Editing Musique concrète (section)

===1980s and beyond===
With the emergence of [[hip hop music]] in the 1980s, [[deejay]]s such as [[Grandmaster Flash]] utitlised [[turntablism|turnables]] to "[montage] in real time" with portions of rock, [[rhythm and blues|R&B]] and [[disco]] records, in order to create [[groove (music)|groove]]-based music with percussive [[scratching]]; this provided a parallel breakthrough to collage artist [[Christian Marclay]]'s use of vinyl records as a "noise-generating medium" in his own work.{{sfn|Reynolds|2021}} Reynolds wrote: "As [[music sampler|sampling]] technology grew more affordable, DJs-turned-producers like [[Eric B.]] developed hip-hop into a studio-based art. Although there was no direct line traceable between the two Pierres and [[Marley Marl]], it was as if ''musique concrète'' went truant from the academy and became street music, the soundtrack to block parties and driving."{{sfn|Reynolds|2021}} He described this era of hip hop as "the most vibrant and flourishing descendant – albeit an indirect one – of ''musique concrète''".{{sfn|Reynolds|2021}} ''[[Chicago Reader]]'''s J. Niimi writes that when [[Public Enemy]] producers [[the Bomb Squad]] "unwittingly revisited" the concept of musique concrète with their sample-based music, they proved that the technique "worked great as pop".{{sfn|Niimi|2005}}

In 1989, John Diliberto of ''Music Technology'' described the group [[Art of Noise]] as having both digitised and synthesised musique concrète and "locked it into a crunching groove and turned it into dance music for the '80s". He wrote that while Schaeffer and Henry used tapes in their work, Art of Noise "uses [[Fairlight CMI]]s and [[Akai S1000]] samplers and the skyscrapers of [[multitrack recording]] to create their updated sound".{{sfn|Diliberto|1989}} As described by [[Will Hodgkinson]], Art of Noise brought classical and avant-garde sounds into pop by "[aiming] to emulate the musique concrète composers of the 1950s" via Fairlight samplers instead of tape.{{sfn|Hodgkinson|2003}} In a piece for ''[[Pitchfork (website)|Pitchfork]]'', musicians Matmos noted the use of musique concrète in later popular music, including the crying baby effects in [[Aaliyah]]'s "[[Are You That Somebody?]]" (1998) or [[Missy Elliott]]'s "[[Work It (Missy Elliott song)|backwards chorus]]", while noting that the aesthetic was arguably built upon by works including Art of Noise's "[[Close (to the Edit)]]" (1984), [[Meat Beat Manifesto]]'s ''[[Storm the Studio]]'' (1989) and the work of Public Enemy, [[Negativland]] and [[People Like Us (musician)|People Like Us]], among other examples.{{sfn|Daniels|2003}} [[Chuck Eddy]] writes that, by 1991, [[heavy metal music|heavy metal]] bands began absorbing a wealth of esoteric outside inspirations, citing the "found-sound jackhammer-and-national-anthem musique concrète" on [[Slaughter (band)|Slaughter]]'s "[[Up All Night (Slaughter song)|Up All Night]]" (1990) as a key example.{{sfn|Eddy|1991|p=8}}