plunderphonic tunes by plunderphonics

Plunderphonics Tunes features all the tracks from the 2-disc set that lean to an instrumental persuasion; plus 6 bonus tracks.
Alternatively, vocals abound in most of the tracks of Plunderphonic Songs. For the first time there's the choice to have one or both.
"Plunderphonics" is a cultural paradox, one of the only truly underground musical phenomena to emerge in the latter quarter of the 20th century.
“This art is more radical in its social and political associations than the introduction of the electric guitar ” (Henry Kaiser, East Bay Express)
The form features some of the world ’s most recognizable music embedded in novel constellations of sonic subversity by John Oswald.
“Mr.Oswald flew past the level of mere sampling.He has taken sampling fifty times beyond what we ’ve come to expect.” (Brian Robertson,president of CRIA)
This ambitious package contains 60 memorable tracks,from the Swinging Sixties to the Numb Nineties,on two hyper-dense discs covering the gamut of progressive musical endeavor,where punk meets classical,schmaltz marries metal,jazz divorces rap and electronica rapes world.
“Plunderphonics is recreational savagery … A consistently brilliant record.” (David Toop, The London Times)
Each title features an instantly discernible musical icon trans- formed into an electroquoted Frankenstein or Hyde,with a plunderphony moniker such as Aretha Vanilli, Bee Jesus, Marianne Faith No Morrisey, Jello Bellafonte, or David Bow Wow Wowie. Often visceral, occasionally poignant, sometimes funny, never predictable and always challenging, the set is an entire record collection packed into a 2½ hour playlist. Includes an extensively annotated retrospective account by reproducer Oswald, lavishly illustrated with full color collages.

“For the moment John Oswald is a solo movement,the most exciting school of one in music.” (Milo Miles, Village Voice )

Box set of the year (Spin, Now, Eye, NYTimes, etc.)

released October 31, 2001
version: 2.0

plunderphonics is the genre title coined by John Oswald to 'cover the counter-covert world of converted sound and retrofitted music, where collective melodic memories of the familiar are mined and rehabilitated to a new life. The blatant borrowings of the privateers of sound are a class distinct from common sample pocketing, parroting, and tune thievery.'

plunderphonics.com