Sampledelia

[2] Reynolds identifies two contrasting tendencies amongst sampladelic artists: postmodernist versus modernist, with the former viewing sampling as a form of collage and pop art referentiality, and the latter approaching it as an update of musique concrète's techniques of sonic manipulation and transformation.

[2] Theorist Kodwo Eshun has described sampledelia as a kind of mythology in which "sounds have detached themselves from sources [and] substitute themselves for the world," inducing an experience of "synthetic defamiliarisation.

[2] In 1985, John Oswald coined the term "plunderphonics" to describe an approach which framed sampling as a "self-conscious practice" which interrogated notions of originality, identity, and "the death of the author.

[2] Late-1980s hip hop albums such as It Takes A Nation of Millions To Hold Us Back (1988) by Public Enemy, 3 Feet High & Rising (1989) by De La Soul, and Paul's Boutique (1989) by the Beastie Boys exemplified the sampledelic production style by appropriating sounds from varied sources to create "a dizzying, impressionistic whole that reminded some of the rock's ambitious psychedelic era of the late '60s" before copyright law made such an approach more difficult.

[15] West Coast hip-hop producer Madlib was described by Uncut as a master of the "lost art" of sampledelia, harkening back to an earlier era of hop-hip beatmaking.