lima/oscar/victor/echo
Sunset People
| Formats | Tracks | Price | Buy |
|---|---|---|---|
| Download Album (MP3) | 8 tracks | £7.92 | |
| Download Album (WAV) | 8 tracks | £7.92 |
Description
Sunset People - lima/oscar/victor/echo
Sunset People
“I originally named the band Sunset People, after the song by Donna Summer. I liked the gorgeous phased Moroder disco of it, the Europop of it and the contrast of this synthetic commercial music with lyrics about the darker side of Hollywood. Also, the music I was making was very much like BBC Radiophonic Workshop, Add N to (X), Suicide, Cabaret Voltaire or Throbbing Gristle and the name was at complete odds to that. What’s strange is, the older I get, the more the music is beginning to sound like Donna Summer…”
Sunset People crossfade in and out of the inner Hawksmoor orbit of London’s electronic music scene. Occasionally drifting into focus and sunlight for performances across the capital, sometimes alongside pioneering luminaries such as; John Foxx, Large Number (Ann Shenton - Add N to (X)), Richard H Kirk, Four-Tet and Scanner.
The sound is warm, slightly unfocussed analogue – the perfect soundtrack to lost reels of Super-8 footage or SX-70 Polaroids of 1970s east London - all Supercolor hues of blue and green, sun flare, all warm, intact.
However, regarding the current working methods of forthcoming album Streetsounds, he says;
“It sounds dark and illegal – a million miles away from my second album lima/oscar/victor/echo. I waited until I could hear a siren before pressing ‘record’. I didn’t have to wait too long. Streetsounds is an attempt to capture a snapshot of east London on a Friday night; from the police sirens to the sounds of the street. From the Dubstep and Drum & Bass rhythms thumping from the bass bins of passing cars, to the pirate radio frequencies heard in car works under the arches. Or in the greasy spoon cafés where all the flavours and noise meet. Table after table, row upon row; people in utility clothing or young fashion students dressed for the catwalks of Paris and New York sit side by side eating chips and drinking tea in British Rail mugs”
“So I hung a microphone out the front window to capture the sounds of the street, I hung another microphone out the back window to capture the sound of the trains as they make their way out of the smoke towards the distal suburbs. Two radios set adrift to pirate frequencies, a Buddhamachine, a battered Roland SH-101, a really battered DR-202 drum machine and a Microkorg were all ready to be punched in and out of the mixing desk. And then I waited, waited for the sirens…”
“I originally named the band Sunset People, after the song by Donna Summer. I liked the gorgeous phased Moroder disco of it, the Europop of it and the contrast of this synthetic commercial music with lyrics about the darker side of Hollywood. Also, the music I was making was very much like BBC Radiophonic Workshop, Add N to (X), Suicide, Cabaret Voltaire or Throbbing Gristle and the name was at complete odds to that. What’s strange is, the older I get, the more the music is beginning to sound like Donna Summer…”
Sunset People crossfade in and out of the inner Hawksmoor orbit of London’s electronic music scene. Occasionally drifting into focus and sunlight for performances across the capital, sometimes alongside pioneering luminaries such as; John Foxx, Large Number (Ann Shenton - Add N to (X)), Richard H Kirk, Four-Tet and Scanner.
The sound is warm, slightly unfocussed analogue – the perfect soundtrack to lost reels of Super-8 footage or SX-70 Polaroids of 1970s east London - all Supercolor hues of blue and green, sun flare, all warm, intact.
However, regarding the current working methods of forthcoming album Streetsounds, he says;
“It sounds dark and illegal – a million miles away from my second album lima/oscar/victor/echo. I waited until I could hear a siren before pressing ‘record’. I didn’t have to wait too long. Streetsounds is an attempt to capture a snapshot of east London on a Friday night; from the police sirens to the sounds of the street. From the Dubstep and Drum & Bass rhythms thumping from the bass bins of passing cars, to the pirate radio frequencies heard in car works under the arches. Or in the greasy spoon cafés where all the flavours and noise meet. Table after table, row upon row; people in utility clothing or young fashion students dressed for the catwalks of Paris and New York sit side by side eating chips and drinking tea in British Rail mugs”
“So I hung a microphone out the front window to capture the sounds of the street, I hung another microphone out the back window to capture the sound of the trains as they make their way out of the smoke towards the distal suburbs. Two radios set adrift to pirate frequencies, a Buddhamachine, a battered Roland SH-101, a really battered DR-202 drum machine and a Microkorg were all ready to be punched in and out of the mixing desk. And then I waited, waited for the sirens…”