mother from ELEKTRAX by plunderphonics

'mother' is sort of a remake of 'power' [Oswald's 1975 'rap' track] — exhortionist over rock band, and, coincidentally, i had to work in the same methodical way. The backing tracks for both have a lot of almost-loops which were spliced together individually, one short strip of audio tape following another in 'power', and one selection following another in a data list on the computer for 'mother'. The trick was editing the vocal tracks so they would relate to the instrumental tracks rhythmically. In the analogue tape world i would lay two strips of quarter-inch-wide tape on a desk; one was the instrumental, which i had finished editing; and the other was unconnected bits of the vocal, sometimes with a name tag taped to each, and i would line them up in relation to the splices on the instrumental tape and splice spaces of tape in between. Then i’d dub the stereo instrumental tape to two channels of a four-track tape, and then fly-synch bits of the vocal onto a third. I would do this over and over again until the vocals bits landed in syncopacetic places in relation to the instrumental. Until very recently almost all multi-track music (i.e., almost all pop music since the sixties) was recorded to fixed multi-track.Producers would rarely move individual parts in relation to each other in time. I never felt creatively comfortable with that fixed relationship, and so the random access sliding which eventually became easy on computer multi-track was great. But in 1990, i was still stuck with the method which i mention using in 'anon'; which means i would have to calculate where things would go, and then wait quite awhile to hear if the juxtaposition was nice.
The last sound in 'mother' is the same sort of time stretch that shows up a couple of times in 'dab', which is similar to the technique used by the granular synthesis crowd — ‘mother’ gets stretched.

plunderphonics is the genre title coined by John Oswald to 'cover the counter-covert world of converted sound and retrofitted music, where collective melodic memories of the familiar are mined and rehabilitated to a new life. The blatant borrowings of the privateers of sound are a class distinct from common sample pocketing, parroting, and tune thievery.'

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