Alez – Introspective End

Posted in sets on August 10th, 2009 by de-dans | 1 Comments

Plunderphonia

[SeaLand, fony] 2001 / download

Until 1877, when the first sound recording was made, sound was a thing predicated on its own immediate disappearance; today it is increasingly an object that will outlast its makers and consumers. It declines to disappear, causing a great weigt of dead music to press upon the living. What to do with it? An organic response has been to recycle, an answer strenuously resisted by traditional music thinking. Yet, plagiarism, once rejected as insupportable, has today emerged both as a standard procedure and as a consciously self-reflexive activity, raising vexed debates about ownership, copyright, skill and cultural exhaustion. This essay attempts to sketch the history of plunderphonics and relate to it to the paradigm shift initiated by the advent of sound recording.

In this article, Cutler places sampling and “plunderphonics” in historical perspective, examining the ways in wich recording and musical technology have altered the very nature of music and musical practice. [Audio Culture. Readings in Modern Music, edited by Christoph cox and Daniel Warner]

by Chris Cutler [1994]

Introduction

[…]

John Oswald’s “Pretender” and other pieces – all originated from existing copyright recordings but employing radically different techniques – were included on an EP and later a CD, Plunderphonic (Oswald 1988). Both were given away free to radio stations and the press. None was sold. The liner note reads: ‘This disc may be reproduced but neither it, nor any reproductions of it are to be bought or sold. Copies are available only to public access and broadcast organizations, including libraries, radio or periodicals.’ The 12″ EP, consisting of four pieces – Pretender (Parson), Don’t (Presley), Spring (Stravinsky), Pocket (Basie) – was made between 1979 and 1988 and released in May 1988, with some support from the Arts Council of Canada. The CD, containing these and 20 other pieces was realized between 1979-89 and released on October 31st 1989 and was financed entirely by Oswald himself. Between Christmas Eve 1989 and the end of January 1990 all distribution ceased and all extant copies were destroyed. Of all the plundered artists it was Michael Jackson who pursued the CD to destruction. Curiously Jackson’s own plundering, for instance the one minute and six seconds of The Cleveland Symphony Orchestra’s recording of Beethoven’s Ninth which opens Jackson’s Will you be there? on the CD Dangerous, for which Jackson claims no less than six credits, including composer copyright (adding plagiarism to sound piracy), seems to have escaped his notice.

Pretender (Parton)

Don’t (Presley)

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Posted in academia, copy++ on August 9th, 2009 by fresh good minimal | 24 Comments

Luciano’s Æther @ Monegros

Posted in de-dans on August 7th, 2009 by de-dans | 26 Comments

Kate Simko – Music From The Atom Smashers

Ghostly International / 04.05.2009 / part1 part2

Kate Simko – The Creative Part

Kate Simko – God Particle

“137 Films’ science documentary The Atom Smashers follows physicists at Fermilab – the most powerful particle accelerator in the United States – in their tumultuous search for the Higgs Boson particle, otherwise referred to as the “God Particle” and “The Holy Grail of Physics.”

In creating Music from The Atom Smashers, Kate Simko drew upon her background as a classically trained pianist and composer while harnessing the power of her own sparse, floor-filling techno productions. And while Kate’s soundtrack blends seamlessly with the film, amplifying the drama and adding wonder to the moments of discovery, the score also operates as a top-shelf SMM album, hovering serenely between stately minimalism, richly textured ambient tones, and sly, melodic techno. From “The Creative Part”’s Reichian repetition and “Nature Surreal”’s symphonic drones to the woozy minimal-house banger “God Particle,” Kate Simko’s Music from The Atom Smashers is a testament to its creator’s explosive talent and sub-microscopic attention to detail.” Ghostly International

The Atom Smashers – the documentary

Posted in de-dans, download on August 7th, 2009 by de-dans | 6 Comments

Marconi Union – Tokyo

[Bine] 27 iulie / download

Un album ambiental minimalist care creaza senzatie de alienare. Desi se numeste “Tokyo”, duoul englez Richard Talbot si James Crossley nu au vizitat niciodata orasul, dar au compus muzica imaginandu-si dinamica strazilor japoneze din filme si carti. Micro-beats, tonuri hi-fi, percutii glitch, reminiscente din ritmurile lui Frank Bretschneider, perfect pentru noptile tarzii sau pentru zilele in care te uiti hipnotizat la monitor, din varii motive.

Ginza District

Hatsunori

Posted in download on August 6th, 2009 by fresh good minimal | 5 Comments

Nosaj Thing – Drift

Alpha Pup Rec.  / iunie 2009 / download

Nosaj Thing e un baiat din LA, din scoala lui Flying Lotus si compania dar ceea ce face mi se pare ca depaseste cadrele glitch-ului sau hip-hop-ului de scoala noua, se intersecteaza cu dubstepul cel mai fin pentru a crea un sound personal si revolutionar. Are ceva din aerul primului Burial in modul in care iti expune o cu totul alta latura a unui stil pe care credeai ca il stii. Albumele astea duc lucrurile mai departe.

“There are sonic Easter Eggs for a thousand listens here, and it would take six pairs of headphones and an equal number of high-grade strains of weed to track them all down. Happy hunting.” Pitchfork

Posted in de-dans, download on August 5th, 2009 by de-dans | 10 Comments

Weekend Warrior

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Posted in weekend warrior on August 5th, 2009 by de-dans | 1 Comments