Snaps

Music scholar and producer Francesco Fusaro discusses one of his sample-based tracks. It is through the voice that dance music has proven a fertile territory for the expression of the political and social concerns that underpinned its history from the beginning.

What are the political implications and ethical concerns of sampling sounds of war? This is a question raised by «The End of Silence», a 2013 record from Matthew Herbert based entirely on a six-second field recording of the Libyan civil war. A critical examination.

In 2016, the Indonesian practice «om telolet om» related to the playing of bus horns went viral, reaching the worldwide EDM community. Here, our author problematizes the phenomenon in relation to global and local cultures and creative production in contemporary music.

To what extent do sampling practices maintain or disrupt an exoticized ideal of indigenous populations? The Brazilian research collective GENuSom confronts two sampling strategies performed by a Brazilian worldwide EDM artist and a indigenous rap crew from Brazil.

Starting out with sampling the choral tradition of Sacred Harp, the producer COOL FOR YOU came to understand that practices such as «sampling as critique» are invariably marked by contradictory attachments to their sources and therefore require a more complex analysis.

This article examines the aesthetics of «sampling the political» in contemporary Indian electronic music. A journey through various ways of sampling political words and speeches. These artists are borne of a tendency to resist, to subvert, and to disobey norms of sampling.

Music producer Eomac describes how his sampling strategy has changed over time. Starting out, he used any sound available. Now, as an experienced musician, he is confronted by complex ethical questions. Today, he emphasizes the intent behind sampling as key.

Cristiano Figueiró and Henrique Souza Lima created a track made by sampling, editing, and remixing recordings from a performance made by the Brazilian group Côco de Umbigada (CdU). Here, they contextualize the CdU as a cultural and political agent.