The avant garde electronic artist wanted to create a work using snippets of pop’s biggest hits. But when songwriters didn’t play ball he simply pretended to be them
The plan was simple enough. For his 14th record, Oneohtrix Point Never, mercurial producer behind countless works of bizarro electronica, would train his magpie gaze on to the world of pop. He had meant the album Garden Of Delete to be his definitive, arch commentary on mainstream music, its songs based on cheap scraps bought from industry songwriters. He was aiming high, to build his music around saccharine snippets dropped from Taylor Swift records, or the Bieber hooks that had remained unsung, and then filter it through echoing synthesizers and discombobulating rhythms. “I’d see if they’d give me their cold-cut ends, their dollar-fifty-a-pound bullshit,” he crackles over Skype from New York. The plan was simple but the plan didn’t work.
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Continue reading...by Ian McQuaid via Electronic music | The Guardian
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