Vibiant

Welcome!  If you’ve gotten this far then you’ve probably at least listened to the CD.  How you got the CD in the first place, I have no idea.  That’s not the important part.  The important part is now you have been exposed, as it were, to Remodeled Music.  Whatever the hell that is.  I’ll attempt to explain:

 If you imagine remixed music as the combining of two musical events; say a trip hop version of “V-8 Ford Boogie” by Ronnie Dawson, say, you have the Ronnie parts as being one musical idea, and the “umpshi, umpshi” and scratching as a second one, which conveys the impact of music without it actually being a song in particular.  Not really much different than a mashup, except that each of the two elements could stand on their own as individual songs, since they were, once.  If you think that the whole  can be greater than the parts, then the creativity in the collusion of elements is what makes the mashup a song. 

Now, imagine using more than two musical elements, where they need not be complete musical ideas in and of themselves, where the final product has more of a “plunderphonic” feel to it, while still strictly adhering to the precepts of the modern pop song.  More to it than remixing, and when I came up with the term in 2000, mashups, as a name, didn’t exist yet, so I called it Remodeled Music.  [I even capitalized it for effect.]

It was a long road to develop the form into what you see today.  I first experimented with the idea in 2000, looking for ways to do found sound collage that didn’t have to sound quite so much like Negativland.  Being a hip-hop/electronica fan from way back, that was where my head was at.  I experimented with the short musical phrases I found in TV commercials, and some of those experiments found their way onto an EP for the Thunderbunnies, and experimental band I helped found in 1994 with Every Man.  It sounded nothing like other TB material, but it sounded interesting.  Further experiments with a more pure electronica sound for the stillborn Press The Button album “Operation: Big Beat” led to a number of songs constructed from as many as six different songs, looped and matched by hand [I hadn't discovered sequencing on the computer yet; I'm old. .  fashioned] on to a 4-track.  At the time, I was still hiding the sources for many of my loops: the television.  This first whole album of the stuff, “Remodeled”, had a mixed recption in the found sound community.  About half of the people who heard it didn’t feel that the samples were modified enough to make it my music, it was more like piracy, than sampling.  I could see their point; one needed an encyclopedic knowledge of television and advertising to figure out what sample came from where.  I was at an impasse.

 Not long after this, I discovered Acid, and had a small revelation which led to a much larger revelation.  In this case, Acid was the Sony’s sequencing software, and my small revelation, was that since this was sampling anyway, there was no particular reason to hide the sources of my sampling.  This also meant that I could use a much wider variety of commercials and promo spots, since I was no longer constrained to using spots which had complete musical phrases in them sans announcers.  These two things made the next project possible:  Remodeled X, a 58 minute groove through the world of advertising.  The samples themselves were anchored musically, instead of being “text based” as it were, so if I cut off an announcer in the middle of a word, then, no bother.  The result of which was something else I hadn’t expected: lyrics.  Of a kind.  You can tell from the tone, they want to sell you something, but they never seem to get around to it.  You can also dance to it, which also seemed important, not enough found sound audio collage is danceable, in my opinion.  It also managed to prove what many people suspected all along:  the best music is not found on the radio, but in the commecials, usually on TV, since only that medium can still get away with pretty pictures and a rockin’ groove to drive desire. 

Remodeled X was popular, more popular than Remodeled, anyway, but I still wans’t there yet.  I had hit upon the right formula, but the sound was not yet at the sufficient level of complexity.  The creative spark of constructuion, I came to think, was still too small.  This ultimately led to Remodeled X minus 1; The Conquest of Light Music.  .  Whereas Remodeled X used 22 commercials , promo spots, and a bit off of Iranian State Television from the 70’s, Remodeled X minus 1 used 113 such sources, dramatically thickening the sound and making it infinitely more difficult for me to construct.  Now we finally start to see harmonics between the sampled loops creating entirely new sounds, drum synchopations perhaps unthought of ever before, and huge numbers of offers, rebates, exaltations, and other advertising tricks richocheting incompletely through the atmosphere, rebounding harmlessly off each other and off you.  Their teeth missing, their poison drained. 

Remodled X minus 1 is available through me and other secret agents of plunderphonia, like random nude fellows at BM.  emails send to paul@vibiant.com will get you a copy, provided you provide me a working mailing address and some form of compensation.  The music itself is free, of course, but the artwork ain’t, nor is the shipping, and so some chocolate chip muffins or whatever music projects you’re working on right now or just some something else interesing, would probably be fine. 

Welcome!  If you’ve gotten this far then you’ve probably at least listened to the CD.  How you got the CD in the first place, I have no idea.  That’s not the important part.  The important part is now you have been exposed, as it were, to Remodeled Music.  Whatever the hell that is.  I’ll attempt to explain:  If you imagine remixed music as the combining of two musical events; say a trip hop version of “V-8 Ford Boogie” by Ronnie Dawson, say, you have the Ronnie parts as being one musical idea, and the “umpshi, umpshi” and scratching as a second one, which conveys the impact of music without it actually being a song in particular.  Not really much different than a mashup, except that each of the two elements could stand on their own as individual songs, since they were, once.  If you think that the whole  can be greater than the parts, then the creativity in the collusion of elements is what makes the mashup a song.  Now, imagine using more than two musical elements, where they need not be complete musical ideas in and of themselves, where the final product has more of a “plunderphonic” feel to it, while still strictly adhering to the precepts of the modern pop song.  More to it than remixing, and when I came up with the term in 2000, mashups, as a name, didn’t exist yet, so I called it Remodeled Music.  [I even capitalized it for effect.] It was a long road to develop the form into what you see today.  I first experimented with the idea in 2000, looking for ways to do found sound collage that didn’t have to sound quite so much like Negativland.  Being a hip-hop/electronica fan from way back, that was where my head was at.  I experimented with the short musical phrases I found in TV commercials, and some of those experiments found their way onto an EP for the Thunderbunnies, and experimental band I helped found in 1994 with Every Man.  It sounded nothing like other TB material, but it sounded interesting.  Further experiments with a more pure electronica sound for the stillborn Press The Button album “Operation: Big Beat” led to a number of songs constructed from as many as six different songs, looped and matched by hand [I hadn't discovered sequencing on the computer yet; I'm old. .  fashioned] on to a 4-track.  At the time, I was still hiding the sources for many of my loops: the television.  This first whole album of the stuff, “Remodeled”, had a mixed recption in the found sound community.  About half of the people who heard it didn’t feel that the samples were modified enough to make it my music, it was more like piracy, than sampling.  I could see their point; one needed an encyclopedic knowledge of television and advertising to figure out what sample came from where.  I was at an impasse.  Not long after this, I discovered Acid, and had a small revelation which led to a much larger revelation.  In this case, Acid was the Sony’s sequencing software, and my small revelation, was that since this was sampling anyway, there was no particular reason to hide the sources of my sampling.  This also meant that I could use a much wider variety of commercials and promo spots, since I was no longer constrained to using spots which had complete musical phrases in them sans announcers.  These two things made the next project possible:  Remodeled X, a 58 minute groove through the world of advertising.  The samples themselves were anchored musically, instead of being “text based” as it were, so if I cut off an announcer in the middle of a word, then, no bother.  The result of which was something else I hadn’t expected: lyrics.  Of a kind.  You can tell from the tone, they want to sell you something, but they never seem to get around to it.  You can also dance to it, which also seemed important, not enough found sound audio collage is danceable, in my opinion.  It also managed to prove what many people suspected all along:  the best music is not found on the radio, but in the commecials, usually on TV, since only that medium can still get away with pretty pictures and a rockin’ groove to drive desire.  Remodeled X was popular, more popular than Remodeled, anyway, but I still wans’t there yet.  I had hit upon the right formula, but the sound was not yet at the sufficient level of complexity.  The creative spark of constructuion, I came to think, was still too small.  This ultimately led to Remodeled X minus 1; The Conquest of Light Music.  .  Whereas Remodeled X used 22 commercials , promo spots, and a bit off of Iranian State Television from the 70’s, Remodeled X minus 1 used 113 such sources, dramatically thickening the sound and making it infinitely more difficult for me to construct.  Now we finally start to see harmonics between the sampled loops creating entirely new sounds, drum synchopations perhaps unthought of ever before, and huge numbers of offers, rebates, exaltations, and other advertising tricks richocheting incompletely through the atmosphere, rebounding harmlessly off each other and off you.  Their teeth missing, their poison drained.  Remodled X minus 1 is available through me and other secret agents of plunderphonia, like random nude fellows at BM.  emails send to paul@vibiant.com will get you a copy, provided you provide me a working mailing address and some form of compensation.  The music itself is free, of course, but the artwork ain’t, nor is the shipping, and so some chocolate chip muffins or whatever music projects you’re working on right now or just some something else interesing, would probably be fine. 

Welcome!  If you’ve gotten this far then you’ve probably at least listened to the CD.  How you got the CD in the first place, I have no idea.  That’s not the important part.  The important part is now you have been exposed, as it were, to Remodeled Music.  Whatever the hell that is.  I’ll attempt to explain:

 If you imagine remixed music as the combining of two musical events; say a trip hop version of “V-8 Ford Boogie” by Ronnie Dawson, say, you have the Ronnie parts as being one musical idea, and the “umpshi, umpshi” and scratching as a second one, which conveys the impact of music without it actually being a song in particular.  Not really much different than a mashup, except that each of the two elements could stand on their own as individual songs, since they were, once.  If you think that the whole  can be greater than the parts, then the creativity in the collusion of elements is what makes the mashup a song. 

Now, imagine using more than two musical elements, where they need not be complete musical ideas in and of themselves, where the final product has more of a “plunderphonic” feel to it, while still strictly adhering to the precepts of the modern pop song.  More to it than remixing, and when I came up with the term in 2000, mashups, as a name, didn’t exist yet, so I called it Remodeled Music.  [I even capitalized it for effect.]

It was a long road to develop the form into what you see today.  I first experimented with the idea in 2000, looking for ways to do found sound collage that didn’t have to sound quite so much like Negativland.  Being a hip-hop/electronica fan from way back, that was where my head was at.  I experimented with the short musical phrases I found in TV commercials, and some of those experiments found their way onto an EP for the Thunderbunnies, and experimental band I helped found in 1994 with Every Man.  It sounded nothing like other TB material, but it sounded interesting.  Further experiments with a more pure electronica sound for the stillborn Press The Button album “Operation: Big Beat” led to a number of songs constructed from as many as six different songs, looped and matched by hand [I hadn't discovered sequencing on the computer yet; I'm old. .  fashioned] on to a 4-track.  At the time, I was still hiding the sources for many of my loops: the television.  This first whole album of the stuff, “Remodeled”, had a mixed recption in the found sound community.  About half of the people who heard it didn’t feel that the samples were modified enough to make it my music, it was more like piracy, than sampling.  I could see their point; one needed an encyclopedic knowledge of television and advertising to figure out what sample came from where.  I was at an impasse.

 Not long after this, I discovered Acid, and had a small revelation which led to a much larger revelation.  In this case, Acid was the Sony’s sequencing software, and my small revelation, was that since this was sampling anyway, there was no particular reason to hide the sources of my sampling.  This also meant that I could use a much wider variety of commercials and promo spots, since I was no longer constrained to using spots which had complete musical phrases in them sans announcers.  These two things made the next project possible:  Remodeled X, a 58 minute groove through the world of advertising.  The samples themselves were anchored musically, instead of being “text based” as it were, so if I cut off an announcer in the middle of a word, then, no bother.  The result of which was something else I hadn’t expected: lyrics.  Of a kind.  You can tell from the tone, they want to sell you something, but they never seem to get around to it.  You can also dance to it, which also seemed important, not enough found sound audio collage is danceable, in my opinion.  It also managed to prove what many people suspected all along:  the best music is not found on the radio, but in the commecials, usually on TV, since only that medium can still get away with pretty pictures and a rockin’ groove to drive desire. 

Remodeled X was popular, more popular than Remodeled, anyway, but I still wans’t there yet.  I had hit upon the right formula, but the sound was not yet at the sufficient level of complexity.  The creative spark of constructuion, I came to think, was still too small.  This ultimately led to Remodeled X minus 1; The Conquest of Light Music.  .  Whereas Remodeled X used 22 commercials , promo spots, and a bit off of Iranian State Television from the 70’s, Remodeled X minus 1 used 113 such sources, dramatically thickening the sound and making it infinitely more difficult for me to construct.  Now we finally start to see harmonics between the sampled loops creating entirely new sounds, drum synchopations perhaps unthought of ever before, and huge numbers of offers, rebates, exaltations, and other advertising tricks richocheting incompletely through the atmosphere, rebounding harmlessly off each other and off you.  Their teeth missing, their poison drained. 

Remodled X minus 1 is available through me and other secret agents of plunderphonia, like random nude fellows at BM.  emails send to paul@vibiant.com will get you a copy, provided you provide me a working mailing address and some form of compensation.  The music itself is free, of course, but the artwork ain’t, nor is the shipping, and so some chocolate chip muffins or whatever music projects you’re working on right now or just some something else interesing, would probably be fine.