DJ Shadow’s 1996 Endtroducing was the first album produced entirely from samples, and, as such, is considered not only a landmark of instrumental hip-hop, but also one of the greatest albums of all time.
What do you think makes it great? How does an album made up entirely of samples advance musical creativity and innovation?
The philosophy behind Endtroducing is not a new one, and it wasn’t new in 1996. The idea of a production made up of a collection of found music (such as “library music”) — with the result being a sound compilation that’s somehow greater than the sum of its parts — has its roots in deconstructionalism, a branch of twentieth-century philosophy made famous by French historian Jacques Derrida (1930-2004, below). In a nutshell, deconstructionalism, a twentieth-century derivation of Marxist philosophy, holds that all texts, all received history, and all experience are essentially unstable, and that truth itself is a construct.
What does this mean for music?
In our culture — Remix Culture — it can be said to mean, among other things, that there is no such thing as innate creativity, or as personal ownership of creative property. Deconstructionalism is the philosophy that makes an album of samples possible.
In his 1993 book Spectres of Marx, Derrida introduced the concept of “hauntology,” which he explained thus:
To haunt does not mean to be present, and it is necessary to introduce haunting into the very construction of a concept. Of every concept, beginning with the concepts of being and time. That is what we would be calling here a hauntology. Ontology [i.e. the study of the nature of being] opposes it only in a movement of exorcism. Ontology is a conjuration. . . . Everything begins before it begins.
How can we understand this notion when we interrogate the processes of music production and sound engineering? As a producer/engineer, do you have a sense of the materials of your craft being specters/ghosts? Are you remixing or creating original work? When you remix, are you adding, taking away, or transforming the meaning of the samples you use?
And, to take it a step further: what is the meaning of the samples that you use? What is their value as historical and cultural artifacts? Are you disrupting their meaning as cultural artifacts? Are you creating new cultural artifacts?
Hauntology has also had a direct influence on music genres including dubstep, trip-hop, ambient, and hypnagogic pop. Check out these playlists:
And the irony is that decades before DJ Shadow dropped Endtroducing, the French composer Pierre Schaeffer (below, center), known as the “Godfather of Sampling,” was experimenting with looping and remixing concrete sounds in what would become known as mystique concrete.
As Jonathan Patrick notes:
Schaeffer, who was an outspoken anti-nuclear activist, once asked, “Why should a civilization which so misuses its power have, or deserve, a normal music?” By rethinking the foundations of music-making, he produced an art form that was anything but normal — a music that aimed to merge art with science, composition with engineering. His ideas turned conventional music theory on its head. Traditionally, composition moved from the abstract to the concrete — from concept and written notes to actual sounds. Schaeffer’s approach reversed the process, beginning instead with fragments of sound—field recordings of both natural and mechanical origin—which were then manipulated using studio techniques.
One of the more profound consequences of Schaeffer’s inversion of the compositional process was that composers would no longer be bound to written scores and notation. Their music could exist solely as recordings, without need for players or instruments to actualize them.
Pierre Schaefer’s pioneering work in sampling took place in the context of a post-World War II resistance to “art music,” which had traditionally been dominated by German and Austrian musical forms. It was anti-elitist, and sought to distribute the means of creation democratically to anyone who perceived sound as music and had the rudimentary tools to mix and remix it. In short, everyone was now a musician/composer/genius.
How has culture changed since the era of the Lomaxes, the “Blues Mafia,” and the early days of turntabling? How has listening changed? Have the changes been good or bad for the idea of Great Black Music (GBM)? What has been lost? As Christopher Pierznik says, “There was intangible value in the tangible.
And then, there’s mallwave, a subgenre of vaporwave for people too young to have experienced suburban mall culture. How much of nostalgia is a longing for a time and place we’ve never been? How much of nostalgia is a longing for “authenticity”?
For a comprehensive history of re-mixing, see Dr. Alice Jones’s excellent blog.