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back in stock as of
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first in stock on
april 30th, 2007
threads:
plunder-phonic
electro-acoustic-composition
digital-musics
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| | | alku (spain) #alku 19 cd wobbly “regards” three inch compact disc recordable - fake cueing
- no regards
- hard, like duck
- multiple guy
- old dirty
- gled ledley
- loosing blook
- dental horse floater
- never never die
- i quote your help
- islets of langerhans
- a camel for cidilla
- non 120
- vingt regards (no. 15)
| | alku está orgullosa de presentar:
‘regards’ (beginning) by wobbly
pronto en tu buzón
en juniper, los árboles crecen y la hierba florece porque en juniper siempre es primavera si sonríes. hola soy brindle spork de 'wobbly'. soy un chico fantástico. me gusta la playa, las comedias románticas y la poesía. soy muy considerado con las mujeres y con los demás también. en definitiva, me preocupo por la gente. sí, escúchame, si necesitas un amigo espero poder dar el tipo porque apuesto un millón a que tú me gustas. llamo a mi apartamento juniper porque allí todo el mundo es feliz, allí siempre es primavera. y si tienes alergia no te preocupes: juniper está libre de alergias. todos debemos estar preparados para ser felices y divertirnos. ay, no puedo esperar más para conocerte. me encanta conocer gente, nunca he conocido a nadie que no me gustase, es más amo a todo el mundo. llámame!
discografía de wobbly
1996 greetings cd
1999 radio 3 cdr set
2001 regards cdr ep
jon leidecker nació el 1 de abril de 1970, reside en un apartamento en san francisco y a veces sale.
alku, 100% non-professionals professionals.
...
in nov. 12 at art rattan, an oakland performance space, a one-man band called wobbly fidgeted behind a multitrack digital workstation, churning out a sonic stew comprised predominantly of samples culled from local hip-hop station wild 94.9. he generated a ludicrous chorus of rappers chanting "yo"; throughout the set, hundreds of semirecognizable urban pop shards were juxtaposed, often bizarrely. the performance, titled wild why, was both amusingly surreal and jarring, an engaging combination of tongue-in-cheek whimsy, dadaist collage, and social commentary.
jon leidecker, aka wobbly, estimates he works on the over the edge radio show seven or eight times a year; he's also collaborated with local artists like big city orchestra or the chopping channel. his current wild why project came about in part because his tape player broke, forcing him to listen to the radio. leidecker soon realized the sound beds of popular hip-hop tracks were ripe fodder for plunder. "by taking the amazing sound worlds they're coming up with in each of these three-minute songs and isolating them, chopping them up, and freeing them from the strict tempo, and also by detourn-ing the lyrical content so that it doesn't make sense anymore, you can hear commercial rap as experimental music a little more readily than you can in its pop shape," he explains.
though leidecker hopes to release the wild why project on cd soon, and plans to include a credit list of artists sampled, he doesn't intend to pay out any royalties to those same artists. "when we get into money, technically, with over 300 artists on a single recording, who all appear in a matter of seconds on a record that sells maybe one or two thousand copies, there's not going to be any money for them," he says. "there's not going to be any money for me, even."
and leidecker argues he has the right as an artist to assemble a collage of existing material. "i simply do not buy this shtick about how the artists have the right to maintain total control over the use of their work," he says. "once you put your creativity on the table, you'd better be ready for a creative response. and it's only very recently that you've started actually hearing lawyers claim that the artists have the moral right to retain total control over the way that their work is used." musicians who use scavenged audio are, in fact, waiting for the precedent-setting other shoe to drop: while federal copyright law dictates general guidelines for "fair use," there are no hard-and-fast rules regarding the artistic reuse of existing audio. if anything, the rules are dictated by the market: the more money potentially involved, the more likely it is that somebody will unleash the lawyers. |
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