Jeremy Young - Dizzy, Congested Musick (2018)

Back when I started making this material, it was totally a "what if?" kind of project based around this idea of psychoacoustically messing with the listener's sense of time flow, primarily by layering slowed down, sped up, and hand-manipulated vinyl samples in real time. It had no real intent or form—these were improvisations responding to nothing. But as I started eventually coming back to this material in between other projects and cutting it up, collaging the source material into the cluttered spaces of my sound world and joining them with my usual arsenal of '60s oscillators, found tapes, electromagnetic fields, and fuck'd guitar, the whole thing actually started to sound like a new chapter in my oeuvre.

As a practitioner of musique concrète, I have always aimed to construct functional spaces where musical composition or improvisation interacts with and operates alongside the sounds of the audio media it is recorded onto. In my last release, "The Poetics of Time-Space," I picked through hundreds of hours of historical ethnomusicological recordings to find moments where the tape, the needle, the cylinder, the microphone, the connection, the dust, the static, the signal jam, can be audibly heard, and built music in collage around these sounds. Here, I turn my sights to the commercial vinyl recordings themselves, improvising with records by manipulating the speed and the turntable belts in real time, but unlike Marclay, Chavez or Yoshihide, I wanted to take a longer form approach, more disorienting and slower, and less rhythmic or fragmented. I call it "slow plunderphonics," as the samples are often several minutes long and warped beyond recognition. From there, new music finds a way to dialogue with the dizzy sonic landscape.