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Abstract
Chinese Uncanny is a plunderphonics-based full-length LP project that explores memory, estrangement, and urban identity through a purely sample-driven compositional approach. Drawing from over 170 audio fragments sourced from vinyl, internet archives, cassette tapes, and CDs, the album constructs a sonic collage rooted in the cultural ambiguity of contemporary life in Shenzhen, China. Inspired by artists such as DJ Shadow, The Avalanches, and Cornelius, the project avoids conventional vocal or instrumental recordings, instead relying entirely on sample manipulation using tools like Ableton Live, MPC, and SP404. The concept of the uncanny—drawn from both Freudian theory and lived experience—serves as a thematic backbone for the album’s sonic choices. Beyond technical execution, the work also reflects on the scarcity of sampling culture in Chinese music ecosystems, offering both aesthetic innovation and cultural commentary. The CE paper documents the creative process, challenges, and philosophical motivations behind this experimental album, positioning it as a unique contribution to the plunderphonics genre and an attempt to establish a more localized voice within it.
Publication Date
7-1-2025
Campus
Valencia (Spain) Campus
Keywords
plunderphonics; Chinese music; cultural memory; Shenzhen; sample-based music
Recommended Citation
Liu, Yilin. “Chinese Uncanny (A Plunderphonics Album as Cultural Reflection).” Master's thesis, Berklee College of Music, 2025. https://remix.berklee.edu/graduate-studies-production-technology/415.