SPK, Graeme Revell, and others.
- Hello unto you.
With all this talk of our fallen angel here, I thought I'd
re-join with a rejoinder about a recent conversation I had with Mr.
Soundtracks have kept him in clover for some time (he was living
rather well when he lived in Australia, too, before moving over to
England, my sources tell me), but he is currently dissatisfied with
his lot and desires contact with the outside world and - egads - to
record and collaborate new material. He's been out of the loop for
some time now, and is unsure how well his new work would be received.
He understands that his work is difficult to find (despite the recent
re-pressings by Mute) and expressed interest in recording sounds from
Eastern Europe and thereabouts. I recommended he record new material
and send it to Daniel Miller, who apparently would receive it quite
Part of the problem has also been the fact that he has two
children and a wife to support (albeit in a really nice way) - but
they are nearly grown now (aged 16 - 17) and Sinan is reactivating her
art output (cf. recent exhibitions in Los Angeles). In fact, at her
recent opening, speaking with her, the thing I could imagine her
saying was "The director of the corporation tried to give my syphillis
by wiping his cock on my sandwich." The voice has not changed.
So, do not be so hard on these folks we all look up to - home
tapers John Wiggins and Dino di Muro are doing exceptionally well in
the motion picture/entertainment industry (cf. John's opening/closing
musics for the Howard Stern television programme; Dino's sound work on
"Gladiator", "The Siege", etc.). Brian Lustmord is scoring the "In
Search Of" television programme, former Murray Fontana Orchestra
member Tracy Roberts manages a prosperous Los Angeles recording
studio, and Jimmy Thirlwell was the voice of MTV Sports for quite a
while - imagine that!
Oh, and James Pinker (SPK) produced the OMZ smash "How Bizarre",
so he's not doing too badly either. This knowledge comes in handy
when watching the James Bond film "Goldeneye" and, during the opening
sequence set at an arms bazaar, you sing "How bazaar, how bazaar".
All this and more in that forthcoming history of experimental
music I'm toiling away on - apologies for the lengthy silences...
Recuerdo a todos,