CD001 tracks :-
1). “Sea of Tranquillity”
2). “Sea of Clouds”
3). “Zanti Misfits”
4). “Where Dark Forces Meet”
5). “Concrete Pete”
6). “Mathew Street”
7). “View From a Bedsit Window”
This was my first synthesiser electronic music album. It was recorded between the period 1st January 1982 and the 30th April 1982. It was subsequently released on the “Flowmotion” cassette label later in 1982. It’s a collection of tracks inspired by memories of experiences of living in cheap rented one roomed accommodation often in run-down areas of town or crashing out on peoples floors. I recalled simple things like drifting off into imaginary worlds while watching an astronomy programme on TV, gazing into the fireplace and seeing strange things, staring out of the window on a rainy day or just visiting friends and playing music together, looking round second hand record shops. I just wanted to capture that feeling.
By 1980 I had settled into my first bought house and whilst very hard up, I was able to enjoy the luxury of central heating, I started to build my first mainly analogue home-made synthesiser studio in my tiny back bedroom. It was first used for the duo “Out of Control”, which was born there, Many, many hours of subsequent hard work later this, my first solo album, was completed.
In making this album I used my two home-built analogue modular synthesisers together with the first micro-processor controlled sequencer and electronic percussion unit I designed and built. These are all described in the “synthesiser adventures” section of this site. Extra sounds came from a string synthesiser I built from a magazine article (I’ll never forget soldering in 500 diodes), my electric guitar and my voice. For recording I’d designed and built a four track 1/4” tape machine based on an old scrap tape deck I was given. When a local arts project folded, I was also luckily given a couple of extra old Philips stereo 1/4” machines to fly effects into the mix described in the “recording adventures” section. At the time my little studio mixer was only six channel, which made life a little difficult but I also used mixers on all the synthesisers to extend it.
The production CD master is a direct copy from the analogue master tape to a stand alone CD recorder via a very high quality analogue to digital convertor system. No “re-mastering” has been done. This is as near as I can get to that original vintage analogue sound on the CD medium. I’ve tried to preserve the character of the sound of the period. No Dolby noise reduction was used on the early master tapes, just home-built Dolby B units on my 4 track. The album was more recently simply transferred straight to a digital workstation for safety and the MP3 and FLAC files copied from that.