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Previous: After playing bass guitar with various left-field groups since the very late seventies, and travelling through a stratosphere of influence induced by such bands as The Pop Group, The Slits, Cluster and Gong, I had a musical epiphany in 1991 whilst working with the experimental theatre group Blast Theory on the performance piece 'Gunman Kill Three'. During this show (which was staged in the Union Chapel, Islington, London N1) I would capture live video feeds from the auditorium, graphically manipulate them using Amiga computers, and beam them back into the theatre space to interact once more with the performers. I began to realize that perhaps I could also do the same thing with sound, and use the Amigas as a contributing factor in my current band. The idea immediately caused the group to fracture, and so I took this as a sign to continue alone. I set up a small computer based studio in Hackney, London E8, sometimes collaborating with musicians such as Richard Olatunde Baker and the pianist/composer Dan Reade. These associations eventually led in turn to my introduction, and subsequent involvement with the experimental collective CNS, based around an intense group of musicians and studio technicians entrenched within the underground party and squat scene of North London. This group eventually slimmed down, focussed on a common vision, and was renamed Kymatik. The result of this was the production of a large body of boundary displacing work which had a major influence on my ideology. My musical influences shifted to include The Hafler Trio, The Residents, Nurse With Wound and other such illuminated electronica. One track from this period 'Tisedni' was subsequently released some years later by Paradigm, on the Kymatik CD 'Dar-As-Sulh', and the rest is in storage. With the help of blatant commercialism, police harassment and the criminal justice act, the underground electronic scene in London began to disintegrate, and the people involved began to dissipate - some leaving the UK in disgust and relocating permanently to Europe. In 1994 I miniaturized my studio, packed it into a small flightcase and left to travel and work in India, Australia and Taiwan. After two years and an informative exposure to the music and performing arts of some completely new cultures, (particularly TIPA in Northern India and U Theatre in Taiwan), I returned to Europe and settled in The Netherlands. There I constructing a permanent studio space and contributed work to the Center for Contemporary Arts in Warsaw. During the last years I have been working primarily with electro acoustics, synthesizers and field recordings, in an attempt to articulate what I imagine are the hidden parallels between the discernible and the esoteric. Art, magick and science are informed influences upon me. Joseph Beuys and Marcel Duchamp, as well as John Cage and Ryoji Ikeda cast shadows into my brain. Recently, following a ten year hiatus, I worked once again as one half of Kymatik, jointly producing The Paignton Anomaly CD, and was opened up yet again to new possibilities and ideas which will take form in the near future. |
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