We’re taking up the role of sampled voices in industrial music in this episode of the podcast. From staccato cut ups and obscure manipulations to easily recognizable movie samples from cinematic blockbusters, what role does the human voice play in a non-singing capacity in Our Thing? How do samples fit into the larger philosophy of industrial music? Is there a statute of limitations on Blade Runner samples? We’re not shying away from the tough questions. We also chat about some upcoming tours and the great Severed Heads show we just saw, all this week on We Have a Technical. As always, you can rate and subscribe on iTunes, Google Play Music, download directly or stream from the widget down below.
We Have a Technical 161: Waxed Mustache
Another great episode, cheers guys. I never knew the background to those Jarboe samples, quite a mindfuck.
Not a gripe at all, but I was kinda surprised that Michael Arthur Holloway’s name didn’t come up (unless it did and I missed it in the brief minute I was making tea :P) – I think he’s a really fantastic modern exemplar of how to “do vocal sampling right”, especially in the context of of samples being used to further the intrinsic themes of a track etc. rather than just being dropped in to sound cool. Granted, afaik most of it comes from Cronenberg movies, so there’s a certain amount of “in-built cohesion” already, I guess, but even so DWIFH (and also “Guilt Noir”) always blows me away on that level alone.
Yeah, considering the fact that we’ve actually spoken to Michael about how he sources and uses samples in his work, this was an oversight on our part.
Well, yeah, I remember that episode fondly too, so it might have been a bit redundant to re-hash it. Another great episode though, regardless. 🙂