Also his music has been recently signed to the timeless label, Quintessentials. You'll be hearing more this name in the next months, that's for sure. I'm the Slime Sebastien VorhausPonty Mython. Delusions of Grandeur. Sebastien Vorhaus. Ponty Mython. Like Everything Original Mix Underground Source Records. Face Down Ponty MythonSebastien Vorhaus.
Dirt Crew Recordings. The Body Dream Drum Workout Lux or Cairo 88 I Make Everything Alright Flat Sebastien Vorhaus. You were very young when you formed White Noise. How did you meet Delia Derybshire and Brian Hodgson? DV: I was going to play with a symphony orchestra as I did every Tuesday evening, and there was a lecture on electronic music in the hall next door.
I remembered Interaction - Dave Vorhaus* - The Vorhaus Sound Experiments (Vinyl from a concert at the Roundhouse.
I was studying electronics at the time, but the idea that they could be used in the context of music was entirely fantastic to me. Interaction - Dave Vorhaus* - The Vorhaus Sound Experiments (Vinyl was meant to be a hobby. Physics was going to be my career. It was a pure fluke that I should have met them that night and eventually replaced Peter in the group.
Did you consider the possibility that this sort of music could make a pop breakthrough in the late s? DV: I was just a teenager and pop seemed a very desirable thing - being on TV, Interaction - Dave Vorhaus* - The Vorhaus Sound Experiments (Vinyl. I certainly fancied the idea of making an electronic pop record.
The first two tracks on An Electric Storm are made up from a recording I made of a friend singing which was then developed in the Radiophonic Workshop. I imagined this would make a hit single. Thank God Chris Blackwell put LP) right. This could be a cult classic. But I was completely green about that. He also pointed out that the average pop buyer was under 13 years old.
He said, "How much money do you think a hit single makes? Did you feel you had any precedents for putting together an album like An Electric Stormwhat with the studio coming into its own with Sgt. Pepper and so on? DV: Making albums in those days meant people coming in and playing the songs live, essentially, with a few overdubs. Making electronic LP) meant cutting up tape and splicing every individual note together, monophonically, as a piece of tape, one at a time.
How do you do that live? Now what I did know about was film-making, so I did know something about assembling things in different places, different times. Once scene at a time became one note at a time. There were a lot of electronic soundmaking devices, but you can do so much with 'real sound' - pitch-shifting, bending. It's much more interesting using those founds sounds than things like sine waves. DV: The response when it came out was very disappointing.
The record company were worse than useless. Chris Blackwell had been great but he was elsewhere at the time. So we thought, Well, we got the advance - other than that, it was a waste of time. Then, gradually, it began to get about by word of mouth. It was big on the offshore pirate radio stations - Kenny Everett must have played it 10, thousand times. I can see why. The sounds are very much associated with the psychedelic experience of the time - lots of feedback, very dramatic and frightening moments.
I was used to that from making films. It ended up being used in various Hammer Horror films. Sounds rearing up suddenly from deep space, 3D objects suddenly uncloaking in the dark — it retains its strangeness. You can make echoes and reverbs by feeding them back onto themselves, taking them down to sub-sonics so you have these massive and very low sounds - you just have to try things out. Who egged on who — Delia Derbyshire with her Radiophonic Workshop training or you with your outsider's enthusiasm?
DV: We egged each other on. She showed me the techniques they were using at the Radiophonic Workshop. It seemed magical but it was all obvious when it was demonstrated to you. DV: Yes, they saw me as the one with pop potential. He saw himself as a theatrical person and an actor and came to Radiophonics from that perspective. How did you feel about the immediate future both for you and electronic music, moving into the s?
DV: I thought, This music is certainly going to evolve - no one can predict how it will evolve but certainly it will evolve. That felt inevitable. Samplers, for instance, had to be invented, they were so useful.
But technically it was a case of suck it and see. One thing that deterred people was that the machinery was so expensive.
I'd look at some equipment and it was the same price as I was contemplating paying for a house. One way in which a lot of electronic music moved into the mainstream in the s was as incidental music — the outro to John Craven's Newsround was a Radiophonic Workshop creation — or in horror movie soundtracks.
DV: Yes, it's certainly true that a lot of avant garde classical music works a treat with films, things like Kubrick and A Space Odyssey. People accept it without thinking. So was it difficult to get a hearing when you released the second White Noise album in ?
DV: Actually by it was easy to get a release because by that point An Electric Storm had become quite well-known - in Holland it even got to No 1 in the album chart. There was a chain of record shops with the White Noise logo on the front. So yes, the second album sold 30, advance copies before it was even released. Forget it! Big mistake.
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