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iheartboneez posted:Easter Egg 4 sure. They are like music twins. If you like Easter Egg (and Girl Talk, but that is probably a granted by this point) you will probably love E-603. Myspace: http://www.myspace.com/e603 Free album: http://www.e-603.com/DISCOGRAPHY.html Seriously, Something for Everyone is suburb. And free to boot.
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Nov 19, 2008 07:58
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Bathroompants posted:Although there wasn't a "holy poo poo" moment like on FTA's mashup of Lil Wayne and RHCP for me. Nirvana + Spank Rock on 'Trash The Club' gets me every single time. Every time I hear that track I end up rocking out as hard as I can in my room/car/library.
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Nov 19, 2008 18:17
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felipebacon posted:
Awesome sample of "You Don't Know Me" at the beginning. I think you could have done a little better on the transition though. If you didn't want any critique, I'm sorry. I just had to comment, I really like the track.
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Nov 20, 2008 07:23
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hammeredspace posted:You guys ever think this stuff will become passé?  Mash-up's are not new by any stretch of the imagination. Negativland has been making sound collages since the 70's, and dancey mash-ups started popping up in the mid 80's on college radio stations. Even the super heavy sampling glitch-pop Girl Talk-esqe stuff started about ten years ago with Soulwax's '2 Many DJs' shtick. Basically, Mash-Ups are not a new genre, and there will always be artists playing 2 or more songs simultaneously. It will always sounds cool. Worse comes to worst, it'll go underground and a bunch of nerds will keep playing it even if it sucks (see ska...)
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Nov 27, 2008 19:42
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Lowness 72 posted:What program do people use to make these mash-ups? Ableton Live is the name I hear thrown around the most. It is very versatile and has a really nice interface for organizing samples during live shows. I've only played around with the demos, so I have no clue how the recording process would go... Ableton is what both E-603 and Easter Egg use... along with Daft Punk and Justice and Nine Inch Nails, although the latter mostly use it for mixing/DJing purposes. As of October 8th 2008, Girl Talk uses Audio Mulch, which is a PC only program, so I have no clue what one would expect... Really you can use almost any software that allows you to see the sound waves of the track, as that's the easiest (and most tedious) way to snip out a short sample for looping. Audacity would be alright for just that. Again, I'm speaking from very little experience... just play around with some of those programs and see what you can get to work!
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Dec 2, 2008 05:44
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Beechbone posted:I've been in a pretty heated argument over the sample that is the beat starting at 1:37 on e-603s "Wanna Get Low", can anyone help me out? I swear it's a loop from "Time after time". No, I don't think it's Time After Time. That's used in 'Bumpin' Mandy' at about the 1:00 minute mark. Ask him on MySpace, he's usually pretty good about getting back to inquiring minds.
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Dec 4, 2008 06:12
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LowFatCannibal posted:Norwegian Recycling I'd beg to differ. A lot of people like that album, I can't stand it, and I don't know why. It might be due to the fact that I never played Donkey Kong Country... I'll take The Kleptone's Yoshimi Battles The Hip-Hop Robots over N.R's album any day.
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Dec 15, 2008 13:59
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Chewbakka posted:http://www.myspace.com/e603 Well, I'm glad we can agree on something, but this was posted on, like, the first page...
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Jan 28, 2009 18:23
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digging up this thread to say that E-603's sophomore album will be released on Friday. I'm shocked, it seemed like it was going to become the Chinese Democracy of mash-up albums, but low and behold, leaked tracks were put up on Hype Machine via this blog. It sounds like this album is going to be awesome.
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Jun 19, 2009 03:05
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I just can't get the opening track off of Torn Up out of my Head. Territorial Pissings + D12 is just loving raucous.
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Jun 19, 2009 22:59
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I'm really unimpressed with All About The Scrilions so far. It's more than okay to have repeat vox samples since there are only so many a capellas out there, but it's boring when you hear the same background samples as other artists. On 'From Honor Roll...' it would not have been hard to sample any other Ratatat song... So far the only thing that has really impressed me is the RHCPxRick Ross mash. Other than a few great flashes of brilliance, it's sloppy transitions between various A+B mashes. Meanwhile, Milkman is officially on my radar. Some of his songs are just pure bangers. He's a very technically proficient masher, and some of his samples are just awesome. Slip-ups are few and far between on his newest album.
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Jun 25, 2009 04:57
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teacup posted:Anyone have some Girl Talk/E603/Super Mash Bros. type schizophrenic mash ups but with a little less focus on rap? I'm really loving them but I get a little rapped out sometimes The problem here is that very few rock songs have easily accessible a capellas. If you're really jonesing, check out some older stuff like 2 Many DJ's or Evolutionary Control Committee. failing that, make you're own. No one has really tried doing a compositional sampling album sans rap samples in recent memory... get at it!
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Jun 25, 2009 06:41
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Echo_ posted:Listening to e-603 right now, not liking it as much as Girl Talk. I just remember listening to Night Ripper and Feed the Animals for the first time and having my mind blown several times at the mashups. if you like Feed The Animals more than Night Ripper, you might like E-603's Something For Everyone more than Torn Up...
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Jun 26, 2009 05:12
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PopetasticPerson posted:It's true that he basically hits play in itunes and dances around Try again. True, it's not as hard as straight vinyl DJ'ing, but it's harder than "pressing play". I know that my friend puts a lot of prep work before his shows, getting the samples he wants and organizing them in a reasonable way.
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Jun 29, 2009 04:25
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Aerobic Robot posted:listen to super mash bros, silly bitches B^J You're kidding, right? I'm really over Super Mash Bros. A lot of time they will make these really awesome mashes but fail to take them anywhere before abandoning it. I thought "@LaurenConrad Get Us On The Hills!" would be the song of the year when I heard the "In The Middle" sample, but it just fails to pan out positively. The Missy x Disturbed bit at the end sounds cool on it's own, but as a part of the whole song it feels so out of place that it significantly cheapens the effect. I feel like SMB has actually devolved from their 1st mix to their 2nd... if they really want to move in a positive direction they either need to practice making smother sounding transitions from one mash to the next, or be more like Hood Internet and make really well produced AxBxC songs. The line they are straddling right now irks me to no end...
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Oct 19, 2009 06:45
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incoherent posted:Nostalgic for 2009 yet? Despite the fact that pop has gotten better since Earworm started doing these, the mega-mashes get worse...
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Jan 10, 2010 23:52
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Lakitu7 posted:In contrast, I think 2009 is the best so far. While 2007 2008 and 2009 all sound good musically, 2009 is the only one that's forming actual new lyrics out of pieces of the vocals of the mixed songs, which is a drat neat trick. It makes it sound more like a new song and less like a mashup. I also think it has more variance through the track. Considering the vast amounts of music released in 2009, I wouldn't say that his material was terribly limited. Additionally, the whole 'making new lyrics out of existing lyrics' is kind of a 'new dog, old trick' sort of deal. Earworm has done really great work, and I'm disappointed that 2008 and 2009 came out so meh sounding.
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Jan 11, 2010 10:14
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Nam Taf posted:He's been really drat mainstream as a result of one of the youth radio stations here playing his stuff; there was several thousand in the crowd for an hour set. fixed that for you. Girl Talk can't be a top 40 artist because of his medium, but if copyright laws weren't as stiffiling as they are now, I think Feed The Animals would have been one of the best selling albums of 08... he's defiantly been part of mainstream culture since middle of 08.
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Jan 17, 2010 19:02
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I would like to draw attention to the mash-up artists known as Metaform: http://www.myspace.com/meta4m He is not a mash-up artist in the pop sense, like Girl Talk and E-603 and Milkman, but more along the lines of a hip-hop compositional sampler. The two closest comparisons I can find are DJ Shadow and The Avalanches. His best album, Standing on The Shoulders of Giants, sounds A LOT like Endtroducing, and he uses several well known jazz samples, including one featured prominently on DangerDOOM's well known song Basket Case. He's also tried his hand at compositional sampling stuff similar to Super Mash Bros, but I don't think he should switch over to pop-mashes quite yet...
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Feb 25, 2010 05:38
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buff goat man posted:Christ is cheap. Saw Girl Talk at WWU last Saturday and the whole show was a blur. An excellent blur. Has anyone mentioned E-603 or Super Mash Bros yet? both have been heavily promoted in this thread. Check E-603 live if you can, poo poo owns.
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Mar 5, 2010 01:35
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Haters gonna hate but Unstoppable is a great glitch album...
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May 3, 2010 00:22
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Where do you live / who created a clean version of Feed The Animals? Additionally, 'poo poo, nigga'...
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May 7, 2010 04:09
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teacup posted:Can you even buy Ludachrist/Girl Talk/Milkman/etc stuff on itunes/retail in the states? I never see them here. many of them sneak around the laws by doing a radiohead-esque "pay what you want" system, which is a legal gray area in the sense that there hasn't been a test case involving any of those artists. Girl Talk had night ripper in a few retail chains for a hot second, but they all took it off the shelf after one of the big three labels threatened to sue. It's presumed that most of the labels don't approach the heavy sample artists with lawsuits because they have a pretty solid defense in the fair use act, but based on recent federal rulings, it's difficult to say how well mash-up artists would fair against serious litigation.
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Sep 28, 2010 00:25
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icicle bob posted:I bought Night Ripper at the JB Hifi near my house just the other week. They had one copy of it, one copy of Unstoppable and one of Secret Diary. I keep going back to see if a copy of Feed the Animals has come in, but I'm not confident it will. Feed The Animals was not mass-produced, since it was "pay what you want". You can get a CD if you "Donate" at least 10 dollars on the Feed The Animals website. Interestingly enough, you can buy Feed The Animals on the Amazon MP3 store, but not on iTunes. BTW, I'm not really sure how Australian Copyright law would deal with Girl Talk. Fair dealing is a very rigid doctrine, but one could make the argument that the way Girl Talk uses sampled material qualifies as either parody or satire.
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Sep 28, 2010 02:09
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teacup posted:I mean this argument is like oh you can use so and sos cover of that song for free, after all IT'S NOT YOUR SONG Actually, there is a very rigid legal framework surrounding how cover songs are licensed and distributed. Unlike samples, covers only require a statutory mechanical royalty rate to be paid, which is determined by how many minutes of cover tunes you plan on having on a cd and how many copies of the cd you plan on producing. Meanwhile, samples require a Master Use Rights Agreement, which is the same agreement made when a song is played on a movie, TV show, advertisement, etc. These are exponentially more expensive, cannot be obtained through a licensing agent (The Harry Fox Agency, for instance) and instead must be obtained from the artist/label themselves. Most record labels are not going to renegotiate the Master Use Right to be more affordable for a musician simply because he or she is only using 5 seconds and it will be unrecognizable under the 4 other samples he or she will be using. It's absurd that no one has tried to change the law the better fit modern modes of musical composition... baberaham lincoln fucked around with this message at 02:37 on Sep 28, 2010 |
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Sep 28, 2010 02:29
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Tony Jowns posted:It's very easy to find any of Girl Talk's albums in any reasonably-sized Australian music store, major chain or independent. Again, I don't know too much about Australian Copyright law or the Australian legal system, for that matter. I know that Fair Dealing is in no way equivalent with Fair Use, and that in 2006 Australia overhauled its copyright law to better lineup with the U.S'. The original pressing of Night Ripper was halted because the CD manufacturer claimed that the album constituted infringement, and I remember reading somewhere that the album was removed from Best Buy's (or maybe another major U.S retailer) shelves because they were afraid of legal action being taken against them (aiding and abetting racketeering???). I haven't looked for music at any of the major U.S media dealers (Best Buy, F.Y.E, Boarders, etc) in a long time, but I'm going to guess that you still won't find Girl Talk being stocked. baberaham lincoln fucked around with this message at 02:49 on Sep 28, 2010 |
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Sep 28, 2010 02:47
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JustLikeMe posted:Someone recently asked Girl Talk about his next album via twitter and apparently its almost done and will be out by the end of the year. I feel like he also mentioned that he was trying to move away from mashed-up samples, but I could be confusing that with some of the things E-603 has said over the years...
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Oct 12, 2010 18:43
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The first two tracks are just downers. Then he tries to bring it back to form by using "weird" samples like Fungazi, Radiohead, and The Ramones but it just sounds hyper ironic and contrived. He doesn't really hit stride until This Is The Remix, and by then it becomes all samples I've heard before from either his bootlegs or other artists' releases (I just saw E-603 on Saturday and heard a lot of these samples used in a similar fashion). I think the best moments come toward the end when he begins to re-embrace the glitchy playfulness that made Night Ripper so great. The bit where he plays with Basement Jaxx in Make Me Wanna is amazing. I also really like the Arcade Fire/Birdman mash on that track. I can appreciate what Girl Talk has done for mash-ups, in the sense that he has taken what was once a very avant-garde satirical form of art and turned it into a very accessible and poppy form of dance music. However, I think that in making his music more "accessible", he has started to loose interest in the medium as a whole. There is nothing worth noting (in the 'grand-scheme' sense) in this release aside from a few sweet beats here and there. Even though its tough to listen to Greg's pre-Night Ripper releases, they manage to hold a compelling passion in their glitchy-ness that is not present in this release. What made Night Ripper (GT's best imo) such a noteworthy release (aside from the fact that it got Pitchfork's BNM) was that it combined the artistic glitch present in KLF, ECC, Negativeland with the hyper-active DJ sets (Bastard-pop) released by 2ManyDJs, Z-Trip, Dangermouse, etc. Since Night Ripper, GT has slowly moved too far towards the generic Bastard-pop end of the mash-up spectrum, and now that there are artists like Milkman, E-603, and Ludachrist fighting for real estate in that sector of the public sphere, you can't merely throw out something like All Day and expect it to not be boring.
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Nov 15, 2010 23:17
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Geno posted:i'll admit, i'm impressed with your review. how do you know so much about music/mashups? I can't determine how sincere / sarcastic you're being. I've written a couple of papers on remix / mash-up culture (Larry Lessig, Henry 'JenkDawg' Jenkins, Rebecca Tushnet, etc), but mostly I just read Wikipedia a lot and don't kiss girls. My senior thesis is part legal theory and part lit crit as applied to mash-ups.
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Nov 15, 2010 23:55
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Gaspar Lewis posted:Baberaham you are so loving on point across the board it's not even funny. Let's be slightly better acquaintance-bros for the foreseeable future. Thanks dude. I'm not sure how lit critty any of my senior thesis will be, but I am intrigued by that. Have you ever seen any of Burrow's 'Cutups'? He was essentially doing what you're describing, but with famous books instead of music in the public domain (actually, I'm not sure if all of 24 Hours was in the public domain, but I'm pretty sure that most of Since I Left You is. Also, Aus copyright law is wonky and I don't understand it, so maybe they have a more all-encompassing public domain).
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Nov 16, 2010 08:40
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The Modern Leper posted:Oh, shut up. Just because something is crafted primarily to be fun doesn't eliminate its value as "art." It's just as hard to craft a piece of purely "pop" art as it is to craft some groundbreaking work -- maybe even slightly more so, because you don't get the points for the effort or ambition Right, well I'm glad that we're taking the time to put intention into Greg Gillis' mouth for him. The fact that he described All Day as, "[being] ... more dynamic and expressing more patience and being more detailed than before" and "... something that's really, really complicated and has material that jumps around as far as possible in genre and style...", as well as "...[hoping] it can be headphone music..." suggests to me that Gillis wasn't shooting for something that is "crafted primarily to be fun" (source: http://pitchfork.com/news/40515-girl-talk-dishes-on-new-lp/). If Gillis wants Girl Talk to play art, as he did with the first 3 GT albums (and I mean the real first three albums because I am a real person who doesn't ignore whole chunks of an artist's catalog just because I don't like it), than both he and his work have to be able to withstand artistic criticism. Like Gaspar said, if you want to listen to mash-ups simply because they're fun, you're free to do so. No one is going to stop you, and while I think (or, mayhaps, some of the posters in this thread might think) that you'll be missing out on one of the more interesting aspects of mash-ups and bootlegs, you will undoubtedly still be able to enjoy All Day while hanging out with friends or going for a jog. But your idea that Gaspar is somehow morally objectionable for voicing an artistic critique of a work, whose own author intended it to be received "as art", is way more silencing and pretentious than his own response (which, for the record, I found to be very sane and rational and essentially on target. I probably wouldn't have been so hard in admonishing fans of the album, but you also have to remember that this is a board on a humor website and who gives a poo poo).
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Dec 5, 2010 05:01
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Also, I don't think anyone has mentioned Wise Blood yet. It's a nice refreshing take on mash-ups, perhaps a mash-up artist for the "chillwave" bedroom pop era. Dude self-identaifes at With House, but it doesn't have the dark quality that witch house does. I'm still waiting for someone to do a super dark and heavy mash-up project. I guess No Virgins remix of 'I'm Da poo poo' is what I'll have to settle for. Anyways, Wise Blood's 5-song EP is available for free on Wise Blood's band-camp: http://hazemotes.bandcamp.com/
baberaham lincoln fucked around with this message at 05:11 on Dec 5, 2010 |
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Dec 5, 2010 05:08
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icicle bob posted:I don't think fair use is even stipulated in copyright law here. Copyright laws may even be a bit stricter. Fair use is not, but fair dealing is. From what I can gather on wikipedia, there is a major difference between the copyright protecting a "musical work" (a section III work) and the sound recording of a musical work (a section IV work). So, while you can't copy an album verbatim and market it as your own, you can use clips of a sound recording to create a new song, which would not receive extensive copyright protection, but would be protected from infringement claims. There is also no way to stop any work from being displayed in public, which makes me think that if a mash-up was played on a public station, the copyright holder could do nothing to stop it from being played. Again, I have never read ANY of the legislation or significant litigation, just summaries and wikipedia articles, so I'm still as in the dark as you are.
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Dec 23, 2010 03:29
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het posted:That seems sort of unlikely and it's more an issue of if someone is making money off of piracy it is a much bigger concern for copyright holders than if they are giving it away (particularly if they're giving it away in a very restricted fashion). I think that its more of a "if we don't charge $$$ for it, we have a much better shot at winning in court on a fair use defense". Labels are out to get paid, not to protect their intellectual property in regardless of the cost to their business. The reason Girl Talk hasn't been sued isn't because he is under the majors radar, its because he is around 75% likely to win at the SCOUS level. Thus, the likelihood of anyone, especially SA, getting in trouble for distributing a mash-up that was free to begin with is almost nil.
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Dec 30, 2010 06:56
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