Harriet Kate Morgan is a Melbourne artist, curator, and musician. As Military Position she creates intense and compelling industrial and experimental music that explores themes of subjugation, sexuality and non-conformity. Often performing with chains, Morgan presents an inspiring and ferocious take on fucking with and challenging dumb shit male insecurity and music norms.You could say that Military Position lends itself to Throbbing Gristle or Puce Mary but it’s also about Harriet controlling her own creativity. Though she has been involved in a number of bands including Wasted Truth, ZOND and Armour Group, she says that she has found a freedom in working solo and presenting her work on her own terms.“Made To Fight” is a track taken from Black Noise a new cassette release that will be available through long running Melbourne analog noise tape label Trapdoor Tapes.Listen to the track below and read a short interview with Harriet.Noisey: Is “Chains That Bind” one of your earlier songs? You have performed with chains on stage before. Do they act as a metaphor, instrument and a symbol to your music. Or they just look cool?
Harriet Morgan: It’s a track from the last two years that I play live. I regularly perform with chains. They are a trope for many things; sexual bondage, female and human imprisonment and most importantly, an industrial tool. They should speak to people of many things and conjure up different ideas for all. They look cool but only in the sense of what they represent.I’ve read MP described as dealing with modern and everlasting feelings of female and human subjugation. From the project’s name, imagery of chains, has MP always explored themes of conquering and making subservient?
As woman we deal with being on the end of the male insecurity on a daily basis. Our abuse and position in the world orbits around this theme. Our destiny or fate is largely based on people’s feelings for or towards and or their sexualisation of us; such is the life led by the appearance based “strong” female who plays music or creates. Military Position, originally was about my interest in the mind of the teenage-dreamer. I had little knowledge about gear and so decided to do what I could with cassette decks and the things around me in the form of bedroom-type noise. I used samples from just about anything and collaged them into quite lengthy pieces. Themes included nostalgic looks into female subjugation and objectification throughout the 1980s in popular TV shows and films, pornography and extreme music-culture as well as just quotes of interest referencing nihilism and existentialism.You have played in bands and worked solo over the years. Do you feel an empowerment playing solo?
I feel vulnerable and empowered at the same time of course. After playing in bands for years and having little to no control over the sounds another makes or the way they behave, I can safely say that at this point in my life I am happy to be able to play alone. I like to be able to not have to rely on anyone musically as I have had to for a large portion of my life. It is also an exercise for me- to become more self-reliant. Playing solo is also about attempting to wash away the subtle digs and put-downs one receives as a result of playing with various men who are overly filled with self-belief. They can eventually end up making you feel as though it is an honour to play with them when it is in fact an honour to play with each other. It has taken sometime to rid myself of this overall hierarchical feeling of inability created by said people, but I am enjoying the process of getting there.Is the local noise scene a boys club or do you find it more inclusive compared to other scenes?
The noise scene is the least boys-clubby in comparison with other male-oriented ones such as the Australian metal world. Noise is an arena for women to thrive in regardless of conservative themes popping up constantly. The experimental world homes the outcasts and provides a middle ground for those who don’t necessarily take a position on prejudice. Of course whilst it definitely contains conservatives in some circles, it houses a lot of people who are supportive of my music knowing full well that it is related to ideas of male power and patriarchal subjugation. My understanding of industrial and its origins reflects my politics- bands like Throbbing Gristle, Intrinsic Action, Haus Arafna i.e. those dealing with ideas of non-gender and not placating to misogyny so the noise world suits me well.
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Harriet Morgan: It’s a track from the last two years that I play live. I regularly perform with chains. They are a trope for many things; sexual bondage, female and human imprisonment and most importantly, an industrial tool. They should speak to people of many things and conjure up different ideas for all. They look cool but only in the sense of what they represent.I’ve read MP described as dealing with modern and everlasting feelings of female and human subjugation. From the project’s name, imagery of chains, has MP always explored themes of conquering and making subservient?
As woman we deal with being on the end of the male insecurity on a daily basis. Our abuse and position in the world orbits around this theme. Our destiny or fate is largely based on people’s feelings for or towards and or their sexualisation of us; such is the life led by the appearance based “strong” female who plays music or creates. Military Position, originally was about my interest in the mind of the teenage-dreamer. I had little knowledge about gear and so decided to do what I could with cassette decks and the things around me in the form of bedroom-type noise. I used samples from just about anything and collaged them into quite lengthy pieces. Themes included nostalgic looks into female subjugation and objectification throughout the 1980s in popular TV shows and films, pornography and extreme music-culture as well as just quotes of interest referencing nihilism and existentialism.You have played in bands and worked solo over the years. Do you feel an empowerment playing solo?
I feel vulnerable and empowered at the same time of course. After playing in bands for years and having little to no control over the sounds another makes or the way they behave, I can safely say that at this point in my life I am happy to be able to play alone. I like to be able to not have to rely on anyone musically as I have had to for a large portion of my life. It is also an exercise for me- to become more self-reliant. Playing solo is also about attempting to wash away the subtle digs and put-downs one receives as a result of playing with various men who are overly filled with self-belief. They can eventually end up making you feel as though it is an honour to play with them when it is in fact an honour to play with each other. It has taken sometime to rid myself of this overall hierarchical feeling of inability created by said people, but I am enjoying the process of getting there.Is the local noise scene a boys club or do you find it more inclusive compared to other scenes?
The noise scene is the least boys-clubby in comparison with other male-oriented ones such as the Australian metal world. Noise is an arena for women to thrive in regardless of conservative themes popping up constantly. The experimental world homes the outcasts and provides a middle ground for those who don’t necessarily take a position on prejudice. Of course whilst it definitely contains conservatives in some circles, it houses a lot of people who are supportive of my music knowing full well that it is related to ideas of male power and patriarchal subjugation. My understanding of industrial and its origins reflects my politics- bands like Throbbing Gristle, Intrinsic Action, Haus Arafna i.e. those dealing with ideas of non-gender and not placating to misogyny so the noise world suits me well.
'Black Noise' will be available soon though Trapdoor Tapes.