Picture
I'm becoming more and more interested in the role of sampling in live intermedial practice. Not something I've spent a lot of time thinking about so far, but clearly a key practical technique in the work. I sample in so many different ways according to so many largely unwritten rules that it is difficult to find a common thread - maybe that's the point... 




From the 'one verse maximum' snippets of lyrics which are fed into the loop pedal to the tiny refrains, beats and riffs with which I populate my sampler and which I extend ad infinitum, I am constantly choosing shards of sound and extending them in the studio. Indeed, it is not just in the sonic domain. I sample my life and the holidays Scott and I go on through the video excerpts which frame strange, disjunctive and close up moments, very rarely revealing a clear context. Equally, the objects I choose to work with are a very particular sampling of what can be bought on Kilburn High Road for a pound. 

See above for where this has got me in the current piece - a lot of jelly beans, cunningly rearranged by Jess in the studio. Not much to say yet other than that I love love love the idea about the breaks which were sampled by early hip hop producers and which I read about in Joseph Schloss's (2004) fascinating book about sample based hip hop:

‘They [producers] take the position that the break had always been there, it just took a great producer to hear and exploit it. Record collecting is approached as if potential breaks have been unlooped and hidden randomly throughout the world’s music. It is the producer’s job to find them’ p.36 – 37

It makes me wonder what sounds, images, experiences and objects lie 'unlooped' in the world, ready for me to sample them...