Re: [rumori] So whatchall think of phat beats?

Steev (
Sat, 10 Jul 1999 18:31:40 +0000 ( )

On Sat, 10 Jul 1999, The Evolution Control Committee wrote:

>on. It's given me a bit of appreciation for some of the copyright-bending
>that's going on in the DJ and turntablist worlds as well as the more
>familiar Rumori-oriented realms.

I think it's pretty funny, mark, that you're now creating a "Rumori type".

To me it seems there's a pretty wide range of what people on this list are
into or are creating. If I'm not mistaken, Nicola does dance-oriented dj
type stuff, Dan Serkland's stuff has beats, and Wobbly blurs the line
pretty heavily (he's equally likely to mention Stockhausen as Aphex Twin
whenever i talk to him.) That's just off the top of my head, i'm sure
there's others.

With Detritus I've never wanted to leave out anything. However, I've
wanted to fill a void, which is at what i would call the "sub-academic
post-pop" end of things. Or maybe it's "post avant-garde underground". Or
maybe just "thoughtful". There's not enough attention paid to conscious
appropriation. in my opinion. Yes there's plenty of hip hop and techno
types doing it, especially lately. But the most of the big ones are PAYING
for their samples, and the small ones are not really consciously making
many statements. I've been concentrating on those who are really
pushing the envelope via purposely airing the issue.

 And those that stand out, to me, are rare, but should be mentioned.
(my favorite super sample heavy drum n bass artist is still Amon Tobin, by
far. He's really got some phat breakbeats, as the kids say, and it's all
sampled latin rythyms. But i have to mention that what caught my
attention about him is the name of one of his albums, "Bricollage".)

Whatever falls into the larger realm of appropriation and recycling
culture, whether it's folk music, garbage sculptures, Puff Daddy or
Foucault, is fair game.

But there's too much in the mainstream and dj press about dj's. And too
much about music, even here. I'd rather get into general concepts and
other media. but hey, i'm not censoring anyone! ;-)

> One thing that's surprised me a little is just how large of a canyon
>there is between samplists like the ones on Rumori and DJ-oriented
>samplists like Kid Koala and QBert/Invisibl Skratch Picklz and so on. They
>really share a lot between each other, except that the Rumori types
>probably abhor (kinda) the idea of phat beats, and maybe wearing anything

again i think you're really jumping to conclusions. I love the Skratch
Picklz to death. And again, I'm both flattered and appaled that there is
now a Rumori Type. ;-)

(by the way, Rumori is just Italian for "noise"
which i thought was a good name for a discussion list. )

>too). But there's a lot of appropriation in the DJ world that relates, like
>re-using familiar corporate logos in one's own graphics and using
>unauthorized samples for your music and DJ mixes. The whole notion of DJ
>culture, where the DJ is at once a musician (a "creator" of music) and a DJ
>(a "broadcaster" of music) blurs the line of intellectual property
>ownership and musical credit quite nicely.

this is all stuff for the FAQ, in my opinion. If you have the idea that
Detritus or Rumori has not been giving the right props (as the kids say, i
think (?)) to the dance music pioneers of the IP wars, then something's
wrong. Just take a look at the Rhizome page. It's far from complete and
it leans toward the experimental, but there's entries like Public Enemy,
the Picklz, DJ Shadow, Cut Chemist, etc. I keep asking for stuff to


Steev Hise, Nervert
recycled art site:
"so much noise in the world, so much sex. so many amazing things,
 and nothing happens that doesn't contradict itself in the happening.
 i think I will dance now."
                -Craig Flanagin (of god is my co-pilot)

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