Fabio aka DJ Failure is a former celluloid manipulator, and current vinyl slinger @earwaxrecords and dj at @wfmu radio, with influences such as The Velvet Underground, Joy Division, Bryan Ferry, Brian Eno, William Basinski, and Anna von Hausswolff.
Learn more about DJ Failure and his music by listening to his show on WFMU.
On August 2nd, 2025, at Electric Eclectics, John Oswald—legendary Canadian composer and the mind behind “Plunderphonics”— will present the Plunderphonic Coveralls band, with musicians Rob Clutton, John Gzowski, Jean Martin, Gordon Monahan and special guests accompanying a sampling of the most iconic singers ever recorded: a live, irreverent deconstruction of familiar sounds and musical history. For those who follow experimental music in Canada, John Oswald and the Plunderphonic Coveralls performing at this festival is more than a concert; it’s a living chapter in the ongoing story of how we listen, borrow, and invent.
John Oswald defines plunderphonics as “the act of taking familiar music and altering it into something new.” He first came up with the term in 1985.
“The genre, plunderphonics, by definition encompasses electroquotative sampling, remixes, mashups and other derivative techniques” as expressed on the Plunderphonics YouTube channel. Before that, one of his first plunderphonic projects was BURROWS (1974-75). You can explore more of his work, and his official record company for Plunderphonics, Mystery Tapes, and other audible ventures, at Fony Records. For videos, check out the official Plunderphonics YouTube channel. Oswald also has a unique site, 6Q.com, and a visual projects site, Observia.
Questions of permission linger over Oswald’s work, which is never about hiding sources, but about making them visible. As David Gans wrote in Wired, “On John Oswald’s Plunderphonic CD, Dolly Parton’s voice slows to that of an operatic tenor – aural sex change, the artist calls it. The bombast of Beethoven’s Seventh blares like a bronco in the chute, Count Basie’s ‘Corner Pocket’ twists in a kaleidoscope of sound, fragments of James Brown’s voice slip from Public Enemy recordings. And in the pièce de résistance, Michael Jackson squeaks out a version of ‘Bad’ like a kid on nitrous.” (Wired, Feb 1, 1995)
Oswald never set out to profit from the inspiration of others. The Plunderphonic CD was distributed free of charge to radio stations, libraries, musicians, and critics, never for sale. Yet, the industry’s response was swift: legal threats, the destruction of remaining copies, and a settlement that required Oswald to hand over his master tapes to be crushed. As Gans puts it, these were “analog attorneys, apparently: no one on the complainant side of the equation seems to know that, for all practical purposes, every copy still in circulation is an exact copy of the ‘master tape.’”
Oswald himself reflected, “I started off as a listener, but like most kids, I had a short attention span. I couldn’t comprehend the structural pretenses of classical music: in the sonata form, the exposition and development would stretch on for several minutes, and by the time the recapitulation arrived, I would have capitulated.” (Wired, Feb 1, 1995) Over time, Oswald made himself into an “active” listener, playing records at different speeds, manipulating and dissecting existing sounds. He said, “I’d play 33-1/3 rpm LPs of classical music at 78 rpm, and – lo and behold – the structure would come into focus in an aural version of an overview.” (Wired, Feb 1, 1995)
Oswald scrupulously credits the creators of all the material used in his plunderphonic releases. In 1989, Oswald collected his experiments and pressed a thousand copies of the Plunderphonic CD, which he distributed free of charge. He then asked the musical question, How can we be sure the “original” artist, whose wishes are sacrosanct, did not derive anything from any other source? According to Oswald’s reading of US and Canadian copyright law, and some lawyers’ interpretations, Oswald had thought that by not selling Plunderphonic works, he was legally in the clear. “I was fairly confident that what I was doing was not breaking the law, but I got a threatening letter from some record-industry lawyers saying that they considered what I was doing illegal,” Oswald recalls.
John Oswald challenges how we listen to music. David Toop, on the inner sleeve of the Plunderphonic EP, notes the lack (until very recently) of fossilized sound for study by audio archaeologists. He also asks some of the questions about ownership of sound that John Oswald has brought to the foreground. Toop concludes, “When you buy music, you get ‘the privilege of ignoring the artist’s intentions. You can take two copies of the same record, run through them with an electric drill, warp them on the stove, fill the grooves with fine sand and play them off-center and out of phase half-speed on twin turntables through a Fender Vibro Champ amplifier with the vibrato on maximum and the volume on 11.'”
As Gans writes, “By freely appropriating sound from the vast sea of information that surrounds us, and by taking pains to acknowledge that he is doing so, John Oswald is making explicit what is often ignored or obscured in the highly derivative world of mass-marketed culture.” (Wired, Feb 1, 1995) Gans continues, “The music industry traffics heavily in familiarity but values what it considers uniqueness: it’s the nature of the game, if you’re a recording artist, to come up with something that sounds enough like everything else to get the attention of a record company or radio programmer but is just different enough to be copyrighted.” (Wired, Feb 1, 1995)
David Gans sums up his argument by saying that “Everything old gets to be new again and again, as the Stray Cats, Harry Connick Jr., and any number of kids with granny glasses and Rickenbackers have demonstrated over and over and over.” (Wired, Feb 1, 1995)
That same year, Elektra Records hired him to work his twisted magic on a few of the company’s greatest records, as an adjunct to the label’s 40th anniversary collection, Rubiyat, which featured covers of classic Elektra cuts by current Elektra acts, which is another form of plunder.
His subversive CD was a roaring success. It forced important legal and moral issues into the public discourse, and it made Oswald’s reputation. The Kronos Quartet commissioned Oswald to create a piece for its 1993 album Short Stories. Oswald spent a day in the studio with the musicians, collecting a vocabulary of expressions. A piece of the avant-garde, Fellow Kronos composer and producer John Zorn commissioned Oswald to create Plexure for his Avant label.
John Oswald’s Plunderphonic CD was shortlisted for the Polaris Music Heritage Prize (September 2016).
By freely appropriating sound and taking pains to acknowledge that he is doing so, John Oswald makes explicit what is often ignored in mass-marketed culture. He and the Plunderphonic Coveralls invite us all to listen differently, to hear the familiar as strange, and the strange as familiar. In this highly anticipated performance, listening becomes a form of composition, and the boundaries between artist, listener, and source dissolve into the music itself.
If you find yourself in Meaford this August, you’ll have the chance to experience John Oswald and The Plunderphonic Coveralls in person—a rare opportunity to participate in this genre live with its creator, and perhaps ask yourself, as so many have before: “Did he have permission to do this?” And does it really matter?
Explore recent John Oswald work by viewing reFUSE – a musical movie in progress.
“The King of Plunder“, by Carl Wilson, July 15, 2009.
WIRED, The Man Who Stole Michael Jackson’s Face, by David Gans, February 1, 1995.
Plunderphonics Greyfolded on Vinyl (YouTube) ‘trailer’ for the 3LP triple gatefold vinyl version of John Oswald and the Grateful Dead’s album Grayfolded (‘the ultimate Dark Star’) released on Important Records on May 27th 2014. (Currently out of print).
It is also available in 2-CD and digital audio file forms on the Plunderphonics Bandcamp site.
Andrew James Paterson’s work engages in a playful questioning of language, philosophy, community and capitalism. His works integrates a wide range of disciplines, including video, performance, writing, film and music.
Now a senior artist, Paterson has contributed to artist-run discourse for nearly four decades. Andrew has served on the boards of Trinity Square Video, A Space, and YYZ Artists’ Outlet. He has curated media-arts and other programmes for these organizations as well as Cinematheque Ontario, Mercer Union, Images Festival, Pleasure Dome, and Available Light in Ottawa.
Additionally, James has edited and co-edited books for YYZ’s publishing program; and contributed to anthologies published by Gallery TPW and to periodicals such as FILE, IMPULSE, FUSE< and Borderlines.
Between 2011 and 2017, he worked as coordinator for the8fest small-gauge film festival. His media-arts works have shown locally, nationally, and internationally over three and a half decades – in Seoul, Bangalore, Montreal, Buenos Aires, Amsterdam, Paris, New York City, and many other centres. Paterson’s artist’s book Collection Correction was published in 2016 by Kunstverein Toronto and Mousse of Milan. His novelette Not Joy Division was published by IMPULSE B in Toronto in early 2018.
In 2019, Paterson received a Governor General’s Award for his work in Visual and Media Arts. We are so excited to present Andrew in our 2025 Electric Eclectics Lineup!
Learn more at Andrew James Paterson’s website.
