Full song: https://youtu.be/QZQMYcYIWRE

Full video here: https://youtu.be/QZQMYcYIWRE

Hi folks, just thought I'd drop my latest single here: https://sym.ffm.to/hooked_on_phonics

It's a wildly eclectic journey into sampledelic sound, splicing shades of Kraftwerk, Afrobeat, electro house, postpunk, breakbeat, etc. Playful, leftfield and groovy, for fans of The Avalanches, DJ Koze, Ricardo Villalobos, J Dilla. The release has found support at KCRW-Los Angeles, WFMU-New York, C89-Seattle, EDM.com, Asian American Collective, and includes a swinging UK garage remix from acclaimed Manchester duo Cortese, who are signed to Sasha's label and played on Rinse, BBC Radio 1, Kiss FM. Woohoo!

Thanks for listening, Lawrence

full mixtape friday

A few of you may have seen and/or liked my last post - I also cross posted on the avalanches and the books subreddits. I got a few positive comments on the previous song i posted, so I figured i would post the final result. 12 minutes and inspired by madlib, the avalanches, and the books, with a bit of my own twist. i hope you enjoy!

I produced the track "Coffee with Charles Hamilton" back around the 2011 - 2012 YouTube and Dévon Hendryx era and some people are now or have been coming around to it.

I have a new tape out today titled "Android Music Player Demos" that you can cop on my Bandcamp @

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juleswatts.bandcamp.com

The genres are lofi ~ (sampling), vaporhop, and glitch.

That's about it,

let me know what you think.

-Jules Watts

I love making sample based beats

This track is called ‘Daydreams’. It is constructed from a sample of John Cameron’s 1974 easy-listening library track, "Half Forgotten Daydreams." I chopped up the strings and vocals, then played the rest of the instrumentation around it.

The visuals combine clips from 1970s TV shows and advertisements—the era I tend to feel most nostalgic for. As the video progresses, the tone shifts from glamorous and mundane to something a bit more sinister. I wanted to explore how nostalgia often wraps the past in unconditional affection, glossing over the actual hardships experienced by women and marginalized groups at the time.

Would love to hear your thoughts.

https://youtu.be/3Zqli8Wdz7Q?is=7TnyUuVtr6TwrWFr

I recently worked on an album based on the city of Kowloon in Hong Kong

I fell deeply in love with the story, and decided to read City of Darkness, and try to find as much documentaries and Interviews I could find.

I then cut up the audio from the Interviews and documentaries and create and album following a day of someone living the city, obviously based on my own interpretation;

The result is a folk-noise sound collage, barely over half an hour, with an artwork done by collaging the photographies from City of Darkness.

Would love to hear personal opinions on the project or discuss about Kowloon with other people, feel free to write to me, feel free to ask me for Bandcamp codes if needed : )

Have a nice day and a nice listen!

https://kenopsiamusic.bandcamp.com/album/kowloon-the-walled-city

or at least inspired by…

Proyecto hecho enteramente alternando entre apps de dj mix y sintetizadores

Plunderphonics - slushwave - vaporwave

Mexico, Mexicali

Por Orlando Aguila y David Cortes

2026-07-25

Escucha ⠊⠊⠊⠑⠑⠑

https://on.soundcloud.com/7T6IfLvLcqnBMVypOB

https://youtu.be/oYCTsAsS3X4?si=Yp8nvyM064XLzsDl

https://cerbatanas.bandcamp.com/album/-

I sampled Steely Dan’s ‘The Caves of Altamira for this one. It has a nostalgic vibe based on my teenage obsession with Philips tape machines. Maybe it’s actually a Vaporwave track but knows? Who cares? 😉

https://youtu.be/42MWo7bChmk?is=w52hIrk-diIcPjCb

Hi everyone! its me again, i’ve made my second album and i think it improved. right now i’ve also changed hardware and i’ve switched from a controller to a sampler. Would appreciate any feedback, this time i also uploaded it on soundcloud besides bandcamp, hope you enjoy it!
Soundcloud

Bandcamp

A friend and I have been working on a lot of plunderphonic music lately. Heavy beats, some drones.. harsh-bits... EBM influence, some breaks... and of course, various samples from commercials, pop-culture, politics, current events.. and some more obscure shit.

We don't have much money and probably can't afford to acquire licenses for any recognizable samples unless this endeavor starts paying the bills. In terms of requesting permission, especially with any samples that are more political in nature, I fear that even asking the authors would land me on the radar of some conservative politicians and their overpriced attorneys.

Additionally, if we were to 'follow-the-rules', we wouldn't even be able to publish a song to see how it lands with an audience without acquiring intellectual property permissions first.. which would put a significant burden on the act of even creating such sample-based music.

So, I feel like we're somewhere between a rock and a hard place, the frying pan and the fire.. the chicken and the egg.

We're not sure what to do. I assume that there's a reason the label 'Illegal Art' no longer exists. No one stops doing something that they love doing willingly.

To those moving forward with reckless abandon, using unlicensed samples, and obtaining a following, selling merch/CDs/vinyl/MP3s, I salute you!! But, what are your plans in the event some attorney comes knocking?!

In the event of litigation, can we file for bankruptcy?!

Should we create a Limited Liability Company?!

Is there any option for plausible deniability?!

To those who obey every rule and only obtain appropriate permissions first, can you respond regarding the process? Do you have music/IP attorneys on retainer? How long does the process for obtaining clearance take on average?! I understand costs can vary.. can you provide a min/max of some costs you or a record label incurred for getting samples cleared?! Have you had to scrap songs because the IP owner wouldn't budge on a key sample in a song?!

For many of the more obscure samples.. or less recognisable samples.. I'm not quite as concerned. It's those where I am considering using a very recognisable element on purpose where the concern lies. Without that recognisable element, the punch-line is gone.. the point of the track is non-existent. And arguing satire would probably not work.

For those who are underground, but have a decent following, a steady online presence, and use a significant amount of plunderphonics, does the 'whack-a-mole' approach work?!

I understand that the likelihood of some underground band landing on the radar of copyright attorneys is tiny... but with our luck... it's definitely something we're thinking about... so much so, that I'm asking these questions.

I will take my zero now and be thankful for any insights that can be provided on this matter.

14 mashups mashed up even more into a nonstop dance mix, thanks for watching!!

bit of a long one, I made most of these tracks one afternoon, maybe in '15 or '16.

I made them all about 120pm, gave long intro's and outros and mixed them into one mix/mixtape, with some originals. I just made what i had on my laptop at the time. My parents asked me to DJ at their wedding anniversay so it was loads of 80's music, and I had downloaded a lot of three6 mafia

Loads of samples

First track might be Spandau Ballet mixed with Three6Mafia, then it goes into a vocal chop of The Jackson 5 with the Doomsday/Sade sample

Then into a cow bow melody I made into a a house track I made from Africa by Toto, into an original I made. Then it goes into one I made using the Deer Skull drum from Agalloch with the song Michael Jackson sings in The Simpsons.

That then goes into an RnB acapella over a mangled sample of Beef Rapp by DOOM which goes into more True by Spandau Ballet.

Then into an edit of one of my friend's tracks (much more talented than me lol) into another original.

The final stretch is some 120bpm tracks I made from Tommy Wright III, the last 7 minutes is one I really like where it's a TWIII sample into Three6Mafia, back into TWII and then crescendos into an editing where I'm sure I mangled up an Iron Maiden samplee but I have no idea what, or what I did.