Saturday, October 31, 2009

Stock, Hausen & Walkman

Stock, Hausen & Walkman

Stock, Hausen & Walkman started improvising in the late 1980's, in the UK. The group very often worked with samples, so it's a shame I haven't found more of their records until recently. I first heard of them thanks to their Eerie Materials 7" (1998) and have been exploring some more of their work these past few months. You should, too.

Matt Wand spoke on behalf of the band, and we've got an interview coming up with him in the coming quarter as well, so stay tuned for that. He was a founding member, with Rex Casswell, in the UK, in 1987. Andrew Sharpley and Dan Weaver soon joined them, and eventually it was just Wand and Sharpley.

(pictured, left to right: Dan Weaver, Matt Wand, Rex Caswell, Andrew Sharpley)

The group was active, in various configurations, for around 15 years. Their last record was released in 2000, and there is as yet no news of a reunion. They released 7 or 8 albums, a few singles and several remixes for artists such as Buffalo Daughter and People Like Us. Check out their discography HERE.

They were the artists behind the Hot Air record label, as well (since 1991), releasing work by Otomo Yoshihide, Janek Schaefer, Dummy Run, People Like Us and of course Stock, Hausen & Walkman. Most recently, Matt Wand released a solo record on Hot Air, as Small Rocks. The CD was titled "Carbondating". Check out Hot Air on the web HERE.

As I just mentioned, Wand has continued as a solo artist, releasing things under different aliases (such as Small Rocks and Stahlgren & Ferguson). He's done numerous commissions for art installation and exhibition, as well, and is responsible for much of the artwork featured on various Hot Air releases.

Without further ado here's the SAR Q&A with Stock, Hausen & Walkman's Matt Wand...

*Name: Stock, Hausen & Walkman

*Are there any additional names used to describe this project: The illiterate or lazy among us (and I include myself) sometimes put SH&W or nearer might be SHAW (pronounced Pssshaww!! with an emphasis on the skeptical and dismissive tone of that sound).

*Do you use a pseudonym? Despite how it may seem 'Matt Wand' is the name I was born with (well, Matthew actually) but I can own up to hiding behind the dubious Outfits 'Small Rocks' 'Stahlgren & Ferguson' and a few others that might seem obvious on closer inspection.

*Members: Well NONE since 2002 when the plug was pulled, but originally 2 (Myself & Rex Casswell) then 4 (Dan Weaver & Andrew Sharpley joined) then 3 (Rex left) then 2 again (Dan went to Germany and we willfully ignored him as he was getting too much girl action and generally having far too good a time over there.) [What are the full names of each member?] I think that’s been covered apart from middle names, which I'm not sure I ever knew apart from mine which is David. Oh! no... wait I remember… Andrew’s is Quentin which in some ways is quite an awful middle name, way too upper class and just begging to be mocked… but then again there is Quentin Blake whose illustrations for the Uncle Books I love… so maybe not so bad?

*Founding Members: Me & Rex Casswell, I put myself first as I thought up the name which is an atrociously bad pun BUT did kind of describe all we were about at the time... Firstly, we wanted to drag 'so called' high brow experimentalism down to the level of bad disco commercialism (Stockhausen represented and indeed still represents the most idiotic egomaniacal pompous facade to gloss over what is after all the kind of experimenting that anyone with a taperecorder and the luxury of free time & a brain can noodle away at and present the results now and again. It was hilarious when he popped his clogs and shuffled off to the lederhosen shop in the sky and every one started coming out of the woodwork saying how much they respected and admired him, in Manchester alone there was a deluge of performances of Stockhausen pieces in the academic establishments that did little but reveal the transparent silliness and pseudo-mystical conservative anti-intellectualism of the bulk of his work. Of course Those establishments didn't really touch his earlier (listenable) electronic works as that would mean calling in 'outsiders' with some of the long ignored (by them) knowledge of electronic music and they are only interested in giving a platform and work to their own so called 'Qualified' musicians not scruffy herberts that know their way around an oscillator… That’s how it is in the UK, always with the class war of some kind… Hope it’s better in the US). The Walkman bit was A) because we were poor and couldn't even conceive of having motor vehicles so our dream was to be able to get the bus to a gig and play with stuff that we could pull out of our coat pockets when we got to the venue, a dream of ultimate portability that is finally with us today which is a good job as I'm poor again and scrapped my car 6 months ago… plus B) Notoriety (and hence Fame) in those days seemed to come quickly from being sued by a big company and I thought that Mr. Sony might do that job for us..

*Tape manipulations, digital deconstructions or turntable creations: Any, All and much much more or less… We had no set way of manipulating sound, cassette pause button edits & 4 track layering had been the way for most (including myself) since the mid seventies… In the end, my own 'live' technique was 2 split channel cassette players that contained all kinds of turntable & pause button & drum-machine 'n' FX style manipulations that were siphoned thru a 4 button switchboard to re-cut-up the sounds into a 4 second sampler with the spring taken out so that further triggering, slowing down, speeding up etc could be done realtime to that live cut-up… Mr. Sharpley favoured fast forward/rewind button cassette scratching of prepared cutup tapes. Rex and Dan were more instrumentalists with guitar and cello but were no less interesting or 'Cut-Up' in their thinking/performing (especially Rex Casswell, where are you Rex?? Think he might have hurt himself with his cut-up thinking).

*Another genre descriptor: I think Vicki (Bennett) said it, when she said that the word Collage has been in use for this sort of thing for over a century, she's right and I think Sharpley with his slightly more formal 'arts' education is a big fan of the word and the act of 'Collage'. Myself, I'm more a child of the Grey Underground so I go with the Gysin/Burroughs term 'Cut-Ups' as a brief, I can't speak for them really but I'm betting Rex & Dan would just say 'Improvising' and I like that one too, especially if it’s applied to the thought processes rather than just the anti-formal musical act, you can go a long way (as Mr. Oswald has proved) by re-badging what you do with a nifty moniker but that’s really just glib journalism or perhaps having some fun at the expense of Glib/lazy Journalists. The works themselves are what is important when yr in the mood to listen to that sort of thing, hopefully there aren't too many people that claim: "I only listen to Plunderphonics!"

*Is there a story behind your name? (See the answer to “Founding Members” above)

*Location: 2 from Manchester & 2 from Louth (Lincolnshire), hence the continuous fluctuation between Pastoral Beauty and Industrial Horribleness in the music.

*Original Location:

*What is your creative/artistic background: I could really only inform you properly about my own background and I don't feel that’s so important or even interesting in this context.

*History: Well, it’s a bit vague, I think the start of it was sometime in 1989-90 but Me and Rex had been working together within the 'purist improvisor' tyranny of another group with 3 other people for a year or so before we made a break for it… So, it could be as early as 1987?? The early incarnation of Me & Rex was Called '23 Women Artists' before the SH&W name, because cynically I figured we would get a good arts council grant with that name! As for myself (and probably the rest of them) I'd been tinkering with drum machines, echo boxes, 4 tracks etc in various groups and solo bedroom things since 1979, most notoriously (and completely invisibly to the outside world) W2F, a fluctuating combo based around myself with various anti-musical mates popping in to get weird here and there, with 4 cassette releases to its name (chronologically: Rehearsing Punk Jazz, Art-Itch, Original Soundtrack to 'The Southern Vegetable Mystery, We Help!) none of which were in editions of more than 10 and hence destined to remain in the lost sock drawer of history where it belongs. Nevertheless I regard those early experiments in obtuse cassette packaging as the seed-bed for Hot Air's future fancy graphicsophilia. OOPS! I already said that’s not interesting in this context and then go all misty eyed with senile memories of teenage artsy-fartsy bedroom antics, oh well, if you’re reading this the chances are you too are or once were an artsy-fartsy teenage bedroom dweller and you'll indulge this old git’s ramblings.

*Born: Is this a Tax Form??

*Motivations: I think at the time it was 'Other Interesting People' and mostly, but not all, those making noises. Particularly those making noises that we thought we could emulate to some extent without spending a few years in college to do so OR those doing things close to what we were already attempting ourselves. You don't want to feel entirely alone in what you are doing even if you are looking for something 'New'. At that time there were only a few people (let’s call them DOTS) that we could be aware of that between those DOTS mapped out an area we felt drawn towards. These days of course it’s almost impossible to do anything or even 'Be Interested' in anything that isn't already Mapped out, Blogged up, Contextualized and downloadable on the internet. That sense of a 'private' activity or thought process is very hard to come by now. I want to mention the US grouping 'Meltable Snaps It' and David Moss's duets album 'Full House' because recently I've been listening to that old stuff and loving it and remembering how much those people pointed us in a certain direction way back at the beginning. Obviously with 4 people's listening habits contributing to the 'Influences' mix there is no one source of inspiration... but I'd like to give a shout to Mike & the long defunct Decoy Records shop because back then your musical education didn't come from the ether… it relied on independent record shops that were prepared to stock really obscure and potentially unsaleable records... and I guess another shout should go out to all those physical formats like cassette, vinyl, CD because it was the existence of those formats and the few interesting people that had used those Audio/visual platforms in such crazy belligerent ways that made us want to do it so desperately ourselves.

*Philosophy: OK, you want philosophy now... well, here's a thought that may or may not be relevant... "MP3 is a codec designed to remove 'redundant' audio information, to make a sound file 5 to 10 times smaller, in effect to create 'MUSIC-lite' - a kind of diet music in which all the sound information our ears supposedly don't need to hear is removed. What I don't understand is why this Codec hasn't been developed further... how much better would it be if the software truly stripped out all the redundant material, Beethoven’s 5th reduced down to its first 4 notes, a repetitive dance hit cut right down to the one repeating loop that is its main constituent? Think how fast these files would be to download & how much less irrelevant or banal sound would be polluting our ears."

*How would you like to be remembered:
As one of the often forgotten.

*Web address:

Episode 38, Some Assembly Required

Episode 38, Some Assembly Required

01 Lecture on Nothing - “Potato”
02 Negativland - “Jolly green giant”
03 Wobbly - “Recarrots”
04 Stock, Hausen and Walkman - “Broccoli”
05 People Like Us - “Bran mash and crushed beans”
06 Evolution Control Committee - “Rebel without a pause (whipped cream mix)”
07 Antediluvian Rocking Horse - “Rigorous doughnut”
08 Evolution Control Committee - “I want a cookie”
09 People Like Us - “Cream crackers”
10 People Like Us - “Sugar and splice”
11 Escape Mechanism - “Coffee cake”
12 David Shea/DJ Grazhoppa - “Tasty cake”
13 Lecture on Nothing - “The heimlich maneuver”

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Sunday, October 25, 2009

Eddie Def

Eddie Def

Eddie Def has been scratching/producing since the early 1980's, producing solo records under his own name, and as Eddie Def The Last Kreep. With DJ's Quest, Cue and Marz, he performed as The Bullet Proof Scratch Hamsters (since 1991), and has worked on a variety of other projects as well, including HempLords, The Good Scratching Record and DMT, to name just a few.

All Music Guide calls him a turntablist pioneer. He's released at least five of his own records and continues to work with The Bullet Proof Scratch Hamsters, under their new name, The Space Travelers. Now a five piece, the group features DJ Quest, Eddie K, Eddie Def, DJ Marz and DJ Cue. The group have about a half dozen releases, to date.

Eddie Def has made several appearances on turntablist compilations, including two of the Deep Concentration releases, Return of The DJ Volume 3 and the Scratch movie soundtrack. He was one of many DJs to be featured in that excellent 2001 documentary. The film features interviews with hip hop producers, scratch DJs and turntablists of all kinds, talking about the history and development of several different DJ styles, and the nature and creative potential of vinyl records. Check it out HERE.

Eddie Def and DJ Passion produce the "K.I.T.T.Y Radio Show," podcast as well, which can be found at You can also check them out at their Myspace page HERE.

Without further ado, here's this week's Q&A with Eddie Def...

*Name: Eddie Def

*Are there any additional names used to describe this project: Eddie Def The Last Kreep.

*Members: The Bullet Proof Scratch Hamsters were Eddie Def, DJ Quest, DJ Cue and DJ Marz.

*Do you use a pseudonym?

*Tape manipulations, digital deconstructions or turntable creations:
I don’t use computers at all, for music. I use a lot of keyboards and drum machines and effects pedals and stuff like that. I use a multi-track mixer, a Roland 1880. I do a lot of bouncing tracks, overdubs and stuff like that. I prefer to just be called an artist, because if you call yourself a turntablist, you’re kind of limited to scratching. I kind of outgrew that. I still do it, but you kind of get bored of doing the same stuff. So, you venture out and do different stuff.

*Is there a story behind your name? It’s just an old school name. I’m 37, so I started a long time ago. I guess back then, those were the kind of names that were out, you know like Mikey Fresh or Funky Bob… something like that. I used to abbreviate it, like D. E. F., to make it like Eddie “Does Everything Funky.”

*Location: Oroville, California

*Original Location: San Francisco, California

*What is your creative/artistic background: I started out being a DJ, getting into hip hop, like any other kid, tagging and graffiti and the whole breaking scene, and rapping, and I guess I just adapted to the DJ more. Then I met Quest and Cue, then we did the first break record of its kind. You know, the first strictly scratch centered DJ record. We did that, and then I started working with Buckethead. Then I did a lot of that Last Kreep stuff, which is Trip Hop music, to try to separate the styles. I got into turntablism in the early ‘80s. I think I started DJing when I was like 12, scratching at home and then joining mobile mixing disc jockey companies.

We were the Bullet Proof Scratch Hamsters (Eddie Def, DJ Quest, DJ Cue, DJ Marz) at first, and that came from a corny comic book background… like Teenage Mutant Ninja Turtles. We wanted a name that was far-out like that. We became the Bullet Proof Scratch Hamsters, and then the Invisibl Skratch Piklz, they kind of jumped on the bandwagon of silly names, and then we wanted to change it, and we just changed it to Space Travelers. I grew up around Qbert, and that whole scene. Everybody grew up together. The whole Bay Area was like me, Quest, Qbert, Mix Master Mike, Disk, Shortcut. From this neighborhood to that neighborhood, everybody just kind of grew up scratching. Me and Marz released a solo break record called Sound Pollution, in 2008.

*Born: San Francisco, 1972

*Motivations: My motivation is always to try to give other people the first buzz that I got. Out of everything that I do, I love to do megamixes (mashups and stuff like that) to just bounce like nine tracks at the same time, with a bunch of mixing going on. I’m making music for everybody else, but I’m also really just trying to satisfy my personal urge, musically. So, I would say that I’m trying to give people that buzz, like “damn, I want to do that…” That’s probably why I do what I do – to get those reactions out of people.

As an artist, just as a musical guy, just to always have integrity. Your own kind of style, you know? Always do it the way you want to do it. Don’t let a guy from a record label tell you like, you should put a little glitter on it, or add more base, or make it sound like Little John. You know what I mean? That’s the kind of stuff I hate. You’ve got your own s**t, you’re doing your own stuff, and then you get brainwashed by the business and you kind of lose your true sense. You know, your music starts getting stripped down, you just kind of end up sounding like a clone. I would say integrity. Musical integrity.

*How would you like to be remembered:
That guy was, not to sound cliché, but like a true guy, a real motherf****r, who handled his business and his profession. That’s probably about it.

*Web address:

Episode 242, Some Assembly Required

Episode 242, Some Assembly Required

01 Wax Audio – “Enter You”
02 John Oswald – “Birth”
03 Cassetteboy – “Bring Back Cloaks”
04 Eddie Def – “Bobbafette (The Last Of The Gemini)”
05 Corporal Blossom – “Advice From God On Getting A Face”
06 Frenchbloke – “I Feel Kylie (again)”
07 Christian Marclay - “1930”
08 I Cut People – “I'll Be Back To The Future”
09 Mixmaster Mike – “Sektor Three”
10 Mixmaster Mike – “Well Wicked”
11 Splatt – “Mass Construction”
12 DJ Earworm – “Noone Takes Your Freedom”
13 Antediluvian Rocking Horse – “Chatterboxed”
14 Radar (1) - “Antimatter”
15 dj BC – “I'm Happy (On Sesame Street)”

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Friday, October 16, 2009



Spacklequeen is Rhode Island's Dan Vena. He's one of many artists featured on the Illegal Art compilations which launched the label, in 1998 (they were Deconstructing Beck, 1999's Extracted Celluloid and Commercial Ad Hoc in 2000). He was the only artist to have tracks on all three releases, in fact, and was extremely hard to track down, so this feels like a good week for the Q&A...

Deconstructing Beck was hailed as a "brilliant exercise in guerrilla art-making" by Steven Shaviro, who eloquently summed up not only the CD, but the art of appropriation in general, in his article for ArtByte Magazine. I think I'm going to just cut and paste practically an entire paragraph from that article, in fact... I could dig out one of my own college papers on the subject, or summarize for the umpteenth time, but I think Shaviro puts it much, much more succinctly...

...We live in a world of ubiquitous images and soundbytes. The electronic media are to us what ‘nature’ was to earlier eras. It’s the background against which we live our lives, and from which we derive our references and meanings. In such a framework, the distinction between high art and popular culture becomes ever less viable. For any cultural work must come to terms, one way or another, with the mediascape that’s always Out There. That’s why appropriation is the major aesthetic form of the postmodern digital age. It’s everywhere, from rap records, to film and video, to installation art. Everyone now understands what Andy Warhol was perhaps the first to enunciate: that our lives have to do, not so much with fruits and flowers, or rivers and mountains, as with cans of Campbell soup, and images of Marilyn and Elvis...

Spacklequeen's Dan Vena is also a comic strip artist and illustrator. He's currently moved away from sound and is working primarily as a visual collage artist. He's also a self described luddite, which is refreshing in this world of high tech creativity. Although, it's not as surprising as you might think, anymore. The fact is, the technology has been getting more and more user friendly, to the point where you don't have to be an electrical engineer (or a rocket scientist) to make this kind of music and/or audio art, just a creative person with your own perspective.

Vena has gone out of his way to keep a very low profile, over the years. Perhaps this little feature will get the ball rolling in the other direction... Without further ado, here's the SAR Q&A with Spacklequeen...

*Name: Spacklequeen

*Are there any additional names used to describe this project: It's been shortened to "cklequ", to make myself even less accessible. An extra shot in the foot, if you will.

*Members: Dan Vena

*Tape manipulations, digital deconstructions or turntable creations: Just deconstruction. Not so digital these days, but everything involves taking apart someone else's work.

*Is there a story behind your name? When I was just starting to DJ I needed a name. Everyone had a catchy name. I was just spouting nonsense ideas one night, looking for something that said "I am in no way serious about this", and for some reason Spacklequeen stuck. I don't know where it came from. Maybe it had a deep hidden meaning back then. But I doubt it.

*Location: Currently stuck in a rut in Providence, RI.

*Original Location: Ridgefield, CT, Annandale-On-Hudson, NY, Northampton, MA

*What is your creative/artistic background: I make it all up. I have no training aside from an art class in high school, and certainly no musical training. I have absolutely no idea what I'm doing. Somebody had let a friend of mine know about this upcoming release of remixes of Beck's music thinking he would be interested and he passed the information on to me. I ended up sending a few different tracks. I don't know if I had even included my real name when I sent them. I never thought they would use it. I had no permanent address at the time, so had used my parent's address and phone number. Months later my mother got a phone call from somebody looking for Spacklequeen, which confused the hell out of her. After that I just signed up for the illegal art mailing list. Every time I heard of a new release, I'd send in a fistful of tracks. I know I never was able to send the format they wanted. Technology and I don't agree. Back then, the best I could do was cassettes. But for some reason they kept putting the tracks on the albums. Maybe it was because I sent so many…

As long as I can remember I've been trying to create in some form. I got into working with sound I guess around the time I was pretending to be a DJ in mid/upstate NY. That would be in the mid/late-nineties. At the same time I was doing some comic strips and illustration type drawing, and these days I work with visual collage. The music aspect was short lived, but never entirely abandoned. I never really seem to have the proper equipment for what I'm trying to do. Which may explain why that didn't last. I was working with nothing. Now I've moved on to simpler more readily available materials, like scrap lumber and a stack of old magazines. Even I can figure out how to make that work.

*Born: 1975, Connecticut

*Motivations/Philosophy: If I don't do something I will quite literally lose my mind. It's therapy. I have to do it.

*How would you like to be remembered: As a halfway decent human being.

*Web address:
Currently offline

Episode 37, Some Assembly Required

Episode 37, Some Assembly Required

01 Negativland - “Perfect scrambled eggs”
02 Laso Halo - “Stanley”
03 Spacklequeen - “Eggs eggs, arms legs”
04 Wobbly - “Do not milk or touch me”
05 Invisibl Skratch Piklz - “Invasion of the octopus people”
06 Evolution Control Committee - “Yakaroni and cheese”
07 The Tape-beatles - “Number one cheese spread”
08 People Like Us - “Caciocavallo”
09 People Like Us - “Sardines”
10 Mag Wheels - “capt. outside/I know you Peanut butter Jelly”
11 Peanut Butter Wolf - “The chronicles (I will always love h.e.r.)”
12 Negativland - “A nickel per fish sandwich”
13 The Tape-beatles - “The human machine”
14 The Tape-beatles - “Byways of ghostland”

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Saturday, October 10, 2009



ATOM is Connecticut's Matt Inconiglios. He's an artist, designer and DJ whose mashups have been featured on many a Christmas themed Bastard Pop compilation, as well as the recent Muppet Mashups release. There are over 50 MP3s available at his website HERE.

As a graphic designer (working with everyone from Philips Electronics, to Timex and Volvo), he's created logos, corporate identities and design for apparel (check out fusionTHINK). He spins regularly at places such as Barcelona SoNo, in Conneticut, and runs his own record label, specializing in House music. Check out Cotopaxi Music HERE.

Without further ado, here's the SAR Q&A with ATOM...

*Name: ATOM

*Are there any additional names used to describe this project: ATOM aka Precious Roy aka Matt Inconiglios.

*Do you use a pseudonym? Yup - see the first two questions above.

*Members: My full name is Matthew Adam Inconiglios.

*Founding Members: Just me, and the voices in my head.

*Tape manipulations, digital deconstructions or turntable creations: Digital deconstructions.

*Is there a story behind your name? The story behind "ATOM" is this... way back since I was a little kid, I used to draw pictures of techy things like jets and cars, etc. I figured my projects should have a name of some kind. While thinking of names, I thought my middle name, Adam, might work. It didn't look techy though. But then I realized when I said "Adam" it kinda sounded like "atom"... and there you have it.

*Location: Stamford, CT... about 40 min. outside of NYC, USA.

*Original Location: New York

*What is your creative/artistic background: Artist: sonic & visual. DJ/music self-taught. Graphics via Paier College of Art.

*History: About 10+ years now.

*Born: Mineola, NY. My birthdate is 04MAY72.

*Motivations: Because I hear wiggly bouncey sounds and I need to get them out of me.

*Philosophy: Make something interesting and have fun.

*How would you like to be remembered: An impatient perfectionist, with a penchant for all things fun & odd.

*Web address:

Episode 241, Some Assembly Required

Episode 241, Some Assembly Required

01 ATOM – “Pinball Number Count (ATOM's Math Problem Mix)”
02 Wake Up and Listen - “Ray of light”
03 DJ Tonk – “118th Hustle”
04 Buchanan & Goodman – “Buchanan & Goodman On Trial”
05 Jason Forrest – “Under Covers”
06 The Evolution Control Committee – “Darwin at Fifteen”
07 Go Home Productions – “Return Of The Weather Episode”
08 Negativland – “You Must Respect Copyright”
09 Ruckus Roboticus – “How To Handle Grownups”
10 John Cage – “Radio Music”
11 The Bran Flakes – “I Have A Friend”
12 Pedro Rebelo - “...Just Cartoon Music”
13 Realistic – “Music In The Round”
14 The National Cynical Network - “Snapshot in Time”
15 Norwegian Recycling - “Radioghost”

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Saturday, October 03, 2009

October 4, 2009

October 4, 2009

No new Q&A this week - although I did try (as I always do). Stay tuned for next week's Q&A with Bastard Pop artist Atom, not to mention features on Spacklequeen and Eddie Def...

While I've got your attention, I really feel I must inform you of two very big, recent happenings... The first is that KUOM, the radio station which was the first to allow me to experiment with this programming, has just this past week broadened the scope of its influence by adding two new FM signals to its already influential (and historic) AM signal (the much loved AM 770). You can now access Radio K at any time, day or night, on the radio in Minneapolis at 104.5 FM and 100.7 FM in St. Paul. Congratulations to all the individuals who have worked so very long and hard on this project, over the course of many years...

The other big story recently, is that Jon Leidecker (aka Wobbly) has uploaded the third installment of his series, Variations, chronicling the history of the sample in music and audio art. It's been very educational, even entertaining, and I'm sure I'm not the only one who has been waiting anxiously for each new installment. Check out Variations, Episode Three, HERE.

Tune in again next week for a brand new episode of Some Assembly Required, along with our Q&A with Mashup artist, At0m...

Thank for listening!
Jon Nelson

Episode 151, Some Assembly Required

Episode 151, Some Assembly Required

01 DJ Food – “Hour Glass”
02 Klarc Qent - “Stepson of word jazz”
03 The Tape-beatles – “I Can't Do It”
04 Lenlow – “To the Taxmobile!”
05 Wax Audio – “Bushbeats”
06 Beatrix*JAR - “Meany”
07 The Bran Flakes – “Dreamy Lore”
08 Beatrix*JAR - “Easy Monday Office”
09 team9 – “The doorbell encore”
10 Girl Talk - “Once Again”
11 Jeffrey Sconce - “Lady Charon”
12 People Like Us - “World Of Stereo’
13 DJ BC – “Mother Nature's Rump”
14 Girl Talk – “Hand Clap”
15 Myeck Waters - “Sex 'n drugs 'n elves”
16 The Tape-beatles – “Positive Will”
17 DJ Jay-R – “Michael remembers Cheryl”

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