Plunderphonics

Plunderphonics is a musical genre that emerged in the 1980s, based on the concept of taking existing audio recordings and rearranging them to create new and compelling sounds. The term was coined by Canadian composer John Oswald, who pioneered the genre with his ground-breaking album "Plunderphonic" in 1989. The idea behind Plunderphonics was to use existing recordings – often widely recognizable pop songs or classical pieces – as the source material for new compositions. The Plunderphonics artist might take the samples and manipulate them in a variety of ways: slowing them down or speeding them up, cutting them into fragments, stretching them out, or combining them with other sources. The result was often a completely new and otherworldly sound, drawing on the listener's existing knowledge of the source material to create a unique and striking piece of music. Oswald's "Plunderphonic" album was particularly influential in the early days of the genre. The album, which consisted of a series of compositions made from musical samples taken from a wide variety of sources, including Elvis Presley, Beethoven, and The Beatles, was a provocative statement that challenged traditional notions of copyright and ownership in the music industry. Oswald was making a point about the value of musical creativity and the role of the artist, arguing that even using pre-existing material, a composer could create something fresh and new. The album was met with both acclaim and controversy. Some critics hailed it as a work of genius, a radical reinvention of popular music that challenged all assumptions about the creativity and ownership of musical material. Others saw it as an act of theft, a blatant disregard for copyright law and the artists whose work had been appropriated for Oswald's compositions. Despite the mixed reaction to "Plunderphonic", Oswald's work and the genre of plunderphonics quickly gained a following. Other artists such as The Tape-beatles, Negativland, and People Like Us began to experiment with Plunderphonics techniques, releasing albums that used sampled sounds and music in new and exciting ways. The genre found particular favor in the electronic music scene, where artists were already experimenting with new sounds and textures using synthesizers and other electronic instruments. Today, Plunderphonics continues to thrive, with new artists exploring and pushing the boundaries of the genre. Innovators like Jason Forrest, Matmos, and DJ Food have taken plunderphonics in all sorts of new directions, incorporating elements of everything from hip-hop to classical music into their work. The genre has become a fixture in the wider electronic music scene, inspiring countless artists to experiment with new sounds and techniques.

John Oswald: Considered the founder of Plunderphonics, Oswald's work revolves around taking pieces of well-known music and reworking them into new, abstract compositions. He has released numerous albums and has collaborated with other notable musicians. Negativland: This experimental group from California uses sampling and sound collages to create their music. They are known for their provocative and satirical content, which often takes aim at mainstream media and consumer culture. The Evolution Control Committee: This Ohio-based duo is known for their mashup of popular music and found audio. Their most famous track, "Whipped Cream Mixes," is a combination of Public Enemy's "Rebel Without a Pause" and Herb Alpert's "Whipped Cream." People Like Us: The stage name of British artist Vicki Bennett, People Like Us creates surreal audio collages using samples of music, dialogue, and sound effects. Her work often blurs the lines between reality and fiction. The Books: This duo from New York combine found audio with their own instrumentation to create unique and eclectic soundscapes. Their work spans genres, incorporating elements of folk, rock, and electronic music. Eclectic Method: This group from London uses sampling and remixing to create music and videos that are both playful and introspective. They often sample from popular movies and TV shows, and their live performances feature synchronized video manipulations. Jason Forrest: Known for his frenetic and energetic sound collages, Forrest's work incorporates everything from metal to electronic music to children's songs. He has released numerous albums and has collaborated with musicians from a variety of genres. Cassetteboy: This British duo combines samples from popular media - such as politicians' speeches and news reports - with rap and electronic music to create satirical and often hilarious compositions. Girl Talk: This Pittsburgh-based DJ is known for his mashups of pop music and hip hop. He combines samples of well-known songs with his own beats and rhythms, creating danceable and infectious tracks. Osymyso: Another British artist, Osymyso's work often takes the form of DJ mixes, combining samples of music and dialogue to create new compositions. He is known for his intricate editing techniques and playful sense of humor.

1. "A Kid on a Beach" by John Oswald 2. "Plexure" by People Like Us 3. "Mashups" by DJ Danger Mouse 4. "Deconstructing Beck" by Evolution Control Committee 5. "Plunderphonics 69/96" by John Oswald 6. "23 Seconds Over Smolensk" by Negativland 7. "The Quick and the Dead" by Wobbly 8. "Raiding the 20th Century" by DJ Food 9. "Kranky Klaus" by The Tape-beatles 10. "Star Wars Breakbeats" by DJ Yoda 11. "Ozricized Alien Artifacts" by Rev Dwight Frizzell 12. "The Art of Sampling" by Steinski and Mass Media 13. "The Dead Chickens Dance Mixes" by The Dead Chickens 14. "The Telemetry Orchestra" by People Like Us & Wobbly 15. "Caroline Crawfish" by Masonna 16. "Rephlexions! An Album of Braindance!" by Various Artists 17. "Wowee Zowee: Revisited" by Tapestry of Sound 18. "Beefheart: Rough Trade Shops Indiepop Compilation" by Various Artists 19. "Fukushima!" by Govt. Rockers 20. "Escape Plan From Planet Monday" by Kid Koala 21. "Album" by Girl Talk 22. "Non Stop Electro Cabaret Compilation" by Various Artists 23. "Post Canine" by Mar and the Waff 24. "Alphabetical Order" by The Tape-beatles 25. "Paranormal America" by The Oval Language.

One of the most notable commentators on the topic of Plunderphonics is musicologist John Oswald. In his book, "Plunderphonics, or Audio Piracy as a Compositional Prerogative," Oswald argues that Plunderphonics is a legitimate and important form of music. He states that "the plundering of audio is the business of artists seeking to expose sound's realities, and less the business of hucksters trading in copyrights, trademarks, and the nuisances of intellectual property." David Toop, music critic and author of "Ocean of Sound," has also spoken highly of the genre. Toop sees Plunderphonics as a celebration of the "aural unconscious," as it allows artists to access previously unheard sounds and bring them to the forefront of sonic consciousness. Toop states that Plunderphonics is "a creative act that prioritizes the aesthetic value of sounds over their status as property or cultural signifiers." However, not all commentators have been equally enthusiastic about the genre. Music lawyer Cliff Goldmacher cautions that Plunderphonics can lead to potential legal issues for artists. In his book "The Complete Idiot's Guide to the Music Business," Goldmacher argues that "depending on how the sound is used, identification may be required, royalties may be owed, and limitations may exist." He suggests that artists considering using Plunderphonics-style techniques should be aware of the legal implications of doing so. Critics of Plunderphonics have also expressed concern about the potential for the genre to be used inappropriately or irresponsibly. Music writer Kirk Saffle, for instance, argues that Plunderphonics can become a means of "commodification" if artists are using pre-existing sounds solely for their own gain rather than seeking to create something new and innovative. Despite these criticisms, Plunderphonics remains a potent force in contemporary music. As writer and musician Simon Reynolds notes in his book "Retromania: Pop Culture's Addiction to Its Own Past," "the sheer volume of plundered material circulating in contemporary culture guarantees that the technique will continue to have relevance and impact." Reynolds sees Plunderphonics as a creative way of engaging with the past and creating new works of art with resonances that extend far beyond their initial sources.

One of the primary social factors that contributed to the emergence of Plunderphonics was the rise of postmodernism. Postmodernism emerged in the late 20th century as a cultural movement that challenged established norms and values. Postmodernism encouraged the recycling and reworking of pre-existing cultural artifacts, like art, literature, and music. Plunderphonics reflected this postmodern approach to culture by repurposing existing sound sources to create something new. The rise of sampling technology was a crucial technological factor that enabled the creation of Plunderphonics. In the 1980s, sampling technology became more widely available and affordable. Sampling technology allowed musicians to manipulate pre-existing audio recordings and incorporate them into new works. Plunderphonics artists exploited these technological advancements to create their unique soundscapes. The cultural context in which Plunderphonics emerged was also supported by the DIY ethos of the independent music scene. Like many independent music movements, Plunderphonics was characterized by small-scale distribution and a commitment to creative experimentation. Plunderphonics artists produced their own recordings using accessible technology and distributed them independently. This DIY aspect of the genre allowed Plunderphonics to exist outside of the mainstream recording industry and prevented it from being co-opted by commercial interests. Several notable figures played a significant role in the development and popularization of Plunderphonics. One of the most influential figures was the Canadian composer John Oswald. Oswald was one of the first musicians to experiment with the manipulation of recorded sound sources. His 1981 composition "Plexure" is considered a seminal work in the Plunderphonics genre. Oswald founded the record label Mystery Tape Laboratory in the 1980s, which released several influential Plunderphonics albums, including his own. Another critical figure was the British record label Soleilmoon. Soleilmoon released several Plunderphonics albums in the 1980s and 1990s and helped to popularize the genre in Europe. The label's owner, Charles Powne, was also a prolific Plunderphonics artist who released several albums under the name "KK Null." Several journalists played a crucial role in the popularization of Plunderphonics. Simon Reynolds, a prominent music journalist, was an early champion of the genre. Reynolds wrote several articles in the UK's Melody Maker and New Musical Express, raising awareness of Plunderphonics among a wider audience. Other notable journalists include David Toop and Kodwo Eshun, whose writings helped to contextualize Plunderphonics within broader cultural movements like Afrofuturism.