Remixing pain and the Terminator

Two very talented media makers have new(ish) audio collage projects out. Both amazed us in concept and execution. And both reminded us of the potential within a sonic sliver of time.

First, here’s  “Skynet Symphonic” by Pogo.

It’s way more than just a movie mash-up. All the sounds are slices of the soundtrack from the film.

“Each section is composed entirely of sounds from a major scene in the film. For example, the Terminator pounding on the fire escape door is used as a kick drum. Bones breaking play the role of a snare. Electrical disturbance acts as a crash cymbal.” – Pogo’s You Tube channel.

Makes you want to train your ears a little more precisely right?

Well another project inadvertently reveals how this kind of remixing works. Ze Frank’s Pain Pack is a disarmingly ingenious idea. Ze Frank asked people to leave a voice mail message describing their emotional pain. Then he sent those voice mails to DJs who broke the cathartic voices into beats and sounds to re-mix.

One DJ wrote:

“I didn’t expect it to be as emotionally exhausting as it was. I felt a responsibility to do each person’s pain justice by making something crazy cool out of it…”

Listen to some of the messages, see the full process (which is half the fun of Ze Frank’s collaborative projects) and best of all, in light of the Terminator symphony up top, hear the 138 sounds/samples the DJs made and the 15 songs from those samples. Worth a click so here’s the link again.


For more on Pogo, tone poems, and collage audio, read a blog post about him here. Or better yet, just go to his You Tube channel.

For Ze Frank’s other project’s have a gander at his website.

Follow @absurddelight on twitter for other updates and links.

2 Responses to “Remixing pain and the Terminator”

  1. Awesome and Amazing!

  2. I discovered Pogo a few years ago. Supposedly he’s an Aussie teenager. His Alice in Wonderland and Charlie and the Chocolate Factory sound collages are my favorites, I think. But a minor sticking point here, or at least a question for discussion of the form he’s working in, is the bass lines. More often than not Pogo is composing all of this stuff from actual sound int he movie, but he ‘cheats’ a bit from time to time by composing sine wave bass lines (he’s written about this), which are external and not part of the same source material. Not belittling what he does by any means; it’s incredible and must be crazy time consuming. But the melodic quality of the sine wave bass he sometimes puts in to these pieces goes a long way in making them more palatable for the listener. Seems like kind of a shame if the supposed goal is to work strictly with source material.

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