Decomposed

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Music is often perceived as the most immaterial of the arts, with recorded music evolving from physical discs to invisible digits. However, Kyle Devine presents a different viewpoint, highlighting that recorded music has long exploited both natural and human resources, with its reliance on these resources becoming increasingly problematic. He delves into the hidden history of recorded music, examining what recordings are made of and their disposal. Devine's narrative centers on three forms of materiality: prior to 1950, 78 rpm records were crafted from shellac, a resin derived from bugs; from 1950 to 2000, formats like LPs, cassettes, and CDs utilized petroleum-based plastics; and today, recordings exist as data-based audio files. He sheds light on the individuals involved in harvesting and processing these materials, including women and children in the Global South and scientists in the Global North. Devine emphasizes that vinyl records are products of oil, and the vinyl revival is intertwined with petrocapitalism. The perceived immateriality of music as data is contradicted by the energy demands of the internet and devices used for online access. While we often view recordings as finished products, Devine reveals the essential backstory, illustrating how various seemingly peripheral people and processes are crucial to understanding music's significance and functionality.