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bri



Joined: 16 Jun 2006
Posts: 2906
Location: Capacious Creek

PostPosted: Wed Feb 29, 2012 11:10 pm    Post subject: Reply with quote

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SuperstarNeilC



Joined: 10 Apr 2007
Posts: 334
Location: Manchester, England

PostPosted: Sun Mar 04, 2012 7:11 pm    Post subject: Reply with quote

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bri



Joined: 16 Jun 2006
Posts: 2906
Location: Capacious Creek

PostPosted: Tue Mar 06, 2012 2:11 am    Post subject: Reply with quote

Laughing

http://www.wtfpod.com/podcast/episodes/episode_257_-_weird_al_yankovic
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SuperstarNeilC



Joined: 10 Apr 2007
Posts: 334
Location: Manchester, England

PostPosted: Mon Mar 12, 2012 3:16 pm    Post subject: Reply with quote

Richard Thompson- 1952 Vincent Black Lightning

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bri



Joined: 16 Jun 2006
Posts: 2906
Location: Capacious Creek

PostPosted: Tue Mar 13, 2012 11:04 pm    Post subject: Reply with quote

Thumbs up to Richard Thompson, thanks SNC!

In the mood for humor as of late...just a case of the giggles.

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SuperstarNeilC



Joined: 10 Apr 2007
Posts: 334
Location: Manchester, England

PostPosted: Tue Mar 20, 2012 1:30 pm    Post subject: Reply with quote

23 Skidoo - Coup

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SuperstarNeilC



Joined: 10 Apr 2007
Posts: 334
Location: Manchester, England

PostPosted: Thu Mar 22, 2012 1:46 pm    Post subject: Reply with quote

Cabaret Voltaire - Crackdown



~~~

Cabaret Voltaire - Sensoria

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bri



Joined: 16 Jun 2006
Posts: 2906
Location: Capacious Creek

PostPosted: Mon Mar 26, 2012 12:39 pm    Post subject: Reply with quote

Bill Frisell

Quote:



The brilliant and nimble guitarist reinvents the songs of John Lennon at the NPR Music offices.

Set List:


Nowhere Man"
"In My Life"
"Strawberry Fields Forever"

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bri



Joined: 16 Jun 2006
Posts: 2906
Location: Capacious Creek

PostPosted: Sat Apr 07, 2012 12:41 pm    Post subject: Reply with quote

Charles Mingus Triumph of the Underdog


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SuperstarNeilC



Joined: 10 Apr 2007
Posts: 334
Location: Manchester, England

PostPosted: Fri Apr 13, 2012 3:07 pm    Post subject: Reply with quote



Eating itself is an art form that pop music continues to excel at – and ongoing acts of cannibalism in the realms of contemporary electronics are underlined by Trevor Jackson’s Metal Dance compilation. A showcase of post punk, industrial and electronic body music (EBM), all 27 tracks bristle beautifully with angles, jolting funk and cold robotic rhythms, and although they may have been culled from 1980-88, they’re often bound by dancefloor sensibilities which still resonate today.

As the Playgroup man’s first foray into the musical fray for years, the timing of Metal Dance’ release couldn’t be any more pertinent. The smokier, more discerning dancefloors in the UK’s capital and beyond are throbbing to the pulse of mechanical, frenetic and occasionally down-right savage grooves: Brixton-based clubnight World Unknown has been sending out an EBM signal since its inception, while Glaswegians Optimo and the likes of Andrew Weatherall and Sean Johnston from A Love From Outer Space have all been champions of these obscure noises.

And the reason why? As much of the music contained on Metal Jacket testifies, there is a timeless, riotous energy to the regimented sonics which age simply won’t dull. Indeed, it’s hard to accept just how old many of the records are, such is the heat at their centre – the sounds, arrangements and funk seem beamed in from a world still waiting to happen. Jackson’s selection is reminiscent of his 2002 DJ-Kicks outing and is a must for anyone bowled over by his sets over the years but still struggling to track down the elusive lines of sound he traverses.

Many of the names peppering the Jackson designed sleeve on Metal Dance may be unfamiliar but the quality of the selections is close to unrivalled. Beginning with the Bubblemen’s drone rock theme ‘The Bubblemen are Coming’, Jackson shows no fear and goes deep, exposing treasure after treasure – including the sturdy funk of 400 Blow’s ‘Pressure’, Pete Shelley’s robot dance in the dub rendering of synthetic cruncher ‘Witness the Change’ and the harsh chugging of Mark Stewart’s ‘Fatal Attraction (Contagious)’. By featuring the likes of Assault on Precinct 13 film maker John Carpenter, D.A.F, Alien Sex Fiend and the Severed Heads, Jackson manages to create an ear-opening path through these oft overlooked aural areas while refusing to take his eyes off the dancefloor. Dig in – He’s done the hard work so you don’t have to.



~~~

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SuperstarNeilC



Joined: 10 Apr 2007
Posts: 334
Location: Manchester, England

PostPosted: Sun Apr 22, 2012 6:40 am    Post subject: Reply with quote

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bri



Joined: 16 Jun 2006
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Location: Capacious Creek

PostPosted: Wed May 02, 2012 9:17 pm    Post subject: Reply with quote

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bri



Joined: 16 Jun 2006
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Location: Capacious Creek

PostPosted: Fri May 04, 2012 1:52 pm    Post subject: Reply with quote

RIP MCA!

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hawkwind



Joined: 19 Jan 2006
Posts: 701

PostPosted: Fri May 04, 2012 2:50 pm    Post subject: Reply with quote

bri wrote:
RIP MCA!


RIP MCA indeed!

Only rappers to sample the Beatles and Eagles without lawsuits ...

To get the full version of Paul's Boutique, you have to buy the vinyl ... big FU to the record companies for the CD ripoff ...

"You made the mistake you judge a man by his race
You go through life with egg on your face"

- Eggman - Beastie Boys

- Hawk Crying or Very sad

_________________
"It's no wonder that truth is stranger than fiction. Fiction has to make sense." - Mark Twain
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bri



Joined: 16 Jun 2006
Posts: 2906
Location: Capacious Creek

PostPosted: Fri May 04, 2012 10:56 pm    Post subject: Reply with quote

Speaking of sampling and copyright...


http://en.wikipedia.org/wiki/John_Oswald_%28composer%29

Quote:

Oswald coined the term "plunderphonics" to describe his craft in a paper called "Plunderphonics, or Audio Piracy as a Compositional Prerogative" which he presented at the Wired Society Electro-Acoustic Conference in Toronto in 1985. Inspired by William S. Burroughs' cut-up technique, Oswald had been devising plunderphonic-style compositions since the late '60s. In an interview with Norman Igma following the release of the Plunderphonics EP in 1988, he described the concept as follows:

A plunderphone is a recognizable sonic quote, using the actual sound of something familiar which has already been recorded. Whistling a bar of "Density 21.5" is a traditional musical quote. Taking Madonna singing "Like a Virgin" and rerecording it backwards or slower is plunderphonics, as long as you can reasonably recognize the source. The plundering has to be blatant though. There's a lot of samplepocketing, parroting, plagiarism and tune thievery going on these days which is not what we're doing.

Plunderphonics is related to but distinct from sampling used in genres such as hip-hop.





Quote:

His 1975 track "Power" married frenetic Led Zeppelin guitars to the impassioned exhortations of a Southern US evangelist years before hip hop discovered the potency of the same (and related) ingredients.





Similarly, his 1990 track "Vane", which pitted two different versions of the song "You're So Vain" (the Carly Simon original and a cover by Faster Pussycat) against each other, was a blueprint for the contemporary pop subgenre, 'glitch pop' or 'mashup (music)'.

In 1980, Oswald founded the Mystery Tapes Laboratory, which created unnamed, unattributed works on cassette, described on the plunderphonics website as "little boxes of sonifericity specifically formulated for the curious listener. Available in your choice of aural flavors: subliminal, blasted, excerpted, repeatpeateatattttttedly, these cinemaphonically-concocted aggregates of très different but exquisitely manifest, unprecedentedly varied festerings of audio quality fine magnetic cassette tapes are the best of whatever you've been listening for". Oswald continues to be Director of Research at Mystery Tapes.

His greatest source of controversy was the 1988 release of the Plunderphonics EP, which he distributed to the press and to radio stations. It contained four plundered tracks: "Don't" by Elvis Presley which included piano accompaniment by Bob Wiseman, "Pocket" by Count Basie, a version of Dolly Parton singing "The Great Pretender" in which "she gets to sing a duet with himself(sic)", and "Spring", a version of Igor Stravinsky's The Rite of Spring. In 1989, Oswald released an expanded version of the Plunderphonics album containing twenty-five tracks, each using material from a different artist. In 1990, notice was given to Oswald by the Canadian Recording Industry Association on behalf of several of their clients (notably Michael Jackson, whose song "Bad" had been cut up, layered, and rearranged as "Dab") that all undistributed copies of Plunderphonics be destroyed under threat of legal action.





An excerpt from a press release on the plunderphonics website is repeated below:

"I wasn't selling the disc in the stores, so I let listeners tape it off the radio for free," explains Oswald, who paid for the production and manufacture of the CD out of his own pocket. He receives no royalties or financial compensation for airplay. Brian Robertson, president of CRIA says, ``What this demonstrates is the vulnerability of the recording industry to new technology...All we see is just another example of theft." Oswald received notice from CRIA's lawyers demanding that he cease distributing Plunderphonic as of Xmas eve '89. "They insisted I quit playing Santa Claus," Oswald observes.

In 1993 Oswald released Plexure. Arguably his most ambitious composition to date, it attempted to microsample the history of CD music up to that point (1982–1992) in a 20 minute collage of bewildering complexity. The ambition of this piece would later be recalled by the British bootlegger Osymyso, whose "Intro-Inspection" emulates the pop-junkie feel of Plexure.




From 1993-1996, Oswald worked on and released Grayfolded, a 2-Disc set commissioned by the Grateful Dead consisting of pieces created from over 100 performances of the song "Dark Star". Oswald initially created and released disc 1, "Transitive Axis", which contains a 59 minute 59 second work in 9 movements. Feeling that there was more territory to explore, Oswald worked on disc 2, Mirror Ashes, which is a composition in "6*" movements. Once both discs were complete they were packaged together with extensive liner notes and a "visual time map" of the sources used in the compositions. Grayfolded was selected the #1 international recording of the decade by the Toronto Sun.

In addition to his extensive work in "plunderphonics", Oswald is also involved with acoustic music, as a composer and improviser. His compositions for orchestra often do include electronic elements, such as Concerto for Wired Conductor and Orchestra (?), but has also composed for acoustic ensembles, such as Acupuncture (1991). Oswald improvises with the saxophone. Oswald is also actively involved in dance, as a composer for dance works, as a collaborator with choreographers, and as an active Contact Improviser.

Oswald founded the record label fony, which produced the retrospective box set 69 plunderphonics 96 (a.k.a. Plunderphonics 69/96) and reissued Grayfolded. The label also rereleased Plexure and released Aparanthesi, a work which uses the single note A in an experiment with timbre, dynamics, and layering, on CD in 2003.

Since 2000 Oswald has as active in exhibiting his visual art as in continuing his musical activities.



In 2004, Oswald was one of six artists to win the annual Governor General’s Awards in Visual and Media Arts, as awarded by the Canada Council for the Arts, for lifetime achievement. [1].



Quote:

Quotes

"If creativity is a field, copyright is the fence"


"Musical instruments produce sounds. Composers produce music. Musical instruments reproduce music. Tape recorders, radios, disc players, etc., reproduce sound. A device such as a wind-up music box produces sound and reproduces music. A phonograph in the hands of a hip hop/scratch artist who plays a record like an electronic washboard with a phonographic needle as a plectrum, produces sounds which are unique and not reproduced - the record player becomes a musical instrument. A sampler, in essence a recording, transforming instrument, is simultaneously a documenting device and a creative device, in effect reducing a distinction manifested by copyright"





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