Some Assembly Required
Some Assembly Required is a weekly audio art show focused on works of audio appropriation. "Tape manipulations, digital deconstructions and turntable creations." More information, online at:
Gary DiBenedetto Gary DiBenedetto is a sound sculptor and electroacoustic composer from Brooklyn, NY. Moving from more traditional jazz instrumentation into multimedia-interactive art, he's released three CDs and made several compilation appearances, since the mid 90's. His works have been performed around the world. He's held Guest Residencies at Peters Valley and Newark Museum, and his awards include the 2006 KOA International Kinetic Art Competition and the NJ State Council on the Arts Fellowship. His most recent work, a 15 piece solo multi-media installation, was on display at Hunterdon Art Museum, in Clinton, New Jersey. Without further ado, here's the SAR Q&A with Gary DiBenedetto... *Name: Gary DiBenedetto *Members: Gary DiBenedetto *Tape manipulations, digital deconstructions or turntable creations: My “classical” electroacoustic works are derived from sounds recorded in natural and industrial environments. “A Drop in the Bucket,” the title track on my second CD, is representative of what I would consider to be one of the schools of classical electroacoustic composition. The sound source for this composition was a single drop of liquid. Since composing the pieces on “Twin Towers”, released by Electroshock Records, I have spent much of my time creating multimedia interactive sound sculptures. At present I would classify myself as someone experimenting with a combination of kinetic manually driven sound sculptures and electroacoustic composition in staged performance. *Another genre descriptor: (see above) *Location: I am from central New Jersey but like to identify myself as someone born in Brooklyn. *Original Location: Brooklyn, NY *What is your creative/artistic background: I started out as a jazz drummer; then classical flutist; jazz saxophonist; electroacoustic composer; and now multimedia-interactive artist. In all of these fields, the intent has been to “push the envelope” - to explore new forms of expression. *History: (How long have you been working?) All my life. *Born: I was born in Brooklyn in 1948. *Motivations: It’s my passion. I love the intellectual stimulation. *Philosophy: Even though many people may not perceive it, I am working with very conservative traditions. My compositions incorporate classical form and serial and traditional melodic and harmonic theory. As with my compositions, my sculptures aspire to classic traditions including composition, form and texture. In all of my work the most important element is connection to the audience. I hope the use of classical form and familiar environmental sounds enhances this possibility. Likewise, my sculptures, besides incorporating classical tradition, have manually driven audio components that encourage audience participation. Much of my work contains political and social commentary. And, it is in this realm that I feel my role as an artist is most connected. *How would you like to be remembered: A somewhat controversial fellow. *Web address:
Category: -- posted at: 8:53pm PDT

Episode 29, Some Assembly Required

01 Negativland - “The perfect cut (11 minutes)”
02 Lecture on Nothing - “Grab and pull”
03 Gary DiBenedetto - “Battle”
04 Big City Orchestra - “Drums”
05 The Avalanches - “Summer crane”
06 Jane Dowe - “Bust a move”
07 Alamout Black - “Traitors”
08 The Bran Flakes - “Welcome to the human race”
09 Wake Up And Listen - “Hooked on smak”
10 Dad’s New Slacks - “144 arguments for the elimination of television”
11 Chumbawamba - “Pass it along (mp3 mix)”
12 Glockenspiel - “When the record goes around”

Use this address, for your pod software:
Direct download: SAR29.mp3
Category:general -- posted at: 2:59pm PDT

The 50/50 CD compilation is now available for pre-order

Compiled by Some Assembly Required and, the new album contains fifty sound collages by artists from around the world.

Each miniature sound collage clocks in at exactly fifty seconds in length. Click HERE for more information...

Here's a list of Q&A's with 31 of the 44 collage artists represented on the compilation:

Jim Allenspach




The Beige Channel

Ros Bobos

The Bran Flakes

the Cranial Fishers

Ellipse Elkshow


Joe Frawley


Grateful For The Dead

I Cut People

Idiom Creak

DJ Lobsterdust

Los Kinkos

Tim Maloney (Naked Rabbit)


Orchid Spangiafora


Alyce Santoro

Savage Ohms

John Schnall

Jeffrey Sconce


The Square Root Of Evil

stAllio! (Animals Within Animals)

Timmy The Tapeworm

Value Village People

Robert Voisey

Order the CD HERE.
Category: -- posted at: 8:23pm PDT

Flying White Dots

Bryan Whellams has been going by Flying White Dots for just a few years now. Though he's been DJing since about 1994, he started producing mashups about a decade later, and there have been four albums since 2006.

Radio One, XFM and of course Some Assembly Required have all paid attention to FWD. You can download all of his records, including a couple of EPs, at his website's download page. Check out the main site HERE, and take a look at his myspace page HERE.

Without further ado, here's the SAR Q&A with Flying White Dots...

*Name: Flying White Dots

*Are there any additional names used to describe this project: No

*Do you use a pseudonym? Yes

*Members: 1

*Founding Members:
Bryan Whellams

*Tape manipulations, digital deconstructions or turntable creations:
Digital deconstructions cos I do it all on a computer.

*Another genre descriptor: Psychedelic textured mashups.

*Is there a story behind your name? A Google search on "staring at the sky" brought up an article saying "staring at the sky for a long time what are those flying white dots you see".

*Location: Brighton, England

*Original Location:
Middlesex, England

*What is your creative/artistic background: Musician and DJ

*History: 3 years

*Born: Middlesex, England, 1974

*Motivations: I have no idea, because I don't make any money out of it, it doesn't get me any work, doesn't get me laid and I'd rather be doing something else most of the time. Then again, I normally like the end product and it's quite nice getting a track played on the radio.

*Philosophy: To make something that sounds nice, is a bit different and flows nicely as an album.

*How would you like to be remembered:
The mysterious one who made a few decent albums.

*Web address:
Category: -- posted at: 10:23pm PDT

Episode 258, Some Assembly Required

01 Coldcut – “Beats & Pieces”
02 Twink – “Boys And Girls”
03 DJ Earworm – “United State of Pop 2009 (Blame It on the Pop)”
04 North American Boat Show – “Our Image”
05 Junk Culture – “That's Not Me”
06 Lenlow – “Do Your Thing to the Music”
07 Extrakd & Eddie Def – “Brain Confusion”
08 Ros Bobos – “I Understand, Peter”
09 Flying White Dots – “There Is Love”
10 People Like Us and Matmos – “Home-Roam-Play”
11 g4gorilla – “I Wanna Dance With One Of These On My Mind”
12 Jeffrey Sconce – “Lonely people”
13 The Bran Flakes – “Pure Love”

Use this address, for your pod software:
Direct download: SAR258.mp3
Category:general -- posted at: 10:23pm PDT

Robert Voisey

NYC composer Robert Voisey is one of the artists featured on our upcoming CD compilation "50/50" (which, after a few delays, is coming out very, very soon - stay tuned!). His track is titled Oregon, and I'm told he plans to compose 49 additional fifty-second tracks for each of the fifty states. I'm really looking forward to hearing the final result...

He has directed a similar series since 2003. His 60x60 Project is one of many efforts to promote the music of contemporary composers. A composer himself, Voisey writes mainly electronic and chamber music. He's written for theater and film, and collaborated with poets, dancers and video artists, since the early 1990's. 2009 saw the debut of his ten minute opera, "Poppetjie," at Carnegie Hall, in New York City.

For more information, check out his website HERE. Without further ado, here's the SAR Q&A with Robert Voisey...

*Name: Robert Voisey

*Are there any additional names used to describe this project: My name is Robert Voisey, I am a composer living in New York City. Many know me for the work I do with Vox Novus and the 60x60 project.

*Tape manipulations, digital deconstructions or turntable creations: “Oregon” is a work from a series named "States" which I started in honor of the 50/50 project. States uses 100 % post-production samples to create original sound collages. States uses a new style I have been working on that I think closely relates to sound collages, but can be called mash-ups, hyperrealism, plunderphonics, etc, but I am not interested in self defining my music and techniques. I will leave that to the press, academics, and musicologists.

*Location: New York City

*Original Location: Born in Teaneck, New Jersey, I spent most of my younger years in the greater Tri-State area of the greater metropolitan area of New York; later I traveled a bit and spent a significant amount of time in Israel and South Africa.

*What is your creative/artistic background: I grew up in a working middle class family and naturally took to computers. No one realized I was creating computer sound compositions at an early age. I always sang from as early as I could remember. In college I made the leap from computer science to music composition; spent a few years in Israel getting a crash course in real world composition, then came to New York City in search of a bigger pond.

*History: I have been in NYC for 16 years promoting contemporary music. Much of my work has been through the company I created, Vox Novus and its projects like 60x60 and the Composer's Voice concert series.

*Born: December 8, 1969

*Motivations/Philosophy: I write music because I have to; it keeps me sane. Otherwise it is too hostile of an environment to seriously consider it; this is why I do everything else. I don't believe an artist should put up with an incredibly difficult life just to accomplish simple living requirements and have their artistic work suffer. So, I try to make it a little easier for everyone, hence Vox Novus, 60x60 and Composer's Voice, etc. I think that art in general is an abstract form of communication from the artist to their audience relating the human condition and life in general. I believe music and art is an essential part of our society, culture, and community. My biggest motives in my music is to express feelings and ideas on a very primal level.

*How would you like to be remembered: I am not so interested in how I want to be remembered. Time will tell. And I don't really have any control of what the future says or does. I think the best any artist can do is be true to their art.

*Web address:
Category: -- posted at: 7:22pm PDT

Episode 31, Some Assembly Required

01 The Bran Flakes - “The final countdown to extinction”
02 People Like Us - “Sound escape part 1”
03 People Like Us - “Sound escape part 2”
04 People Like Us - “Sound escape part 3”
05 Public Works - “Numbers (side B)”

Use this address, for your pod software:
Direct download: SAR31.mp3
Category:general -- posted at: 12:44pm PDT

Episode 257, Some Assembly Required

01 The Evolution Control Committee – “Like You Use Meâ€
02 DJ Tripp – “Without me (Vader mix)â€
03 Michael Gregory – “Auto-Tune The News #5â€
04 DJ Squid Viscus - “Stairway to Hellâ€
05 Music From The Film – “Fireâ€
06 Lobsterdust – “It's Fun To Smoke Dustâ€
07 The Beat Junkies - “Scratch Monopoly IIâ€
08 Dsico – “Burn Baby Burnâ€
09 Cassetteboy – “Scrap Heap Servicesâ€
10 Okapi – “Ti Chiamero' 10â€
11 The Evolution Control Committee – “Freaky Peopleâ€
12 Deskhop – “End of Historyâ€
13 Laso Halo – “I'll Fight Maxâ€
14 Myeck Waters – “Get out of the wayâ€
15 The Kleptones – “This Song Smellsâ€

Use this address, for your pod software:
Direct download: SAR257.mp3
Category:general -- posted at: 11:21am PDT


Ian Wells is a student at Cornell University. He's been recording since his teens and releasing work as Deskhop since 2008. You can currently find two albums at his website, with a third in process. Check out his website HERE.

Wells uses Ableton Live to mix his sound collage, both live and in the studio. Often referred to as Glitch Pop, Mashup, or some kind of a mix of the two, the live performance of this music is just one of the things which sets it apart from the sound collage you may be more familiar with. This is more of a party than a performance, and Wells likes to keep it moving.

Check out Deskhop in Episode 257 HERE. Without further ado, here's the SAR Q&A with Deskhop...

*Name: Deskhop

*Are there any additional names used to describe this project: No

*Do you use a pseudonym? Deskhop

*Members: Ian Wells

*Founding Members: Ian Wells

*Tape manipulations, digital deconstructions or turntable creations:
I don't use tapes or turntables, so 'digital deconstructions' I suppose.

*Another genre descriptor: No -- this sort of music has gained a lot of popularity, and you don't really need many descriptors to get people to know what you're talking about anymore.

*Is there a story behind your name?
The creation of “Deskhop†had something to do with combining white-collar, boring stuff, like desks, with its apparent contradiction, hip hop. I'm pretty sure that was the thought behind it. At any rate, I think the theme of contradiction -- or pairing of opposites -- has played a big role in this project from the start. I never thought about this theme, explicitly, but it emerged maybe as a consequence of the medium I work in, or of the desire to see things conflict, to imagine the worst that can happen and to turn that into a reality.

*Location: I go to school in Ithaca, New York, at Cornell University. So that's where I'm from, for now.

*Original Location: Massachusetts.

*What is your creative/artistic background: I used to go to a drawing class, when I was 10 or 11.

About six years, though I didn't start releasing music to the internet until 2009. Back then, it was just me and a friend recording guitar, sampling ourselves, cutting things up and messing with it. I gradually got deeper into the digital side of production -- this was what really excited me from the start.

*Born: 1989, in Massachusetts.

*Motivations: I'm not sure why I make the sort of music I do. But making music on the computer, in general, is more like a nervous tick for me. I'm not so much motivated as I am drawn to it. It can be fun, a lot of times, and it keeps me excited. But other times it's more of a habit. I'm trying to break out of that habit and reexamine why I do this -- not with the intention of stopping (that would never happen), but maybe of changing directions. So it's a good question and I have no real answer right now.

I think it should be clear, even from a preliminary listen, that my work presupposes a sort of strong version of eliminative materialism. Granted, the early stuff (circa Spaceheater) was definitely more reductive. But the album I'm working on now -- the album I've been working on for the last year -- takes a more radical stance.

*How would you like to be remembered: As a noble savage.

*Web address:
Category: -- posted at: 11:07am PDT

Los Kinkos

Los Kinkos is Portland's Michael Sean. His back story reads like so many notable sound collage artists, and how they started out. I especially responded to the story about his dual cassette deck's meticulous pause buttons. I wore mine out actually, back in the day, with all of the pause button edits (and re-edits). I'd purchased some kind of insurance plan and had it refurbished at least three times... money well spent, in the years before digital audio workstations.

Sean spent the 90's working on a variety of creative projects. He played in a rock band, did some time in college radio and produced a zine for a few years before getting into sample-based production. He started work as Los Kinkos around 2004 and it looks like he's released about four albums. There's sure to be more about Los Kinkos online in the years to come. In the near future, look for one of his tracks on our 50/50 compilation.

Check out his myspace page HERE. Without further ado, here's the SAR Q&A with Los Kinkos...

*Name: Los Kinkos

*Are there any additional names used to describe this project: No

*Do you use a pseudonym?
Yes, Los Kinkos is not my real name

*Members: Just me, technically, and a cast of thousands, technologically.

*Founding Members:
Michael Sean (a.k.a. Sean Miguel)

*Tape manipulations, digital deconstructions or turntable creations: I started off doing "tape manipulations," but at this point it'd all fall under "digital deconstructions."

*Another genre descriptor:
I'm still hoping to find a good name for this stuff. While I dig the cleverness of terms like "Plagiarhythm" and "Plunderphonics," it's disappointing to see so much focus on the illegal aspect of sampling. Plagiarism, plundering, bootlegs -- these word associations make it too easy for people to lump it in with piracy. In the 90's, when people were getting sued left and right, such wordplay had a rebellious nature. But the mainstream has finally caught up, and the climate for sample-based creations has greatly improved (I mean, Girl Talk was in an ad for Microsoft, of all things). Such terminology seems kind of self-defeating now. I think it holds back the really good stuff from being treated as music, or possibly even art, rather than just a prank or outright thievery.

*Location: Portland, OR

*Original Location:
I grew up in the heart of the Heartland (Iowa)

*What is your creative/artistic background:
I've made mixtapes since I can remember, both for myself and for friends. I grew up with those crappy all-in-one shelf systems, and I used to have one with the most precise pause button. It left no clicks or spaces and allowed me to butt songs right up next to each other. I used up every inch of the audiocassette. In between 'proper' songs would be movie dialogue, quick excerpts from comedy records, bits from instructional tapes, short skits, and anything else I could run through that tape deck. It was a wonderful primer for the basics of sound collage.

One day I discovered that, unlike most dual cassette decks, you could play both tape decks at the same time and they'd come through the speakers together. This was years before I had access to (or even knew about) mixers or 4-tracks or computers, so it was a revelation. It opened me up to the possibilities of layering sounds. I used to play a music tape on the left, and something else on the right, like a sound effects tape, a stand-up comedy album, or an instrumental movie score. A lot of times it was nonsense, but when the juxtapositions clicked it was fantastic.

I was briefly in an alternative rock band during high school (circa 1991), and did a few stints in both college and pirate radio (1992-96). I produced a cut-and-paste/poetry zine for a few years (1994-97), and then got into the lo-fi bedroom 4-track thing (1996-2000). It was around this same period that I began toying with sampling. Early attempts were done with the classic tape deck to tape deck method, slowly building loops and layering them. I also frequently employed the Casio SK-1 keyboard, which allowed you to sample a second or two of audio from either a built-in mic or a line level input.

These experiments soon graduated to the computer, although they were still quite limited by the technology of the mid-1990s. The ever-expanding web of the internet provided an endless supply of research, discovery, and inspiration. The explosion of mash-up culture around the turn of the millenium only added to the fire that was being lit under my ass. It wasn't long before I procured some decent sound editing software and began trying my hand at completely sample-based music. In 2004, I began working on the material that would become Los Kinkos.

*History: I've been doing sample-based music as Los Kinkos since about 2004, working off and on whenever free time allowed. Mostly I was sketching out concepts, testing ideas, and amassing and cataloging samples for eventual use. It's just in the last two years or so that I've really started to produce what I consider finished tracks.

I was born in December of 1973. The Los Kinkos stuff began in Portland around 2004.

*Motivations: I love the possibilities of sampling, and I love the spectrum of styles represented on a program like Some Assembly Required. I hear lots of stuff that inspires me, and I also hear stuff that frustrates me. Both aspects motivate me to create something myself. In the end, I'm trying to make the sort of thing that I always wanted to hear.

*Philosophy: I'd say my overall vision is to do work that finds a happy medium between the beat-driven mixes of Steinski and the less danceable collages of John Oswald, while retaining the sense of humor found in both. I'd also like to contribute to the idea of sampling as an art and not just a derivative production shortcut. As Jean Luc Godard said, "It’s not where you take things from, it’s where you take them to."

*How would you like to be remembered:
With a smile.

*Web address:
Category: -- posted at: 12:29pm PDT

Episode 32, Some Assembly Required

01 The Bran Flakes - “Collage collageâ€
02 Wobbly - “My turn to eat meâ€
03 Lecture on Nothing - “Fresh makeupâ€
04 Tim Maloney - “Thunderclockâ€
05 Kid Koala - “Barhopper 1â€
06 The Tape-beatles - “New thoughtâ€
07 David Shea/DJ Grazhoppa - “Tasty cakeâ€
08 Kid Koala - “Barhopper 2â€
09 Realistic - “Looking for a handoutâ€
10 Negativland - “Voice inside my headâ€
11 The Avalanches - “Frontier psychiatristâ€
12 Steve Dirkx - “I believe itâ€
13 The Art of Noise - “Dragnet ‘88â€
14 Double Dee and Steinski - “Voice mail: the sugarhill remixâ€

Use this address, for your pod software:
Direct download: SAR32.mp3
Category:general -- posted at: 6:38am PDT