|#||Название релиза||Информация об aльбоме||Купить альбом в iTunes||Год издания||Лейбл|
|1||Plunderphonic 8||audio||iTunes||1994||Blast First|
|2||Plunderphonic 25||audio||iTunes||1989||Mystery Tape Laboratory|
|4||Plunderphonic 11||audio||iTunes||Mystery Tape Laboratory|
|5||Plunderphonics 4||audio||iTunes||1988||Mystery Tape Laboratory|
|7||Plunderphonic 25||audio||iTunes||Not On Label (John Oswald Self-Released)|
In Toronto (Ontario), John Oswald is director of research at "Mystery Laboratory" co-ordinating the creation of recordings for the “plunderphonics” project. Oswald declared during an interwiew in 1994: "The definition I'd set up for plunderphonic was music that was recognisable in some way, and the transformation of that music. I think the most successful examples use music that is the most recognisable. It's more delightful to me to have these pop figures, and by pop I also include Beethoven, as the working materials. There are things that work as plunderphonics for me, I've got a tape based on Edgard Varese's Poeme Electronique, and had the same sort of experience of having changed round something that's very familiar to me, and there are examples on plunderphonic of stuff like that: Anton Webern, and Ligeti, and Cecil Taylor, and Captain Beefheart. But the ones that were most interesting to me were things like Bing Crosby, where you'd play it for somebody who had no great knowledge of all sorts of other things that were happening in the twentieth century outside of the pop mainstream, they'd have some sort of reaction based on that thing that's recognisable within it. The thing that's very nice in a way is that I think there is a bridge between things that are often ghettoised as being extreme twentieth-century avant garde techniques and pop music. The two things can coexist."