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Small Potatoes

January 28, 2021 · Leave a Comment

Sample-Snitching → One quiet morning in the early 2000s, I arrived at my label’s office and listened to the voice mail no sampling record producer wants to hear. The call was from a lawyer representing the estate of the leader of an obscure ’70s funk band. He knew that I used a 2-bar drum loop from this band on a song from my first album. It didn’t matter that this loop was fairly common, used prolifically in both mainstream hits and underground white labels. It also didn’t matter that I probably grabbed the loop off one of those erroneously named ‘royalty-free’ sample CDs that were common in the ’90s. The lawyer (and, presumably, his client) wanted his cut. 

Long story short, the fact the loop appeared in several mainstream hits probably worked in my favor — once the lawyer saw the requested final sales figures for my album, he realized I was small potatoes. I guess I wasn’t worth the effort, and I never heard from him again. But the most disturbing thing was how he found me. He was going through listings of songs that sampled his client on a sample-identifying website. 

I’m not sure which site the lawyer used at the time. Today’s most popular one, WhoSampled.com, launched several years after that frightening phone call. But the fear persists among producers. A new article in Pitchfork by Mosi Reeves details how representatives of legacy catalog use WhoSampled to source potential litigation, despite its intended purpose of pointing fans to old records:

It is a useful resource for rap listeners, despite its complicated role in sampling culture. Chris Read, the London-based company’s head of content, said that using the website as a fact-finding tool for potential lawsuits is a violation of its terms of service, and that the practice “stands in opposition to the reason WhoSampled was created, which is to provide a place for music fans to discover the origins of the music they love and celebrate sampling as an artform.” He acknowledged that the site does not distinguish between cleared and uncleared samples in its listings, because information about sample licensing is not always made publicly available. Producers can request takedowns of listings related to their work if there is information that “they would prefer was not published” on the site, he added.

The law is clear, so producers using uncleared samples — myself included — are unambiguously in the wrong. Many in the music industry’s creative roles have called for an overhaul of these laws to recognize sampling as an art form and create avenues for producers working outside the profitable mainstream. Some lawyers, like the one who contacted me and ended up letting the sample slide, would seem to agree. But then there’s the challenge of differentiating those who use samples artfully vs. those who use them to profit off the notoriety of earlier works. Yes, music rights are complicated (a phrase that’s in the running for the motto of this blog).

——————

A preview of Marc Méan’s forthcoming album Basteln → Friend of the blog Marc Méan has recorded a new album, titled Basteln. It’s out next week on Neologist Productions. I’m sure I’ll write more about it upon release as it’s terrific, maybe even better and lovelier than his previous effort, Collage. You can listen to the advance single (or, perhaps, it’s an excerpt as the album consists of two 20-minute tracks), recorded using “Cocoquantus, piano, voice & FX.” 

Marc lives in Zürich. The Swiss city has been on my mind as I’m near completing Kim Stanley Robinson’s fantastic near-future climate change novel The Ministry for the Future. Zürich is the setting for much of the novel, and the descriptions of the city are inviting. However, Zürich was already on my radar as the home base of the founders of my favorite art pranksters, the Dadaists. Here’s where Cabaret Voltaire got their name.

——————

Optional Essentials Vol. 1 → My friend Dr Olive — who once took me to the top of Mont St-Michel — recently launched a new label, 3 to the 3rd Music. The latest release is an ambitious two-part compilation cheekily titled Optional Essentials. The hype-text describes this collection as “the home-made home-listening soundtrack to one of the strangest years, written by music makers from 7 countries.” The sound is chill, overall, but audacious. There’s a diversity of instrumentation and mood-scapes, never a dull moment. The sequence is thoughtful, easily pulling the listener into its zone when played from beginning to end. And I have a connection — I contributed the song “Tarkovsky” under my Q-BAM moniker. I recorded this song ages ago, inspired by repeated visits to Moscow and my admiration of the Russian filmmaker named by the title. And I sampled Robbie Hardkiss saying, “Everything is cool.” Also on the compilation: amazing new tunes from my friends (and label-mates) Monta At Odds and Gemini Revolution.

Filed Under: From The Notebook, Listening, Publishing + Copyright Tagged With: Andrei Tarkovsky, Dada, Dr Olive, Gemini Revolution, Kim Stanley Robinson, Marc Méan, Monta At Odds, Pitchfork, Sampling, whosampled.com, Zürich

Marc Méan’s Collage: Imperfect in the Best Way Possible

March 12, 2020 · 3 Comments

Long before Brian Eno dreamed-up the term ambient music, there was “Furniture Music.” Coined by composer Erik Satie in 1917, “Furniture Music” intends to “make a contribution to life in the same way as a private conversation, a painting in a gallery, or the chair in which you may or may not be seated” (Satie’s words).

There’s a story of the debut of “Furniture Music” (or more correctly “Furnishing Music” — ‘musique d’ameublement’). Satie performed it during the intermission of a play, and the audience was encouraged to mill about as they usually would during a theater break. Instead, and much to Satie’s frustration, the audience stayed seated and listened. 

Marc Méan is a Zürich-based musician who has found inspiration in Satie’s “Furniture Music” 100+ years later. It informs his fascinating album Collage, a set — and cassette — of two twenty-minute compositions that vibrate from ethereal soundscapes to lightly percussive sound design. It’s experimental in sound and process and, though “Furniture Music” serves as a launching pad, like Satie’s intermission music Collage leaves the listener more attentive than passive. 

“[Satie’s] approach fascinated me,” Marc says. “Before that, I was playing mostly jazz and improvised music, which required me to be active and personally involved as a listener and as a performer. It’s music where you have to be highly reactive to everything around you, where everything happens fast, where one prefers evolution to repetition. I wanted to find an approach to music where I could slow things down, where I could stretch time, be more passive, find simplicity.”

The inspiration came through the acquisition of an unusual electronic instrument. Marc explains, “It all began when I acquired Peter Blasser’s instrument the Ciat-Lonbarde Cocoquantus. It is a weird synthesizer-sampler that has a life of its own.” 

Originating in Portland and partly hand-crafted out of wood, the Cocoquantus is a sampler combined with looping delays and multiple analog synthesizer engines for modulation. Blasser himself describes the Cocoquantus as “not for the faint of heart: but once you speak its language, nothing else is quite the same.”

“Peter Blasser’s instruments don’t come with manuals,” Marc says. “Nothing is labeled on the instrument, so you have to explore it yourself. And I have never been someone who likes to practice for the sake of practicing. I always need to work in a musical context to learn something new. So while taming this new instrument, I recorded all my experiments.”

The process developed into a creative game (or, as I like to say, a tiny accident). Marc explains: “I like the idea of organized chaos, of controlled randomness in my work. The more I surprise myself in the creative process, the more interesting the music will be to me afterward. In the end, I felt that the material had a strong unity because of the gear I used. The Cocoquantus has such a strong personality that it binds the recordings together.” These exploratory pieces were combined to form the backbone of Collage. 

The resulting album is a lovely and imaginative trek through experimental ambiance. There are haunting piano moments, teasing through snatches of melody transmitted from a distance. Distinctively electronic antics appear, manipulated bleeps and clicks that soon give way to luminous passages. For all of its digital manipulation, Collage is warm and organic sounding, and the two twenty-minute stitched-together compositions don’t sound stitched-together at all.

Though there are elements of ambient ‘drone’ music, Collage‘s pieces develop and subtly change, sometimes offering surprises for the listener. “I can’t help myself but to have things evolve and have some drama,” Marc says. “The two sides are designed as a response to each other. One doesn’t need to listen to both sides back-to-back, but I would recommend listening to each in its entirety.”

I get this impression even as I listen to Collage as a digital stream on Bandcamp. The nature of the tracks, their grainy sound, and 20-minute lengths make Collage imaginable in a cassette format. Marc embraces Collage on cassette: “I like when music can be tangible; when music pairs with an object. It grounds things into a reality in this era where everything is virtual. Also, analog tape was used during the recording to transform and give color to certain elements. So for me, it makes sense that Collage is available on a physical medium.”  

Thus Neologist Productions has issued Collage on cassette, limited to 30 copies. The artwork is beautiful and visually fits the tone of the music. And, as Marc points out, the cassette may be the best way to experience Collage: “Because of the physicality of the cassette the listening experience is different. Cassettes sound different than a digital medium. Cassettes are lo-fi in comparison, they wobble a bit, they age, they are imperfect in the best way possible.”

Listen to Collage on various streaming platforms or on Bandcamp (where you can also purchase the limited edition cassette).

Filed Under: Featured, Interviews + Profiles, Listening Tagged With: Bandcamp, Brian Eno, Cassettes, Cocoquantus, Erik Satie, Furniture Music, Interview, Marc Méan, Music Recommendations, Peter Blasser, Portland, Synthesizers, Zürich

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8sided.blog is a digital zine about sound, culture, and what Andrew Weatherall once referred to as 'the punk rock dream'.

It's also the online home of Michael Donaldson, a slightly jaded but surprisingly optimistic fellow who's haunted the music industry for longer than he cares to admit. A former Q-Burns Abstract Message.

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