Spooky music made by abusing turntables and cutting up and reforming vinyl records

Knitmeapony sez, "This is the raddest, most atmospheric thing ever. All kinds of delightful, spooky distortions, creepy static, half-heard voices and mashed-up music, created by physically altering vinyl records and record players and manipulating them as they go. A serious delight."

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  1. Those poor needles!

  2. I loved it, apart from the shattered/shredded pieced. The pieces with tone and distortion were eerie and hair-stand-up-on-endy, but the disks that were split up just added noise which began to grate after a few seconds. That said, I love what he's doing.

  3. Dunno, maybe could do something really radical, like, maybe... splicing tape! Yeah, that's the ticket! (Pierre Henry? Who's he?)

    The process here seems be more interesting than the results, but I'm not sure it's interesting enough to make up for the paucity of interest of the results. The idea of a musical montage evocative of a mysterious past was doable in a fairly precise way with very old technology; see Vergangenes. (You don't get much older than instruments that are blown, plucked, struck and scraped.) The idea of improvising such a montage to good effect with modern technology (a DAW, perhaps) is entirely doable; see much of Robert Fripp's output, such as When the Rains Fall.

    This, however, has more in common with a Jean Tinguely sculpture, but maybe not as much fun for a crowd.

    I am wary of work that relies on gimmicks. Schoenberg could and did write anything that suited him, tonal or atonal. Fripp can play damned near anything for guitar, with or without electronics. How far can these ladies take this before it palls? Can they make all of it work together to good effect? (No, I don't think they have so far - the sound is at least as important as the method, and they haven't nailed that.) Are there more effective ways of achieving what they're looking for?

    Something to think about, perhaps.

  4. When I was listening the video I immediately said 'musique concrete' too.

    In the 1950 record players and acetate disc were use for these experiment because reliable tape tecorders were unavailable. Then the Melloton was invented. Then the Fairlight CMI was invented, and so on. Going back to gimmicks made because the technology of the time was limited without knowing what the current technology could do and worse of that what other composer made in the past I think it's not interesting.
    If you instead know what you do, you coul arrange a sonk like Delia Derbyskire has done (also listen to Howell arrangement made fith analogue synths and tapes for a more modern and different take)

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