B I O

Nic Endo was born in Texas, Jan 7th 1976 of a German father and Japanese mother. She was taken to live in Munich at the age of one. She lived in Frankfurt in the years 1994 –96, and then finally moved to Berlin. She met up with Atari Teenage Riot’s Alec Empire who invited her to join ATR on a temporary basis.

Nic, an accomplished musician, would handle ATR’s electronic music thereby freeing up Alec to take over all the vocal duties. Impressed by her contribution, he invited her to join the band full time. She has since toured the world with ATR, mostly in America and Europe, playing with the likes of Beck, The Wu-Tang Clan, Rage Against The Machine, Nine Inch Nails and Ministry along the way.

Her first release was the EP “White Heat,” which came out on Digital Hardcore Recordings’ Fatal offshoot. Fatal was set up by Endo and fellow musical innovator, Hanin Elias to stress their identity as female producers in the male-dominated world of electronic music. Work with Atari Teenage Riot and on other projects had shown both women that many men automatically viewed their input as negligible and their abilities limited.

Fatal was established at that time to fight these perceptions and ensure that the radical message of Atari Teenage Riot and of Digital Hardcore was liberated from its masculine implications. Her first album, “Poison Lips,” released under the name of She Satellites, saw her transfer to GEIST Records.

“Cold Metal Perfection” is a more considered release than “Poison Lips.” The latter was conceived while touring with ATR and recorded during breaks in the “60 Second Wipe Out” sessions. “Cold Metal Perfection” represents a much clearer visualization of Nic Endo’s creative aims.

The tracks tackle subjects such the traditional expectations of woman at work and in life, (The Program and The Brides); Her feelings about the independent, but tougher, lifestyle she has created for herself since leaving Germany (I Didn’t Exist); and her hopes that she might encourage other women to find outlets for their creative impulses and that they might themselves encourage her, (Heroines).

Nic Endo successfully manages to combine elements inspired by the original free jazz pioneers such as Sun Ra, Freddie Hubbard, Herbie Hancock and New York’s No Wave Saxophonist James White with the sound of modern electronic music. Experimenting with the drum sounds of early eighties US electro as well as making her own interpretation of Stravinsky’s revolutionary piece “Le Sacrifice” (originally entitled “Le Sacre du Printemps”).

While the majority of the electronic music scene focused on minimalism (in terms of using only one tool for the creation of music which led to a conformist sound in her view; or programming minimalist musical figures and loops), Nic Endo developed a much wider musical field in which her own experiments can happen.

Nic Endo insists on pushing electronics to the limit, often working her equipment to breaking point. She is as comfortable on the piano as she is around digital equipment. She believes that there is purity in noise, which can serve as very direct way of communicating emotion whether violent anger, sex and alienation from society.

Nic is visually striking. Covering one half of her face with a Japanese sign meaning, “resistance,” and wearing black leather she stands out amongst Electronica’s faceless musicians. Teaming up with video director Philipp Virus they produced the “White Heat” video which digitally unites the music and visuals.

Alec Empire involved her in the making of his latest album “Intelligence And Sacrifice”. She contributed the 10-minute finale for the track “New World Order,” creating a science fiction world war scenario by using complex layers of noise and machine sounds. She also appears on synths throughout the first CD of his double album and as a result became the musical director for Empire’s live shows. She controls a complex set up on stage, engineering two drum kits, guitars and keyboards applying various filters and distortion effects, managing Empire’s vocal sound and, of course, the whole electronic side of the show.

The American music magazine Alternative Press rated “Cold Metal Perfection” amongst the twenty-five most important releases in the year 2001.

NIC ENDO ON WHITE HEAT (DHR 22)

“…Even women are labouring under the misapprehension that there have been so many social improvements in favour of women over the last years.

But “to improve something” is never enough! It all begins with changing the attitude.

And in fact, I can’t see any real change!!!

Nowadays there are more possibilities for women, for example to get promoted or to get to the top, but is this supposed to be an improvement or does this have anything to do with equal rights when women have to work much harder and have to fight so much more for their goals than men have to do, while they have to bear humiliation and discrimination???

It’s a fact that a women’s work and her performance is not as quickly respected and fully recognised by this society.

That shows that WE have to make the change…NOW!!!

I mean that first of all girls really have to be aware of this fact. They shouldn’t accept this “give in and go conform” any longer!!!

Stop playing “little girl” games and stop wailing afterwards…If you think it’s the easiest way to get what you want…You surely won’t get any respect!!!

It just leads you to the point where you become more and more dependent on men and they will always underestimate you. You waste all your energy with being uncomplicated, modest, nice and ”sexy”…definitely for the wrong thing!!!

You have to decide whether you spent your life just in order to function or to fight and resist!!!

Don’t expect men to make the first step to change their attitude towards women. They would never do that and they know exactly why…

Even before my record was actually released, I noticed that some guys had a real problem with handling the fact that a girl can do music or noise just as “hardcore” as they do!

Instead of just being honest or accepting it like it is, they are trying to make you feel insecure by trivialising everything you do or of sheer ignorance and indifference.

It’s the same thing with my position in ATR: They think: A girl behind all this equipment??? What is she doing there???

But I can’t take that seriously…They’re gonna shit in their pants anyway…!!! They just can’t ignore it anymore.

That’s one of the reasons why DHR FATAL now exists: I see this DHR FATAL movement also as a statement against such silly attempts at oppression and intimidation by men that still too many girls take too serious and fail because of this...

I think that DHR FATAL can encourage and motivate more and more girls getting involved in doing electronic music on their own and releasing it and becoming independent.

There are still too few of them!!!

For me personally this was the most important motive to join in with the idea of DHR FATAL.

My E.P. WHITE HEAT is the first one on FATAL and I hope that this is just the beginning of an endless series of really cool stuff on FATAL.

But DHR FATAL doesn’t only give you the possibility to release your music...The whole idea behind it is to create a plateau for cohesion, mutual support and for collaboration with one another.

“….the image of how a woman should look like and how she has to behave and act in this society is mainly created by men and is supported by a lot of women. These images and role models seem so unnatural and humiliating to me that I really don’t understand why so many girls want to deal and identify with it. It’s a men’s world we’re living in with all its consequences and I’m sick of the fact that so many girls just don’t seem to care!!!!!!!!!!!!

This indifference on women’s part is the reason why a real change couldn’t take place yet!!!!!!

Rape, acts of violence against women and sexism are justified by law, society and religions!!!!!!

Discrimination against women and the permanently disadvantaging in everyday life situations has become so normal and inconspicuous that it isn’t remarkable to us anymore, ‘cause it all starts in our education.

Nothing’s gonna change until we at last stop and be cynical about these facts. To wait and hope that men will change their minds about their attitude and start treating women with respect... That’s irresponsible and na´ve wishful thinking!!!!!!

The music industry and their media mostly impart a weak, stupid and “sexy” image of a woman. Most of the time I see women just as a kind of a dressed up accessory in some music videos who just have to stand there, look good and shut up. There’s a total lack of courageous and strong women in the music business with real serious statements that don’t give a shit what other people tell them to do.

Particularly in the electronic music business: If women are not taken seriously and if men continue to exclude us from it and if we, as girls, give up at this point the same thing will happen what happened to rock ‘ n ‘ roll: White male dominance!!!!!!!!!….”

Make a noise – Get alive!!!”

Begin The Revolution Here Among Us First!

To create music with electronic equipment and computers... For me this seemed almost a mystery. I always imagined it was so difficult and complicated, and I must admit it really intimidated me at the start. This was not the technology itself, but rather what others (only men) made of it and how it was presented to me.
It was an insurmountable obstacle, something I’d never grasp because I’m a girl...

Men could never really hide how flattered they felt when I’d ask them for help. 'Cause that was their big moment – the chance to act like complete idiots in front of me. They could play at being the competent one; live out every neurosis they had about their image. And at the same time constantly deliver the subliminal vibe they had already given up on me, that all their explanations were worth nothing in the end.

They'd start by saying how everything's no problem at all, super easy – then start to explain, making it all doubly complicated and tedious. They'd go through the minutest technical non-details, giving you completely useless information like the year of construction, the company history and so on. Finally they'd show you a couple of "easy games" you could play – if you were really on top of it (like they themselves were!)...

They'd talk on and on, in the end just delivering an endless monologue. Mental masturbation, intellectual jerk offs. I'd turn and go. Sorry, but it's ridiculous! This I do not need!

In the end it had nothing to do with helping me – it was a purely egoistic demonstration of power - and nothing more. They want to keep "their last bastion of power" as far away from women as possible. Now women think they can deal with the rules of machinery!?!?

And more and more of them are doing it!

No woman has ever been born with a phobia for technology or "less gifted" technologically. I think that some girls simply have no interest in it, while other girls avoid it from the very beginning. This is because from when they were babies they were made to believe they were too stupid to understand it, and that technical things are "men's work". I can't think of any other explanation as to why, in comparison to men, there are far too few women in area of music.

And in fact it really doesn't matter whether I now produce the music myself or simply accompany – sing – to the music. The text comes from me, that is what it is really about. You select the samples yourself and let somebody else produce the music, and despite that none of your ideas and sentiments slip from your grasp...

It's important that girls finally apply all their personality, aims and ideas to utilize different musical means than the conventional (musical) instruments whose creative potential is always limited after a certain point. Just like how the subversive potential of music will at some point run dry unless you move beyond certain pre-determined musical limitations.

Electronic radical music, digital hardcore can be made with and by women. They must operate alone as a counter-balance to the still male dominated electronic and hardcore fields. Only then can a true unity exist which works all the more powerfully, with all the more strength.

Within the band I am completely supported in what I’m doing, and this support can be reckoned with for DHR fatal.

For girls who are interested in making their own music but who have not yet become fully switched on to this: Don't let yourselves get filled up with bullshit! Ignore those pretentious male games!

Many things you can work out by yourself over time when you try out the equipment in a relaxed, playful manner. The best things often happen as a result of mistakes, experiments and coincidences. At the start, pretty simple and reasonably priced equipment can be used to create music. You could use for instance a pocket sampler (Yamaha su-10 recommended), a four track recorder, an effects machine or pedal, and possibly a mixer, synthesiser and keyboards, microphone, tape or DAT recorder.

To be able to handle certain musical technology, or to believe you can, is one thing – so that you are able to relate to other people. To be able to transpose your feelings and energy is another job... And since I’m on the subject, it is totally political to be aware of who is twiddling with the controls, turning the switches.

A revolution resulting from the further development of music – and that ideology as a weapon that can produce changes on a political and creative level – all of this is meaningless if women are not an active part of it all!

Begin the revolution here among us first!

Nic Endo

December 1998



Atari Teenage Riot BIO Alec Empire BIO Hanin Elias BIO Carl Crack BIO