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Christian Marclay. Records 1981 - 1989. 1997 Christian Marclay – Records 1981–1989 (Atavistic, 1997) Does music gain added value from the techniques used and the way it has been created, or would it seem just as good or bad if we did not have the slightest idea about the origin of the sounds? Even if, in the case of Christian Marclay (born 1955), it is somewhat hard to divine the merest hint about the origin of all those crackles, crunches and fragments of worn records which have been dispassionately cut up and otherwise distorted. Bent, deformed, and fused together, laid out all over the floor, broken, cut up and put back together vinyl records became the main components of Marclay’s art works, performances and music recordings in the 1980s. With perseverance which, it seems, borders on obsession, he has tried out just about all the possible combinations of using this medium of recorded music that was so common only 30 years ago.

Marclay is often mentioned as a significant sound artist who has fused the boundaries of music and art worlds, both exhibiting his works at art galleries and performing as a musician. Many of his early works resemble light-hearted games with the material, trying to use it in as many different combinations as possible – covering the gallery floor with vinyl records (Footsteps, 1989), making people literally “play” the records by brandishing and bending them (Record Players, 1984), releasing a record without a protecting sleeve, which inevitably makes the record get scuffed sooner (Record Without a Cover, 1985), as well as creating numerous vinyl collages by gluing together fragments of several different records (Recycled Records, 1980–1986). This release contains the most interesting pieces of the artist which have (of course) been created by numerous manipulations of vinyl records, and recorded at a time when hip hop subculture began to develop and spread, but there are only few works where Marley sounds like a DJ. More often his squad of turntable players seems to act as a new type of instrument, where scratching is only one of its possible functions. The hearing organs are attacked by a multi-layered, at times cacophonous avalanche of most diverse musical fragments and sound loops.

For an unprepared listener the first introduction to this record could also be the last: oftentimes the unrhythmic, hysterical overabundance of noises demands thorough concentration, although the over fifty minutes long compilation contains rather diverse works – from the shrill chaos of endless loops to rhythmic collages of music and speech recordings. Nonetheless, in the last decade the artist has turned to other materials and means of expression. The video work Guitar Drag (2000) shows an electric guitar which is attached to a car by rope and pulled along the middle of a field, and we hear the sounds created in this process – a raw noise created by the instrument which fuses with the scraping of the body of the guitar against the ground. In Paris a few years ago there was a retrospective exhibition of Marclay’s works, where significant prominence was given to video works, for example Telephone, which is a montage of classic telephone call scenes from films. One of his most successful works is the ironic four-channel video installation Crossfire (2007), a series of the raciest shooting scenes from American ac¬tion films shown in sequence, one after another.

The shooting action takes place from all directions – Stallone is shooting at Van Damme, Schwarzenegger is shooting at Norris, and all of them are shooting at the viewer, creating an impressive rhythmical collage. Marclay’s maniacal tendency to recycle all kinds of musical and film artefacts appeared in a new light in this exhibition, although his most well known weapon will probably always remain the glued-together vinyl record. The album can be purchased on the website. Yasunao Tone. Solo for Wounded CD. 1997 Yasunao Tone – Solo For Wounded CD (Tzadik, 1997) Yasunao Tone (born 1935) is one of the founders of the Fluxus movement in Japan, who has worked together with Yoko Ono as well as John Cage.

After moving to the United States he turned to various methods of transforming text into sounds in his works. Solo for Wounded CD is considered to be the best-known work of the artist.