“In the last couple of years I’ve started DJing more and ‘TNT’ is a song I’ve played to make the dancefloor hoop and holler. It’s as explosive as the title suggests and Miss Eaves is talking about masturbation, about food and eating it. She’s putting things out there that many women don’t talk about publicly and certainly don’t rap about publicly.

“Hearing a woman saying the words ‘I’m TNT I’m b-a-n-g’ over and over again feels like an anthem for the times. I want to hear more of that, women speaking about their power in music. I met her when she did a collaboration with White Hinterland on my show and as soon as I heard one of her songs I listened to her albums. When we hear each other talk about the nitty-gritty honesty of our thighs rubbing together in the summer and how it chafes, just details about being a woman and talking about stuff a lot of people don’t want to hear about, but I want to hear your whole truth, we egg each other on.

“She’s very unique in being brave and bold in speaking her truth that emboldens me to do the same. Also I think KEISHH, who produced this, is a truly unsung brilliant hip hop and dance music producer. She’s making music that is as catchy as any of the dance music producers I know out there, certainly many of the male producers, I hope she gets her due.”

“Hip hop is where I learned social consciousness. This song is Georgia Ann Muldrow reflecting on her own experience of the world. I’m really surprised that more people don’t know her name, I think one thing I’ve found by doing the radio show is that I have to really dig down to find out whether female artists are producing their own music.

“Georgia Ann Muldrow is one of those women, if you look up videos of her creating, she’s a brilliant producer, she gets compared to J Dilla and on top of that she can sing and is brilliant with words. She is everything, she’s another person I wish so much success and prosperity to. She’s in a lineage of hip hop artists producing socially conscious, ridiculously musical work.

“I just wanted to highlight that this album is one of the best of her albums, it’s not something that’s happened a long time ago, she’s making this music right now. Talking about tungsten, it’s similar to ‘Look at Your Hands’ like, where did this smart phone came from? Like parts of this machine are reasons for war and strife in other countries. Georgia Ann Muldrow is thinking so big and that’s the way we all need to think right now.”

“I heard this through my friend Amari who sent me the cassette. I am a fan of hip hop, but mostly 90s’ and early 2000s’, but now that I’ve seen her play live, her timing and rhythm is uncanny and again she has incredible musicality.

“I think what she’s hearing are these dream worlds of sound, I think that’s really visionary to be able to recycle that. I’ve played her probably more than anyone on the radio show. This track has an amazing vocal and it’s just one of those impactful tracks - when you play it live it gets the dance floor going.

“Linafornia showed me how she was working her samplers, this year I got a CDJ, which I always figured was this weird pseudo turntable and we ended up using it on our recording process where we would loop ourselves. I think it’s scientifically proven that there aren’t as many women in technical fields as there are men and some of that is this kind of ‘that’s not for girls’ attitude. Curiosity of how these things work is something that is encouraged in boys and not in girls.

“Before I made the first Tune-Yards album I had no idea how you use this stuff and I hadn’t seen other women doing it, in the studios men were running the console and had their hands on the tools. Of course, the sound is in the tools; if you don’t know how the tools work you don’t know how to get the sound you want, you don't know how to exploit the sound for your own art. I think it’s really crucial for us to have our hands on the tools as musicians.”

“It feels like a song where you need to elbow people, like ‘I need some space!’ I got introduced to her through Xenia Rubinos and like Georgia Ann Muldrow she’s doing her own production. The words in this song speak for themselves. Female rap is one of the art forms where women get to speak their piece and that’s quite rare, even in song writing.

“I love that she says ‘I’m not one thing, I’m not two things.’ I guess there’s a call out culture. I’m white, I grew up in white supremacy, in racism, therefore as a white woman I’m going to be sketchy. I have racism in me and when I hear other people claim ‘you might think you know me but you don’t know me, don’t make me in to a two dimensional object, I’m 3D, I’m 4D, I’m 5D,’ it allows me to own the thing that I claim and even though there are these tough aspects of myself that I’m looking at, it doesn’t mean I’m only that.”

“I’m pretty speechless about Moor Mother. I’m happy that people in the Bay Area are speaking about her and amplifying her music. I think Moor Mother shocked a lot of people with this record - "You can see my dead body at the protest."

“It doesn't sound like anything else, it's like speed metal and rage and sweat and teeth and blood. I saw a small performance of hers here in San Francisco and it was everything and nothing like the recordings; she rides the audience and the pulse of the room and does her thing. We're lucky if she gifts us with this art, the truth she speaks and the guts she spews, for decades to come.”

I can feel you creep into my private life is out on 4AD