John
Oswald's album Plunderphonic - Plexure is about 20 minutes of experimental
music that starts out like the intertwined sounds of radio stations by taking
similar parts from many musicians' pre-existing recordings but then uses the
harmonies of these similar parts to create a sound that is only possible
through the power of sampling and manipulation. Until the end of the first
minute of the track, I found myself wanting to choose one station from the
imaginary radio in front of me, I deeply felt the uneasiness of not being able
to choose a station during that minute of constantly changing and overlapping
human voices. It absolutely requires embracing the unexpected and creative
experimentation with sound. At the beginning of the next part, I was able to
catch the tones that made me a little more relaxed, in harmony with the
melodies I recognized, with less human voices and drums overlapping. Therefore,
the challenge of listening to the music relatively decreased once I found
myself habituated to it.
This
album is a progressive composition that questions the issue of copyright in
music, pointing out that music from different eras and genres can have a lot in
common. John Oswald quoted in his
presentation for the album the following from Jon Hassell's essay "Magic
Realism." “…a sonic texture like a "Mona Lisa" which in
close-up, reveals itself to be made up of tiny reproductions of the Taj
Mahal" (Oswald 4). What I felt right after listening to the Plunderphonic was
just like how it is exemplified by Hassell and used by Oswald here, looking at
a whole composed with manipulated samples from different works. Moreover, being
faced to the album cover, which is a collaged image of different album covers
already gives us a glimpse of what we are about to experience. Overall, it was
a pretty challenging listening practice that helped me question copyright and
its infringement while being amazed by hearing the tracks from different genres
and generations that I have been familiar with in a working harmony.
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