01 marzo 2011

A venticinque anni dalla presentazione del saggio 'Plunderphonics, or Audio Piracy as a Compositional Prerogative'John Oswald ritorna a uno dei suoi lavori più celebri, Plexure (1992), pubblicandone su vinile due nuove versioni, "prePlex" e "PlexureConcentrate".
Storia del brano e delle sue continue alterazioni sono riassunte in http://www.pfony.com/prePlex/index.html, richiamate anche da un breve estratto audio.

"Plexure is constructed entirely from brief fragments cloned from thousands of mostly pop recordings from 1982-1992, the first decade of the compact disc era. Most of the album is built on a structure that begins with the slowest songs from that time (mostly ballads and blues), and proceeds gradually to the fastest (bluegrass and speed metal). This is the same structure that a British mash-up artist called Osymyso, a decade later, used for a piece entitled introinspection that features 100 tunes in a mostly linear sequence, in contrast to Plexure's multifold polyphony. One of the first steps in making Plexure was to arrange hundreds and hundreds of tracks of source material in order from the slowest to the fastest. Most of this work was done by Phil Strong, who in a time before BPM catalogs existed, measured waveforms and arranged bars of music both by eye and by ear. The original bar-of-each-song version of prePlex was about 33 minutes long. A lot of this material was folded into the subsequent structure of Plexure. Oswald found the relative simplicity of prePlex to be occasionally beguiling on its own. But he thought there were parts that worked and parts that didn't; he wished to hear a version that in a way swung all the way through. He did some editing, throwing out a lot of material, and Phil Strong also took another stab at it. But each time Oswald listened to the piece he ended up making improvements. He couldn't listen to the thing right through without stopping the playback to change something. This process continued, very sporadically, for over ten years."