o'hell from ELEKTRAX by plunderphonics

Oswald— 'o’hell' is entirely a linear edit piece, like 'net' or 'pocket'. But the effect was so different because of the working method. Previously, in pocket for instance, if i wanted to repeat something (and there is so much repetition in pop music) i would either have to plan ahead and have lots of duplicate dubs to edit together or i would have to go back to the source and try to make more dubs under the same conditions. If i made a copy of a passage of edits it would sound different from the original iteration. In pocket there are repeating vamps where each repeat is a separately cut piece of recording tape sticky-taped together, and there is slight variation in each repetition. There are also vamps which are tape loops which are dubs, and you can hear how these are sonically different, and how they can vary slightly over time as the mechanics of the loop changes, due to tape stretch or slippage. But in this new purely digital audio domain a repetition could go on exactly; the groove is very set. And i could always nest groups of edits in repeating patterns without having to make further dubs of the aggregates: the sound would remain the same.
The computer program did have its disincentives though. The more edits i made the slower the process of making each edit would get. Nonetheless i seemed to stick to my old preferences for little changes rather than constant repetition.
Anyway, the intention with 'o’hell' was to make a cynical trite familiar song into a no less cynical trite new song with the added bonus of a medley of the Doors’ greatest hits. I think there are thirteen of their songs quoted altogether, including the paranoiac critical rebus in the middle.
Igma— Perhaps you will explain that term.
O— I’m referring to the repeat of ‘i’m gonna love you’. The first time it is from the song ‘The Soft Parade’. The second time each of the four words in that phrase comes from a different song. The extent to which you recognize the source songs, and the context of these words in them, will change the inflection of meaning in this new context, so each word means something other than just what it sounds like. The pictures in a rebus have at least two functions, or as in Salvador Dali’s paranoiac critical method, little pictures put together form a bigger picture when seen from farther away. I think that even if your mind’s ear doesn’t have the time to pursue these associations, this collage effect gives the impression that there’s something more going on.
I— Do the Cure make an appearance in 'o’hell'?
O— I think so, but i don’t remember for sure and i never listen to Doors music; in fact i can’t stand listening to it except for 'o’hell,' so now i can’t tell the difference, but Elektra did send me the new cover versions of these songs, which is how Faster Pussycat got hooked up with Carly Simon. And Queen with Metallica.

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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