[rumori] radio boy liner notes

From: Jon Leidecker (wobblyATdetritus.net)
Date: Thu Jan 10 2002 - 21:24:42 PST

hi today,

just wanted to say that mp3's of the first two chopping channel live shows
are now up and working at www.detritus.net/wobbly/mp3s/cc.

only the first show is clearly linked on the site, but if you click on the
words 'chopping channel' towards the bottom of the first page, it'll take
you through to the page for the second show, which has a superior version
of 'sales techniques' and a few other high points but certainly start with
the first show.

I just found these typically provocative liner notes in matthew herbert's
new album as Radio Boy, a not-for-sale given-away-for-free-at-gigs release,
and they were interesting, so I'm attaching them below. Some nice angry
responses now that sampling is an ingrained mainstream practice. PCCOM,
his personal sampling manifesto is quite interesting. I'm not totally in
agreement but I'm a sucker for a fully realized manifesto.

The first two paragraphs are the best, but I shouldn't edit the guy, the
lividity of the rest is understandable given it was written a week after


liner notes to Radio Boy's 'the mechanics of destruction'

This collection of organized noise began life as a late but sharp
realization that music is always political.

The democratisation of composition that followed the electronic music
revolution inevitably has led to the consumerisation of methods of
production. sampling, instead of revolutionizing the very accepted idea of
music, has become a short cut to authenticity. instead of musicians
constructing imaginary worlds out of real sounds, they have instead openly
selected and stolen their way round their usually brilliant record
collections, borrowing the best parts of the best recorded, best played
songs. the composer has somehow become simply a qualified selector.

the rearrangement of previous ideas into different and contemporary
contexts has always been a part of traditional western technique, but never
before has the performance also been lifted. not only does the composer
rarely get paid (except where ironically backed by a label of signifigant
size intent only on collecting its own disproportionately high share of
royalties), but the performer, engineer and producer rarely get mentioned,
let alone renumerated. capitalism has once again inserted its filthy brown
finger into a creative and thus political process. at a time of unbridled
consumerism and electoral apathy, it is hardly surprising then that music
has become a bloated and arrogant beast, still buying in to, and selling on
at a premium these myths of modern consumerism. the pinnacle of which is
the series "popstars" that blatantly manufactures groups before the very
eyes of a cynical and distant audience before then turning round and
inviting it to buy into the mirage it has created. a trick so neatly
summarized by "the pardoners tale" by chaucer.

anyone with a sense of injustice and a mind prepared to read beyond the
facile celebrity driven literature put forward by a media intent on
promoting its own social and business agenda will have noticed the
extremely dangerous and deeply disturbing shift from state-power to

it is this then that this album is largely about. from the takeover and
systematic destruction of local diet by mcdonalds to the failure of western
societies to intervene in rwanda and thus become implicit in another modern
genocide. that I have largely destroyed everything that has come to make
the noises for this record is symptomatic of my anger at being ignored by a
government so far removed from my basic human concerns it doesn't think
twice before risking the lives of every one of us by entering a war with
people we have spent a large part of the last century arming.

there's so much to say on the subject of destruction in a society that
creates so much packaging to lure us into buying things the earth can't
bear to dispose of, but instead of words, I have chosen music.

matthew herbert, 18th september 2001.

this album is profit-free.

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