The Kember Chronicles
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You chose a path and that was kind of it or you went and did something else - which, in the s, the prospects for were somewhat depressing. I was wanting to make a predominantly electronic record but without it being super sequenced and block-y. I wanted to bring to it some of the flowing stream of effects that I was exploring through DMT. I was writing what I felt were some quite soul-searching songs and I wanted to marry it all in another world. In another land, if you will.
I was really getting into modular synths at the time, like the EMS VCS 3, and getting enveloped in the endless possibilities it presented. I was into Silver Apples since the Eighties. A guy from a band called Birdhouse turned me on to them. He recognised the patterns. I guess I went to see Simeon in the s, when he returned to the fray, when the possibility to do a collaboration came about.
I think it was 'engineered' by one of the pricks at Space Age recordings. I think they were trying to butter Simeon up. I know now that they illegitimately registered a bunch of his rights. Nevertheless, as it was the only time they ever really instigated anything I was keen to do it and working with Simeon was a fun proposition. I decided that I would try and write some basic tracks as backings for him and some lyrics.
I think we both brought three songs in to the session and spent the weekend overdubbing and doing vocal takes. It was an easy session from my memory. I called Delia while we were recording the song 'Delia Derbyshire', which was the inception, I guess. She was very shy. I was not terribly successful at getting her back in the saddle.
She definitely had been thrown a time or two too many by the music business and fate sadly played its hand early, just as she was just getting back into the whole thing. Delia taught me pretty much everything I know about the structure of sound and during those few years before she died, it was a high point of my life to talk and meet with her. To this day, I still listen to her work and am still floored by her genius. I believe the Doctor Who theme is possibly the most important electronic piece of its era and to that time.
Stockhausen and Boulez and all those dudes were pivotal, no question, but Delia took their lead and placed it in a cultural context, courtesy of the BBC, that affected millions and millions in a really transportive way. I think that gives a hint as to what an impact she was making culturally - which resonated right through electronic music via White Noise, the Silver Apples, Kraftwerk and Aphex Twin.
MGMT are smart kids, so by this point they were well aware of the studio, its potential and good ways to use it. I was really impressed immediately that they had rented gear, well-chosen gear too, to record in a large house in Malibu.
That was extent before I was involved but due to that smart choice, they had a lot of time to do different stuff. There was a whole live album of them jamming fairly cohesive songs in the studio but I believe it got wiped and the only copies I had went AWOL on a lost iPod on a plane seven or more years ago.
People would come by and hang out, maybe party, the band would play for them and it was often recorded. Oracular Spectacular was still riding high in the Billboard charts and they were having a lot of fun, surfing, going to shows and recording a lot. They never planned to record the songs live - me neither. Of course, the drums and bass would usually go down together and then overdubs. They already had the title track nailed in the form you know it.
We tried other arrangements, but the original recording was it. New Zealand. Trending Topics. NZME Network. Newstalk ZB. From breaking news to debate and conversation, we bring you the news as it happens.
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