s/d edit heavy music

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I'm after very edit heavy music. Stuff like DJ Shadow's 'Un Autre Introduction', the third track on 'The Private Press' - lots of tiny samples carefully edited together. I suppose a lot sample music will be hip-hop, but i'm sure there must be more ambient stuff as well (the orb and KLF spring to mind).

Any suggestions?

Also, is this just another name for plunderphonics or is that a different thing altogether?

― gubbins, Monday, 22 November 2004 12:01 (twenty-one years ago)

locate Double Dee & Steinski's "Lesson" mixes and rejoice. there's three of them. totally the model (one of them) for Shadow.

― Matos W.K. (M Matos), Monday, 22 November 2004 12:06 (twenty-one years ago)

The Avalanches ... great stuff!

― Jez (Jez), Monday, 22 November 2004 13:41 (twenty-one years ago)

Cage's "Williams Mix," wow
Zappa's "Lumpy Gravy," double wow (or wowie zowie)

― I Am Curious (George) (Rock Hardy), Monday, 22 November 2004 14:11 (twenty-one years ago)

Amon Tobin for sheer sample-freakiness, even though I haven't heard his last album or two.

― Jordan (Jordan), Monday, 22 November 2004 14:17 (twenty-one years ago)

Cornelius, Plus-Tech Squeeze Box, the Dust Brothers, Takako Minekawa, Kid Koala, DJ Me DJ You, Coldcut, Prince - Batman, Cut Copy, Disco Inferno.

― B.A.R.M.S. (Barima), Monday, 22 November 2004 14:19 (twenty-one years ago)

Brilliant, thanks for all these.
keep them coming...

― gubbins, Monday, 22 November 2004 15:01 (twenty-one years ago)

Double D and Steinski - all. Oh I guess Matos already mentioned that.

― mcd (mcd), Monday, 22 November 2004 15:40 (twenty-one years ago)

beatles, "being for the benefit of mr. kite"

― fact checking cuz (fcc), Monday, 22 November 2004 15:42 (twenty-one years ago)

I first read this thread title as edit "heavy music", i.e. wouldn't it be great if edit-metal was a real genre?

― Jordan (Jordan), Monday, 22 November 2004 15:59 (twenty-one years ago)

People Like Us "Thermos Explorer" CD, Wobbly's "Wild Why" CD, any of Negativland's "Over the Edge" radio program, John Oswald's Plunderphonics Boxset, Runzelstirn & Gurgelstock, Arschloch-Onna, Nurse With Wound's "Sylvie and Babs" LP, Prefuse 73, Ergo Phizmiz, Tod Dockstader . . .

― Drew Daniel (Drew Daniel), Monday, 22 November 2004 16:20 (twenty-one years ago)

Prefuse 72
jason Forrest AKA Donna Summer

― JoB (JoB), Monday, 22 November 2004 16:21 (twenty-one years ago)

"The Adventures of Grandmaster Flash on the Wheels of Steel." Just listened to it again last night. Still brilliant.

― Not That Chuck, Monday, 22 November 2004 16:28 (twenty-one years ago)

Funkstorung, Todd Edwards, nu-Basement Jaxx.

― B.A.R.M.S. (Barima), Monday, 22 November 2004 16:35 (twenty-one years ago)

Charles Mingus - Tijuana Moods track: Ysabel's Table Dance ... bluddy fantastic!

― Jez (Jez), Monday, 22 November 2004 16:39 (twenty-one years ago)

Prefuse 72

I prefer Prefuses 33 through 45, personally.

― Jordan (Jordan), Monday, 22 November 2004 16:43 (twenty-one years ago)

Pierre Henry's "Fragments for Artaud"; Stock, Hausen & Walkman; Francois Bayle's "l'Experience Acoustique"; James Tenney's "Blue Suede; Jon Appelton; the extended "Mud Guts" track on the "Battle Breaks" 12" on DirtStyle; Porest; Akufen . . .

― Drew Daniel (Drew Daniel), Monday, 22 November 2004 17:04 (twenty-one years ago)

Wonderful stuff.

But is anyone able to tell what plunderphonics is.
Just another name for music that uses a lot of samples ?

― gubbins, Monday, 22 November 2004 17:48 (twenty-one years ago)

It was John Oswald's phrase; and, yeah, it tends to refer to sample-heavy composition by electronic means. Which is really broad. The Oswald/Negativland/PeopleLikeUs/Wobbly/EvolutionControlCommittee scene is the one that "Plunderphonics" gets applied to most directly, which is as much because of a certain critical attitude towards copyright as it is about the "style" of the music. Typically folks in this scene aren't worrying about "covering their tracks", they know that you know that it's a Dolly Parton sample or an Elton John sample or what have you, and they know that you know that they didn't pay for it. So there's a cheeky piracy / political thrust in much of the plunderphonics stuff, and it foregrounds the editing in a way which is closer to musique-concrete than it is the song construction model of say, the golden age of sample heavy hip hop production (ie. Bomb Squad era, Public Enemy).

― Drew Daniel (Drew Daniel), Monday, 22 November 2004 17:59 (twenty-one years ago)

By which I do not mean that less intensive editing goes into hip hop production, which is why Steinski is a great example to bring up of hip hop which is just as baroque and busy and chopped as Oswald et al; but the difference is practical, and maybe legal, between plunderphonics as a culture and the world of hip hop sample based composition- ie. a mixtape that circulates in a bootleg way which chops all kinds of unlicensed pop music into new shapes would count as plunderphonics, while a song that teams of lawyers painstakingly cleared, while it could be totally badass at the level of its editing, wouldn't count as plunderphonics because it was done legally. Which perversely means that when John Oswald has permission to plunder (ie. Rubaiyat, or his Grayfolded CD) he isn't making his own music. There, that's perfectly clear, right?

― Drew Daniel (Drew Daniel), Monday, 22 November 2004 18:14 (twenty-one years ago)

I think you're coming up with that legality clause on your own... Rubaiyat and some of his commissioned remixes still fall under the rubric of Plunderphonics. The legality of this music is always in flux. I don't like thinking about the legality of this as integral to the composition -- the results certainly provoke the issue readily enough but I like to think it'd still be interesting music if it were legal.

http://detritus.net/illegalart/mp3s/09.03.html

― (Jon L), Monday, 22 November 2004 19:46 (twenty-one years ago)

point taken though, for using 'plunderphonic' to specifically describe any sample-based music that inherently provokes the listener to perceive both the source material and the new frame. as opposed to just eating it whole like a dr. dre cover version.

― (Jon L), Monday, 22 November 2004 20:02 (twenty-one years ago)

OTOMO YOSHIHIDE! Ground Zero, obviously, and the awesome Les Sculpteurs de Vinyl - Memory of Money. see also ErikM, Martin Tétreault, Jeck, Marclay, etc.

Bernhard Günter's first few albums were made using digital microedits that make even Otomo and Mark Leclair seem impatient.

as mentioned in the HNAS thread, Heemann's "Magnetic Tape Splicing" 12" apparently clocks a record number of cuts. most of his solo work is very edit-heavy in a deceptively 'ambient' way.

― echoinggrove (echoinggrove), Monday, 22 November 2004 20:50 (twenty-one years ago)

plunderphonics is an attitude.

― Savin All My Love 4 u (Savin 4ll my (heart) 4u), Tuesday, 23 November 2004 05:52 (twenty-one years ago)

seconding lots of stuff already mentioned, but John Oswald's "Plexure' is the one-stop; several thousand pop songs crushed into twenty minutes in order of ascending BPMs.

Holger Czukay's 'Movies' & 'Rome Remains Rome'
Ground Zero - 'Revolutionary Pekanese Opera' (that Sculpteurs de Vinyl CD is great too, improvised trainwrecks)
Negativland 'A Big 10-8 Place' is the most extreme & intense of their cut-up stuff
Meat Beat Manifesto 'Storm the Studio'
Naked City 'Torture Garden' - composed pieces influenced by tape cut-ups, performed live by a quintet
Bayle 'l'experience acoustique' is mostly a series of beautiful unfolding drones punctuated by some crazy plunderphonic cluster bombs
Luc Ferrari - 'Early Electronic Works' -- took the edits & textures per second ratio much much higher than most of his contemporaries before turning his back on ADD and mellowing out

Gunderson still has the 'Chartsweep' mp3's up at the very bottom of this page, a section of every number one hit from the mid-40's to early 90's in sequence

― (Jon L), Tuesday, 23 November 2004 06:09 (twenty-one years ago)

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