this is the scariest shit i’ve ever seen in my life
This is so cool. Eat Otomo Yoshihide’s heart out.
I’m used to associating this sort of heavy creepy distortion type audio as being achieved by internal studio mixing. Picking sections, warping them, reversing, repeating, all that sort of thing done with the board tools and programming suites. I didn’t stop to think that the same sort of effects could be achieved PHYSICALLY by fucking with the playback tools and the storage mediums themelves. It’s incredibly clever, especially when they introduce the cut-apart and reconstructed vinyl platters, it becomes the audio equivalent of cut-paste collaging or magnetic poetry. It takes something as ethereal and insubstantial as music, and makes it as tangible as sculpture.
I really wanna start fucking with vinyl live now. Hack the fuck out of old mediums forever~
remember the days when people made “experimental” music by recording their messing about with just this sort of physical media fuckery in the, what was it, ’70s, right? this fills me with nostalgia for the dreams of old futures.
[Camilla] Sørensen and [Greta] Christensen met at Copenhagen’s Royal Danish Art Academy in 2001 while studying sculpture, and decided to collaborate on a series of soundscapes. After exploring a shared interest in Hammond organs, they decided that there was little interest in learning how to play a traditional instrument. Using vinyl was convenient as it was readily available from Copenhagen’s charity shops, and interesting as a sculptural item. “In a very sculptural sense, the sound is directly connected to the material alongside the recorded material, which has its own time and its own history,” Christensen says. “The record as an object that you can work with very directly and manipulate. We turn it into something new.”
After relocating to Berlin in 2003, the duo began performing and came upon their moniker by accident. “At a flyer for one of the shows,” Sørensen relates, “we saw a description written underneath our names of what we do: vinyl terror. We added the horror just because we were two – so one could be the terror and one could be the horror.” I press them: which member is the terror and which is the horror? They pause and think carefully over their response, before deciding that there is a bit of both in each of them.
Okay Quan said “I don’t care what them white folks say I just wanna see my little boy go to school, be a man and sign up for college” then Thug said “I ain’t never been in love, I don’t know how pain feels” but keep on talking about what they aren’t talking about.
The entire history of rap music is just one long string of filler bars and hollow boasts interspersed with brief moments of beauty, clarity and depth. That’s how the genre works.