Come Out is a 1966 piece by American composer Steve Reich. Reich was asked to edit down tape footage into a form of collage for a benefit for the Harlem Six and Come Out was a byproduct of the collage's production. The Harlem Six were six black youths arrested for a murder of a white woman in Harlem in the weeks following the Little Fruit Stand Riot of 1964. Only one of the six was responsible while the lead witness is generally considered the actual perpetrator. Truman Nelson, a civil rights activist and New Yorker who had asked Reich to compose a sound collage that was separate from Come Out, gave him a collection of tapes with recorded voices to use as source material. Nelson agreed to give Reich creative freedom with the tapes that he presented him for the sound collage. Come Out was a loop of four seconds of the more than 70 hours of tapes Nelson presented to Reich.
Analysis
Reich eventually used the voice of Daniel Hamm, one of the boys involved in the riots but not responsible for the murder; he was nineteen at the time of the recording. At the beginning of the piece, he says, "I had to, like, open the bruise up, and let some of the bruise blood come out to show them" (alluding to how Hamm had punctured a bruise on his own body to convince police that he had been beaten while in jail). The police had not previously dealt with Hamm's injuries since he did not appear seriously wounded and they had beaten him themselves.
Reich re-recorded the fragment "come out to show them" on two channels, which initially play in unison. They quickly slip out of sync to produce a phase shifting effect, characteristic of Reich's early works. Gradually, the discrepancy widens and becomes a reverberation and, later, almost a canon. The two voices then split into four, looped continuously, then eight, until the actual words are unintelligible. The listener is left with only the rhythmic and tonal patterns of the spoken words. Reich says in the liner notes of his album Early Works of using recorded speech as source material that "by not altering its pitch or timbre, one keeps the original emotional power that speech has while intensifying its melody and meaning through repetition and rhythm." The piece is a prime example of process music.
In dance, the piece was used in 1982 by the Belgian choreographer Anne Teresa De Keersmaeker as part of one of her seminal works, Fase, which became a cornerstone of contemporary dance.