Peter Olof Fransson: All instruments, voices, arrangement etc...

This composition, "Metempsychosis I", was recorded on October 12th, 2013.

Metempsychosis I

Transponder

Random bits of collected sound, spliced together with brutal carelessness.

Slight echoes (pun thoroughly intended) of Joe Meek's introduction to "TELSTAR" in these sounds.  Hardly surprising: they were made using similar techniques.

Recorded in 1974 using the Vortexion WVB

EDITED HIGHLIGHTS

A little 'tribute' to David Bowie and his music.

The Stars Look Very Different Today

The lovely people at Acoustic Night @ Halo on Gloucester Road recorded my set from July. Thanks!

Sally Jenkinson @ Acoustic Night Bristol, July 2011

Peter Olof Fransson: All instruments, voices, arrangement etc...

This composition, "Galactic Spring", was recorded between 26th-30th of August, 2016.

Galactic Sounds

Galactic Spring

omake-1

Joyful and disturbing noises I did back in 2009 on cheapo home keyboards with a multieffects pedal and some sequencing.

Homerecordings 2009

Die E-Mail [22.02.09]

Casio MT-400V Instrumental [26.01.09]

Architects & Guillotines - Single

Architects & Guillotines

Playlist 1:
HOW D'YE STOP THIS THING?
We were an electronic family.  As children of a Radio Ham, my brother and I grew up surrounded by magic boxes full of glowing valves and high voltages, our ears thrilling to the ethereal sci-fi soundscape of the short wave bands. Hardly surprising, then, that we should both develop a fascination with audio, electronic music and recording technology.

One of those magic boxes was a half track mono Vortexion WVB tape deck. In the mid 1970s I used this machine to record a number of bizarre pseudo-musical cacophonies involving tape-loops, home-made oscillators and found objects. For these purposes, the Vortexion's most useful feature was a switch which turned off the erase head.  This enabled me to overlay new sounds directly onto an existing track.  The only problem was that, being mono, there was no other track to bounce to, thus no way I could overdub in sync with myself:  I had to rely on the delayed output from the playback head. This is why most early tracks involve vague drones and random sounds.  And, of course, as I would be recording over the original track every time, each new take was an irrevocable step; a one-off; no going back !

Playlist 2:
A SOUND SPANKING
In 1981 I bought a ReVox G36 (all-valve predecessor to the A77) which could do track-to-track overdubs, and from 1981-84 I used this machine to record numerous songwriting demos.

Then, as it is all too fond of doing, life got in the way and the songwriting got shelved. The tapes lay in their boxes undisturbed until 2001, when I got my first computer and discovered the capabilities of digital editing.  I overhauled the G36, dug out the tapes (some of them by now rather fragile) and set about digitising their contents. The results were then re-worked as multi-track edits, adding new vocals and, in certain cases, a number of MIDI-synthesized instruments - all the ones I could never have afforded to own 20 years earlier. ;-)  These recordings are the basis of this set.

EDITED HIGHLIGHTS

Steaming Audio

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