Magazine


"Electro-songstress Jenocide tackles feminism, femininity and fashion"

"With my songs I want to create a strong voice for women; to yell back instead of being silent, to create a dialogue with power systems around us that suppress us from being ourselves," says Jen Clarke. "With my songs I want to encourage a sense of community between women and to support and encourage each other to achieve their goals, and make their own choices."

Clarke is Halifax-based electro-songstress Jenocide. She tackles feminism, femininity and fashion on her latest release Machines That Make Us Wet.

"I always wanted to have a solo project," says Clarke, who honed her musical chops in such acts as Murder Sounds, Hotshotrobot and Windom Earle.

"I would write all of these songs that seemed more radical or female in my journal but never found an outlet to play them. I wanted to interact with the audience; I didn't want to be stuck behind the keyboard."

Jenocide doesn't just step out, she prances onto the stage. Decked out in heart-shaped sunglasses and glitter bodysuits, Jenocide loves to make a spectacle. She gives nod to riot grrrl with a post-modern take on pop music.

"It's an alter-ego, absolutely. I don't think everyone gets that," she says. "Sleater Kinney and Bikini Kill changed my life. I've been criticized for aestheticizing riot grrrl. I don't think I am that radical. It's not the same time or the same place, though I certainly borrow elements."

If PJ Harvey and Kathleen Hanna had a love child she'd be Jenocide. With thrash-dance tracks like "Slumber Party," and "Off/On" Jenocide is the ultimate girl party.

"It's about being inclusive more-so than a gender kind of thing. It's a positive, inclusive party atmosphere," says Clarke. "It's kind of the antithesis to going to a club to dance and party and trying to act sexy to attract attention. It's about having fun with your friends. Girl parties can be a group of girls hanging out in a kitchen, talking or dancing at a show."

Jenocide is a touch tongue-and-cheek and tough enough to wear her heart-on-her sleeve. Wherever she goes she leaves a trail of glitter and lipstick marks in her wake.

"I can wear whatever I want, do whatever I want. I can wear a sparkly tube top and it doesn't make me a slut," she says. "Jenocide is a character; she's in your face. It's engaging and gets people's attention. What can I say, I like sparkle?"

Jenocide explores themes of empowerment, embodiment and ego. Her agenda isn't explicitly feminist, though her work is inherently so. With lyrics heavily based on relationships, power dynamics, body image and gender, Jenocide's work borders on queercore.

"It's really difficult to talk about ideologies that mean so many different things to different people," she says. "As a woman, feminism reminds me to be critical of the systems around me, to be open to every choice that a woman makes as her own choice, and to support empowerment and challenge the status quo.

"But in my experience I feel that as a woman, I am always pointed in different external directions to find value in myself or my choices with the media etcetera. Feminism reminds me to listen to my inner voice, to be conscious of the reasons I make decisions and ultimately how I choose to live my life."

http://www.xtra.ca/public/National/Electrosongstress_Jenocide_tackles_feminism_femininity_and_fashion-7994.aspx - Xtra.ca


"BabySue review of Machines To Make Us Wet"

Jenocide is the duo comprised of Ed Renzi and Jen Clarke, the latter of whom was formerly in Windows Earle and Hotshotrobot. Machines To Make Us Wet is a direct shot at the underground club market.

The album features thick synthesizer-driven electro pop that is simple and catchy...and ultimately very, very danceable. According to the press release, Clarke "...works her way into the audience for an interactive concert experience to push and shove the crowd into a spontaneous party atmosphere..."

After spinning this disc a few times, we certainly believe this provocative lady does all this and more. Far more than mere brainless electric babble, Make Us Wet features some surprisingly smart and clever lyrics and melodies.

So while folks are mindlessly dancing themselves into oblivion...they might just learn a thing or two (or at least get a good chuckle). Ten driving tracks here including "Coming For You," "Boa Constrict Her," and "Slumber Party."

http://www.babysue.com/2009-Dec-LMNOP-Reviews.html#anchor7760 - www.babysue.com


"Quick Hitters: Jenocide's Machines to Make Us Wet Review"

Someone might want to get Alanis on the horn for this one, because not only would she no doubt feel some girl-power kinship with Jenocide, but it's also somewhat ironic (nudge, nudge) that it's my immaturity that makes me feel kind of like a creepy old man for enjoying Jenocide's debut album Machines to Make Us Wet. Not like Jenocide would care much, as her alter ego, Jen Clarke, is the only female member of hi-jinks-loving Halifax outfit Windom Earle, so she's likely seen her fair share of immaturity I would think.

In reality though, my enjoyment of Machines is purely innocent and not surprising really, as the electrofied jams found on the album are just damn catchy. Some of the credit for that goes to beatmaster Ed Renzi, who meshes his drum-dense production with Jen's confident, 80's-inspired vocals and synth playing to excellent effect. And really, although the female empowerment quotient is at a high level on the album, as she says in this Coast feature, Jenocide isn't trying to exclude anyone:

"People get scared off by the word feminist," she says. "But I just wanted to create a character that is strong, and not completely alienating. I have a message for those who identify with it, and if you're about it, that's awesome."

Well we're about it, 'bout it here at the hill. I'm partial to the more uptempo songs on the album, as I could listen to the 1-2 opening punch of Coming For You and Fashion Icon (and it's Push It-esque synth line) on repeat with little to no problem. But there are plenty of other jams to get your one-person party started, like the dense groove of On/Off, the almost spoken-word house of Junglefk (I Want It) and the hypnotic 28 Mansions. It's the kind of clever album I'd want my daughters dancing to in their room, if I had daughters, and not sons. Oh, but I might erase the tags on the mp3's unless my daughters were old enough to not come to me with awkward-times inducing questions about song titles like Boa Constrict Her and Junglefk.

So, if you're in need of getting some indie kids on the dancefloor, I think you'd be wise to get Jenocide on your side.

http://www.herohill.com/2010/01/quick-hitters-jenocide-machines-to-make.htm - by Shane Nadeau for Herohill.com


"Jenocide's Girl Talk"

Jen Clarke's alter-ego brings feminism a cheeky, electro post-punk sound.

On tour with new-wave synth-pop outfit Windom Earle last week, Jen Clarke left her alter-ego, Jenocide, back in Halifax. As the lone female in all-dude bands for almost five years, she knows some things can't be addressed playing with guys.

But her bottled-up feminism explodes 10-fold when assuming the exaggerated electro-synth-fuelled Jenocide persona, first felt in the EP bikerides.barrettes.bruises, and now her first full-length, Machines to Make Us Wet. Her signature heart-shaped sunglasses may replace the barrettes of the EP on the cover, but, understand, such girly things are only accessories in the truest sense.

"Cutesy? That makes me want to throw up," says Clarke. "One can be feminine without being described as cutesy. These are objects a girl would use, but not necessarily definitive of who she is."

Machines isn't so easily pigeonholed either. Down-tempo tracks mix with riotous electro, while pop presides over the EP's earlier thrash, reflecting the diversity of sounds found in Clarke's favourite female-centric post-punk acts. It's a softer side of Jenocide, and Clarke enjoys exploring the personality of the alter-ego that once only existed in her notebooks.

Like her musical influences, even Clarke's feminism is complex. She'll tell an audience "If your boyfriend sucks, dump him!" but on Machines it's easier to get lost in the thumping bass and bacchanalian rhythms. It's feminism that's devilishly fun and aware, without being didactic. "People get scared off by the word feminist," she says. "But I just wanted to create a character that is strong, and not completely alienating. I have a message for those who identify with it, and if you're about it, that's awesome." - Mike Landry for The Coast, Entertainment Weekly (Halifax, NS, 2009)


"Bikerides.Barrettes.Bruises EP Review"

Jen Clarke's alter-ego brings feminism a cheeky, electro post-punk sound.

Although this six-song EP was named after Jen Clarke's bicycle accident (hence the bruising and the healing power of hair accessories), it perfectly sums up Jenocide: even as that throbbing electro-thrash pop socks a mighty punch, you go along for the ride, mesmerized by the glitter.

Clarke struts, preens and shouts like a gentler cousin to Duchess Says, still allowing Ed Renzi's drum machines and keyboards to grab the spotlight on "Sucked Dry," like an '80s video game with a slow frying circuit. As close as you're going to get to Jenocide's live show without melting into those heart-shaped sunglasses. - By Sue Carter Flinn for The Coast, Entertainment Weekly (Halifax, NS, 2009)


Discography

Shinin' & Grindin' Mixtape Vol.2
(January 2011)

Street Rhythm Remix EP
via freak2freak records
(2011)

Knee Deep EP
Single: Beachball
(November 2010)

Machines to Make Us Wet LP
Singles: Fashion Icon, 28 mansions
(September 2009)

bikerides.barrettes.bruises EP
Single: junglefk
(July 2009)

Jenocide Tiny Demo EP
(May 2009)

Photos

Bio

Jenocide is an indie-electro act which plays upbeat dance music. With her shredding synths, powerful beats and roaring but sweet vocals, Jenocide is not your average east coast girl with keytar…what? Jenocide works her way into the audience for an interactive concert experience to push and shove the crowd into a spontaneous party atmosphere, often leaving a trail of glitter and lipstick marks in her wake. Known for playful live mash-ups and throbbing original works, she wants to feel your heartbeat.

Jenocide is Jen Clarke, who first became involved in the Halifax Indie Music scene in 2005, fronting dancepunk band, hotshotrobot, and also plays keyboards in Halifax's synth-pop party collective, Windom Earle. In 2009, she decided to start a solo project based on her love of electro and feminist icons, called Jenocide, a tongue in cheek pun for girl-powered party destruction.

Her first two releases in 2009 were based on themes geared towards women’s empowerment inspired by queercore artists such as, Peaches, and Le Tigre and was featured on blogs such as Bitch Magazine and xtra.ca (Canada's source for gay and lesbian news).

Her debut EP entitled bikerides.barrettes.bruises (2009) was launched as part of the 2009 Atlantic Jazz Fest program. Shortly after, her debut album, Machines to Make Us Wet (2009), peaked in the top 10 of Canada's National earshot! Charts with multiple #1's in various cities, was selected as one of “The Best Releases of 2009” (The Coast, Halifax, NS) and has been featured on a variety of blogs including as Gunshy, Spinner, Singing Lamb and Snob's Music, and an audio-visual podcast by Radio-Canada spotlighting Canadian electro artists.

In November 2010, Jenocide released Knee Deep EP, a collaboration with local producer Willow Bell, which won the hearts of bloggers across North America including favourable reviews from blogs such as: MOKB, This Band is Sick.com, CBC Radio 3 and the Wounded Jukebox, and was chosen by the editor at Urbnet.com as one of the Top Ten Picks for the month of February 2011.

Her lead single off Knee Deep, "BeachBall", was chosen as one of the "Best Singles of 2010" by The Coast Weekly (Halifax, NS) and Knee Deep continues to chart on the National Top Ten Electro Charts (#7 Charttattack, February 1, 2011; #2 Earshot!, February 1, 2011).

In January 2011, she dropped a a new mixtape with her touring DJ, James Reid released on his Halifax label, North North Records. Shinin’ & Grindin’ Vol. 2 is a fun and quirky mix that uses a variety of beats and acapellas from Jenocide’s Knee Deep EP, combined with pop/rap/electro material from artists such as Gucci Mane, The B52s, and Afrojack and has been making a impact on Canadian and international blogs.

Jenocide has been featured at the Halifax Pop Explosion, Sunseekers Festival, East Coast Affair Festival, and has opened for artists such as Rich Aucoin, Think About Life, and Cadence Weapon. During the Winter of 2010 she toured Atlantic Canada with Ruby Jean & The Thoughtful Bees, and this past summer completed a Maritime tour playing at houseparties, bars, on beaches, and at outdoor festivals. She has completed multiple tours to support Knee Deep including shows in Montreal and around the Eastern Canada, and will soon embark on a UK tour including appearances in Amsterdam, Netherlands.