THREAD EP, by Little People

THREAD EP

by Little People

supported by

stardudette Preemo is genuinely my most streamed song this year Favorite track: Preemo.

Dana Ross I love this album. It's like Pogo and Daft Punk making out on the couch while Negativland is off at bingo. Favorite track: Home.

Damien Perry I honestly had no intention of even listening to this EP, but once I read the Bandcamp description, I realized how truly awesome this concept is. Then I pressed play. It didn’t take me long to decide he deserves my money...and my respect

more...

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Since there is no physical release for this record i thought i'd make a few Little People sticker sheets for anyone who would like to support it. You get a digital download of the EP with that. Free shipping!

Includes unlimited streaming of THREAD EP via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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$10 USD or more

1.	Home 03:44	buy track
2.	Coagulant 02:36	buy track
3.	Preemo 03:37	buy track
4.	Seamstress 02:48	buy track
5.	We Don't Win 04:00	buy track

about

“The 1988 Copyright Act states that an infringement of a copyright occurs if you copy the whole or a substantial part of a work without the owner’s permission or licence. The whole issue of whether a sample is an infringement or not therefore depends on whether it is a “substantial” part of the song and recording that has been sampled … …From previous cases, a test of substantiality has boiled down to looking at the ‘quality’ and ‘quantity’ of the parts taken from the original work.”

The quote above is from Ian Clifford - one of the lawyers who helped draft law around sampling in the UK. I’ve always been struck about how open to interpretation the idea of copyright infringement is. For example, drum break samples for the most part are deemed to not constitute a substantial part of the original song and are sampled extensively (which is crazy since they are integral to even whole genres of music… Amen break I’m looking at you). So what indeed constitutes a substantial part of a recording? And at what point do we start valuing the creative contribution of the person sampling someone else’s record? (if at all?) These are the questions I wanted to explore with this EP.

Which brings me to the nerdy technicality of how I approached this. What has always attracted me to sampling is the sonic qualities of these older records and what they can bring to a new composition. I could choose to filter, process and generally mangle the source material, but this obfuscation takes away the magic of the original work. So i wanted to hide my samples in plain sight by using fairly short samples from many different sources - and stitch those up into something new. Think patchwork quilt and you’re not far off… Shortness of the sample is key, but context is too. By using very short samples and collaging them next to one another they start to lose their recognisability by virtue of being used in a different context. It’s the equivalent of an auditive sleight of hand.

So here are THE RULES i set for the EP:
1) Each song can only have 1 melodic track, 1 drum track and 1 bass track.
2) For each track, only 1 sample can play at any time - no sample can overlap each other. So no layering - samples are played sequentially in monophonic fashion.
3) There are no limits to the number of samples used.
4) Samples used should be no more than 1 second in duration.
5) The source samples should be unrecognisable*

*I realise point 5 is very subjective… but i’ll keep a close eye on whosampled.com and see if anyone with sharp ears can correctly guess any of this.

I should be adding another rule, that the music should actually be good… but that’s up to the listener to judge.

credits

released March 12, 2021

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Little People London, UK

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