
MGMT: Metanoia
Plunderphonics is a term originally coined by John Oswald for one of his recording projects, since applied to any music made by taking one or more existing audio recordings and altering them in some way to make a new composition. There is no attempt to disguise the fact that the sounds making up the composition have been "borrowed" in this way, and sometimes the sounds may be taken from very familiar sources. Plunderphonics can be considered a form of sound collage.
Although the concept of plunderphonics is seemingly broad, in practice there are many common themes used in what is normally called plunderphonic music. This includes heavy sampling of educational videos of the 1950's, news reports, radio shows, or anything with trained vocal announcers. Ca
The process of sampling other sources is found in various genres (notably hip-hop), but in plunderphonic works the sampled material is often the only sound used. These samples are usually uncleared, and sometimes result in legal action being taken due to copyright infringement (some plunderphonic artists use their work to protest about what they consider to be overly-restrictive copyright laws). Many plunderphonic artists claim their use of other artists' materials falls under the fair use doctrine.
The name was first used as the title of an EP release by John Oswald. Oswald's original use of the word was to indicate a piece which was created from samples of a single artist and no other material. Influenced by William S. Burroughs' cut-up technique, he began making plunderphonic recordings in the 1970s. In 1988 he distributed copies of the Plunderphonics EP to the press and to radio stations. It contained four recordings: "Don't" was an edited version of an Elvis Presley record; "Pocket" was based on a Count Basie track; "Pretender" featured Dolly Parton singing "The Great Pretender" but progressively slowed down so that she sounds like a man; and "Spring" was an edited version of Igor Stravinsky's The Rite of Spring, shuffled around and with different parts played on top of one another.
In 1989, a greatly expanded version of Plunderphonics with twenty tracks was released - as on the EP, each track took material by just one artist, and included reworked material by both popular musicians like The Beatles, and classical works, such as Ludwig van Beethoven's Symphony No. 7. Like the EP, it was never put on sale. A central idea behind the record was that the fact that all the sounds were "stolen" should be quite blatant. The packaging contained sources for all samples used, but authorisation for them to be used on the record was neither sought nor given. All undistributed copies of Plunderphonics were destroyed after a threat of legal action from the Canadian Recording Industry Association on behalf of several of their cleints (notably Michael Jackson, whose "Bad" had been chopped into tiny pieces and rearranged as "Dab") who alleged copyright abuses. All the tracks from Plunderphonics are available for free download from Oswald's website.
Later works by Oswald, such as Plexure, which lasts just twenty minutes but is claimed to contain around one thousand very short samples of pop music stitched together, are not strictly speaking "plunderphonic" according to Oswald's original conception (he himself used the term megaplundermorphonemiclonic for Plexure), but the term "plunderphonic" is used today in a looser sense to indicate any music completely - or almost completely - made up of samples. 69 Plunderphonics 96 is a compilation of Oswald's work, including tracks from the original Plunderphonics CD.
Another important early purveyor of what can be described as plunderphonics were Negativland. While Oswald used easily recognisable and familiar sources, Negativland's sources were sometimes more obscure. 1983's A Big 10-8 Place, for instance, is made up of recordings of people talking on the radio. Their next album, Escape From Noise, like most of their later records, also makes extensive use of spoken-word samples, often to make particular political points. Their most famous release, "The Letter U and the Numeral 2" featured an extended rant from radio DJ Casey Kasem and extensively sampled U2's "I Still Haven't Found What I'm Looking For", which resulted in a law-suit being brought by U2.
Oswald and Negativland both made their collages by cutting up magnetic tape (or later using digital technology), but a number of DJs have also produced plunderphonic work using turntables (and in fact, "digging" for samples plays a large part in DJ culture). Christian Marclay is a turntablist who has been using other people's records as the sole source of his music making since the late 1970s. He often treats the records in unusual ways - for example, he has physically cut up a number of records and stuck them together, making both a visual and aural collage. Sometimes a number of spoken-word or lounge music records bought from thrift stores are mashed together to make a track, but his More Encores album cuts up tracks by the likes of Maria Callas and Louis Armstrong in a way similar to Oswald's work on Plunderphonics. Marclay's experimental approach has been taken up by the likes of Otomo Yoshihide, Philip Jeck and Martin Tétreault (although sometimes the records used are heavily disguised and unrecognisable, meaning the results cannot properly be called plunderphonics). Other DJs have worked in a more mainstream style: DJ Food (Kaleidoscope, for example) and DJ Shadow (Entroducing, for example) have both made albums consisting entirely of material plundered from other records.
The Bran Flakes and People Like Us have both used thrift-store (or charity shop) records to create their music. Vicki Bennett of People Like Us has extended the plunderphonic ideal to video, creating films to accompany her music by plundering the resources of the Prelinger Archives, the online part of the collection of film archivist Rick Prelinger.
Another approach is to take two very different records and play them simultaneously. An early example of this is the Evolution Control Committee's Whipped Cream Mixes (1994), which laid the vocals from Public Enemy's "Rebel Without a Pause" over Herb Alpert's "Bittersweet Samba." This gave rise to the so-called "bootlegging" phenomenon where an a cappella version of one song is mixed on top of a purely instrumental version of another. Soulwax and Richard X have both produced records along these lines.
There are also a number of web-based plunderphonics projects. The Droplift Project created a compilation CD of plunderphonic works which was then "droplifted" into record stores (this involved slipping copies of the record onto the shelves without knowledge of the store - a sort of reverse stealing). Dictionaraoke took audio clips from online dictionaries and stitched them together so they recited the words of various popular songs while instrumental versions of the music (often in MIDI renderings) played along.
Although the term plunderphonics tends to be applied only to music made since the 1980s and Oswald's coinage of it, there are several examples of earlier music made along similar lines. Notably, Dickie Goodman and Bill Buchanan's 1956 single "The Flying Saucer", features Goodman as a radio reporter covering an alien invasion interspersed with samples from a number of contemporary records. The Residents' "Beyond The Valley Of A Day In The Life" is made up of excerpts from Beatles records. A number of club DJs through the 1970s re-edited the records they played, and although this often consisted of nothing more than extending the record by adding a chorus or two, this too could be considered a form of plunderphonics.
Some classical composers have exercised a kind of plunderphonia on written, rather than recorded, music. Perhaps the best known example is the third movement of Luciano Berio's Sinfonia, which is entirely made up from quotes of other composers and writers. Mauricio Kagel has also made extensive use of earlier composers' works. Earlier composers who often plundered the music of others include Charles Ives (who often quoted folk songs and hymns in his works) and Ferruccio Busoni (a movement from his 1909 piano suite An die Jugend includes a prelude and a fugue by Johann Sebastian Bach played simultaneously).


1. grinderman: get it on
2. the tropic of cancer: upside down
3. hipbone slim & the knee tremblers: i hear an echo
4. gene vincent: crazy beat
5. ???
6. the strangeloves: i want candy
7. michael dracula: what can i do for you?
8. jon spencer & solex: complication
9. alexander hacke: i hate you
10. nick cave & the bad seeds: night of the lotus eaters
11. S.Y.P.H.: oh, how to do now?
12. tom waits: all stripped down
13. clinic: you can’t hurt you anymore
14. the comen’go: the life you have it’s ok
15. the cramps: tv set
16. the trashmen: surfin’ bird
17. the fall: industrial estate
18. buzzcocks: noise annoys
19. ???
20. the girls: rush
21. les george leningrad: george five
22. panico: ice cream
23. the electric mocassins of doom: the neighbours
24. tom vek: if i had changed my mind







La compilation Des Jeunes Gens Mödernes associe les groupes incontournables de la scène new & cold wave française (Marquis de Sade, Elli et Jacno, Taxi Girl, Marie et les garçons, Artefact, Suicide Roméo, Mathématiques,Modernes, Charles de Goal…) à diverses formations beaucoup plus obscures, aux noms évocateurs et aux carrières souvent météoriques, qui n’ont pour la plupart sorti qu’un ou deux 45 tours, souvent autoproduits, quelques titres sur des compilations régionales ou, au mieux, un unique album (Guerre froide, Ruth, Les provisoires, End of data, Perspective Nevski, Masoch, Les Fils de Joie…). Sur les 40 morceaux que rassemble cette compilation beaucoup n’ont jamais été réédités et certains, disponibles uniquement en vinyle, sont devenus aujourd’hui très difficiles à trouver. Visant à dépasser les frontières du cercle restreint des collectionneurs avertis, ce projet est l’occasion de faire accéder un plus large public à toute une partie du patrimoine musical pop français (finalement assez méconnue en dehors d’une poignée de groupes marquants qui ont fait carrière ou qui, du fait de leur succès ponctuel à l’époque, sont restés dans les mémoires au fil des années). On y retrouve en outre 4 titres totalement inédits : le « 24 fois par seconde » de Marie et les garçons, enregistré live lors du concert organisé pour les 10 ans du label New Rose en 1990 (pour la petite histoire, les membres de ce combo lyonnais culte et précurseur n’avaient pas rejoué ensemble depuis 15 ans avant cet événement, et leur reformation du groupe pour cette unique date fut le dernier concert officiel de Marie et les Garçons). Autre inédit, « Manekine », morceau créé en1979 par la formation éphémère (composée d’Edwige Belmore, Claude Arto et Henry Flesh) qui précéda Mathématiques Modernes. Toujours inédit et resté jusque là à l’état de démo au fond d’un carton, le « Jungle Soho » de End Of Data, trio rennais avant-gardiste, actif de 1983 à 1986, qui a brillamment préfiguré toute la vague electro/minimal synth. Et enfin, une version alternative du « Burger City » de Casino Music, groupe phare du label ZE Records, qui enregistre dès 1978 son premier single autoproclamé after punk, et dont un des membres, Gilles Riberolles, collaborera notamment avec David Bowie, Blondie et James Chance. Opérant avec l’élégance et la sophistication qui lui sont propres la transition entre le passé (1978) et le présent (2008), Jangil Callas, avec la complicité de Patrick Vidal, nous livre par ailleurs une version réactualisée de « W.S.B. », le morceau culte d’Electric Callas, qui évoque si bien à travers ses lyrics énigmatiques et futuristes un des auteurs les plus sulfureux de la contre culture américaine.Le dernier quart du track list regroupe quant à lui des reprises de titres de l’époque par des groupes actuels qui revendiquent chacun à leur manière cet héritage musical. Ainsi Poni Hoax reprend « Wanda’s loving boy » de Marquis de Sade, The Penelopes featuring Chloé Delaume revisite « je t’aime tant » d’Elli et jacno, Sandy Trash s’attaque à « Fier de ne rien faire » des Olivensteins, Toma featuring Henning nous livre sa version du « Moment of Hate » de Perspective Nevski, DC Shell réinterprète « chercher le garçon » de Taxi girl et Dry Monopole rend hommage à Octobre à travers une reprise groovy d’« Elégante solution ».1 Perspective Nevski – "Moment Of Hate"
2 Mécanique Rythmique – "Extase"
3 Guerre Froide – "Ersatz"
4 Artefact – "Sex Computer"
5 Modern Guy – "Electrique Sylvie"
6 Marquis de Sade – "Cancer & Drugs"
7 Suicide Romeo – "Moderne Romance"
8 Etienne Daho – "Il ne dira pas"
9 Lizzy Mercier Descloux – "Torso Corso"
10 Medikao – "Détective"
11 Tokow Boys – "Elle hotesse"
12 Henriette Coulouvrat – "Can’t You Take A Joke? "
13 Charles de Goal – "Exposition"
14 Procédé – "D. Moments"
15 Seconde Chambre – "Victoires prochaines"
16 Les Provisoires – "So Much More"
17 Taxi Girl – "V2 sur mes souvenirs"
18 Marie et les Garçons – "24 fois par seconde"
19 Les Fils de Joie – "Adieu paris"
20 Masoch – "Des poils sur moi"
CD 2
1 Elli & Jacno – "Main dans la main"
2 Ruth – "Mots"
3 International Sin – "The Bal"
4 End Of Data – "Jungle Soho"
5 Kas Product – "man of time"
6 MKB Fraction Provisoire – "Fights In Technonights"
7 Metal Boys – "Tokio Airport"
8 Mathématiques Modernes feat. Henry Flesh – "Manekine"
9 Visible – "Essor assuré"
10 Norma Loy – "Romance"
11 Martin Dupont – "Just because"
12 Tanit – "Eyes Scream"
13 Casino Music – "Burger City" (alternative mix)
14 Electric Callas feat. Patrick Vidal – "W. S. B." (version 2008)
15 Poni Hoax – "Wanda’s Loving Boy" (Marquis de Sade cover)
16 DC Shell – "Chercher le garçon" (Taxi Girl cover)
17 The Penelopes feat. Chloé Delaume – "Je t’aime tant" (Elli & Jacno cover)
18 Sandy trash – "Fier de ne rien faire" (Les Olivensteins cover)
19 Dry Monopole – "Elégante solution" (Octobre cover)
20 Toma Feat. Henning – "Moment Of hate" (Perspective Nevski cover)
http://www.myspace.com/desjeunesgensmodernes
Simply a solo artist whose cut-up-and-dance laptop electronica suggests more screwsloose than fully tightened? Her style has seen her labelled as anything from a pop idol toa noise artist. And as it is usually the way, the truth lies somewhere in between. Starting her solo career at university as a side-project to her school band, Kyokaquickly found herself favouring ever-more unusual outlets for her scatterbrain sound.Finding J-pop utterly unpalatable, she began to look overseas, finding live shows in Europe and the US as well as presenting her own show on Britain’s Resonance FM,‘Postcards From Kyoka’.Now preparing an EP for German label Onpa, and with the ‘Spacy Space’ EP on sale in Japan and America, Kyoka is finding fans all over the world – from Japaneseexperimental king Ryuichi Sakamoto, by whom she was invited to join his project, to Stooges/Minutemen bassist Mike Watt, who played her music almost every time of his recent podcast shows and who recorded bass for her sound. Her songs have ranked inthe Top 2, Top 5, Top 20 and Top 50 radio charts in Japan and the US, and Amsterdamfanzine Daruma has described her as a “freestyle broken pop beat artist”, a description that fits nicely, thanks very much.On top of all that, she performs in unhinged female duo Groups, who have also been invitedby Sakamoto to join the other project; has collaborated with Mike Watt (of the Stooges, Minutemen) CurseOvDialect (mush records), PandaNo Panda (Kung Fu Records, Intik),Hypo (Active Suspension, Spymania, Afterhours, Intik) etc.; appears in TV ads forHonda both as musician and model, alongside modelling for Aveda (artistic director is Miho Matuura); columnist for a magazine; and has had music on compilations –ChromeHearts Magazine vol.6,vol.7.-in Japan, Hong Kong and America. Not bad for a girl who“just wanted to follow her honest taste”. “A very talented Asian Artist for the 21st Century” –Last FM
Le jour où Marie Branellec nous a proposé de déposer une carte de visite sonore chez Colette (Paris), nos têtes se sont mises à tourner et des questions nous sont arrivées à grande vitesse : Quoi mettre? Comment présenter ce projet? Fait-il jour ? Quand devrions nous faire ça? Pourquoi nous? Veux-tu encore du café? Je ne suis pas un peu vert là? Te reste-t-il encore de l’ Euphytose pour dormir? C’est qui ça déjà ? Fait-il nuit ?... Enfin toutes sortes de questions qui ne se retrouveront pas forcément sur les 2 mixtapes, Nocturne/Diurne, mais qui en ont sûrement inspiré leurs contenus.
En fait ces projets ont été conçu pour être écouté dans touts types de circonstances voiture, avion, sauna, jacuzzi, galerie d’art, repas,… car nous venons du monde radiophonique avant celui du clubbing. Rien à voir avec la lounge music mais allumez juste votre radio, coupez le son et écoutez nos mixtapes et vous entendrez ce que vous aimeriez entendre plus souvent sur les ondes tout comme nous.
Bonjour chez vous,
Mucho Bizarre

