Machine Girl

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Machine Girl

about the artist

The year is 2024: to confidently name something as post-apocalyptic is tautology. MG Ultra, the latest from (New York based) Machine Girl is the culmination of a decade long awareness of this oft undeclared fact: what we fear about the future is evidenced in the crises taking place now. In the face of these themes, Machine Girl offers the harshest rebuke. Reality informs the escapism of fiction, and in turn, fiction recontextualizes the present. MG Ultra transforms this linear relationship to a meta-paradoxical process; a surreal antithesis of a post-truth, authenticity obsessed society. Machine Girl speaks to discrete worlds we…

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The year is 2024: to confidently name something as post-apocalyptic is tautology. MG Ultra, the latest from (New York based) Machine Girl is the culmination of a decade long awareness of this oft undeclared fact: what we fear about the future is evidenced in the crises taking place now. In the face of these themes, Machine Girl offers the harshest rebuke. Reality informs the escapism of fiction, and in turn, fiction recontextualizes the present. MG Ultra transforms this linear relationship to a meta-paradoxical process; a surreal antithesis of a post-truth, authenticity obsessed society. Machine Girl speaks to discrete worlds we find ourselves in away from surveillance, analysis, containment, and identification, and imagines what resistance to those forces might sound like.

The more you pull away from normality, the more normality exerts its damaging effects, as felt in the body as it is in the mind. Nowhere is this witnessed more than the collective psyche of those exposed to the all-consuming logics of technofeudalism and algorithmic life – in their most advanced form – before coming to true consciousness. Their first new album since 2020's U-Void Synthesizer, MG Ultra could be interpreted as double entendre: a kind of manic collision between the different genres explored in previous MG releases in their most distilled, ultimate form, alongside the obvious intelligence reference. MG Ultra playfully institutionalizes the battle against alienation, dysmorphia, estrangement, commodification, and the gentrification of the mind through a complex sonic narrative.

Beginning in 2012, Machine Girl is a project borne from the hyperfixations of its progenitor, Matthew Stephenson. Taking cues from the character of Chicago footwork and a semblance of hypermobile, wide-ranging cultural references that stem from digital cultures, Machine Girl has been interchangeable with diy culture an a hi-fi maximalist cultural vision. These are tracks for a generation with a hunger for stimulation, owing as much to the frenetic sound of metal and hardcore punk as they are a love letter to electronic hardcore. Machine Girl draws together the lesser acknowledged electronic genres native to web 1.0 and the emergent genres of the early aughts into a breakneck act that actualises most clearly in their notorious live performances.

The mediums, as various as they are, are the message. In contrast to traditional artist-audience hierachies, Machine Girl has grown to inescapable, undergrown popularity by shunning traditional visibility, remaining close to the scenes and ethos integral to the communities they were birthed from. Machine Girl and their audience exist in an cultural feedback loop; sustained through deconstructing barriers to entry, and enabling ease of access to the world's collectively made.

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