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 !

This set contains several examples of that work.  More will be added in due course...

HOW D'YE STOP THIS THING? - Sonic curios from the 1970s

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

Metempsychosis I

Transponder

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

Recorded 1975 on a half-track mono Vortexion WVB - each new layer added by turning the erase head off.

This is one of my favourite early things: a serendipitous cacophony involving multi-layered tape-loops and the playing of found objects ( LP rack...wire egg-slicer...etc ) with guitar pickups attached to them.

The result of this aural vandalism sounds like some bizarre industrial process is going on:  curiously reminiscent of the famous sound-effect from "The Man In The White Suit".

The 'explosion' about 1:30 in is the sound of a violently plucked Hammond Reverb Spring totally overloading the input stage of the Vortexion.  Happy days !

© Ken Cumberlidge 9/12/1975 

Alexander's Ragtime Bend

Recorded in 1974 on a half-track mono Vortexion WVB, each layer added by switching off the erase head.

One of several experiments in a similar vein.  Two home-made Astable Multivibrators forced to modulate against each other provide a backing drone for a gong ( a metal pan lid played back at half-speed ) and some jet-propelled organ.

Next time you visit the Scottish highlands, put this number on the car stereo and watch those heifers jive !

© Ken Cumberlidge 1974

The Dance Of The Long-Haired Highland Cattle

Recorded 1979 on a ReVox A77

Farfisa organ and reverb spring are the only instruments here.

Played into an HH echo machine with a replay head which could be slid along a track.  Whizzing it back and forth while playing notes produced strange, high-pitched squealing sounds reminiscent of seagulls.

© Ken Cumberlidge 1979 

SEASCAPE

Recorded 1977, using a combination of a Vortexion WVB and a ReVox A77

This features two home-made oscillators, found objects and the plaintive honk of my very own invention:  the Sax-o-drainpipe.

Gradually winds itself to a screaming climax.  Enjoy!

© Ken Cumberlidge 1977 

Frolics In The Engine Room

This is one of my earliest efforts, recorded in 1975 on a half-track mono Vortexion WVB machine, each layer being laid over its predecessor by switching off the erase head.

A haunted thing, racked with melancholy, it is played entirely on the Stylophone 350-S (see picture).  A detailed description of this instrument can be found here: http://andymurkin.wordpress.com/2012/08/22/

TECHNICAL NOTE:
Alas, time has not been very kind to this tape.  However, rather than attempt to spruce it up, I'm presenting it in its original condition - tape hiss, drop-outs and all - as any attempt at digital "restoration" would destroy what little fragile charm it has.

© Ken Cumberlidge 1975

Psychotherapy Foxtrot

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.

Frolics In The Engine Room

Steaming Audio

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