van deze site:
http://www.spacemen3.co.uk/pages/recordcollector/rcsonic.htm
"Much of Kember’s electronic experimentation is inspired by his passion for E.M.S., the company that produced many of the earliest synthesisers, and which still exists today. “Yeah, the more I looked into the company, first of all I found out they make a lot of very interesting and innovative products, and then I started finding out more and more about Peter Zinovieff, the guy behind it, and realising what a pioneer he was in using computer technology in his music. Then I got in touch with him, coz I knew he’d made music, and I had a tape of a piece called ‘January Tensions’ that he did, which is a really nice piece, and I got in touch with him about releasing some of his stuff. And he was up for that, so we’ve been working on that for two or three years, it’s quite a long term thing. There’s a lot of information, it’s a very in-depth project, which will probably eventually be three different CDs.” Another source of inspiration is the work of the now-defunct BBC Radiophonic Workshop, and in particular, the work of Delia Derbyshire. Derbyshire was responsible for realising the theme music for Doctor Who, inventing techniques that should have been far beyond the capabilities of a 1963 recording studio. Kember and Derbyshire have recently become friends, after Kember discovered that she was practically a neighbour of his. “Yeah, since the 80s she’s been living in Northampton, which is pretty local from here. Also, the guy at E.M.S. had a group with her, an early electronic group called Unit Delta Plus, who did concerts and stuff. They did one concert at the Roundhouse in 65, may have been very early 66, where Paul McCartney played tape music.” This is more likely to be the Carnival Of Light Rave, held on 28th January and 4th February 1967, where The Beatles’ legendary (and still unreleased) ‘Carnival Of Light’ was played.
As well as Derbyshire’s involvement in Unit Delta Plus (together with Pete Zinovieff and Brian Hodgson), she also provided the music for several Yoko Ono events, including the Indica Gallery exhibition where Ono met John Lennon. Now, Kember finds himself working with his heroine. “I’ve been loosely working with her in that she’s been helping me on a sort of a producers kind of level… I’ve been encouraging her and helping her to catch up with technology a little bit, coz things have become a lot cheaper do to stuff now, it gets cheaper every week, practically, to record at home, and to do complex sound manipulation becomes easier and easier. Stuff that Peter Zinovieff could do in his studio, his analogue studio, which was a unique state-of-the-art place in 69, 70, has only just become available on computers in the last ten years… She has been working on some new music, some new pieces and stuff. She’s very much still got the talent, she’s very talented musically, very.”
geraakt aan de twee mp3's die nu in mijn laptop rondzwerven... ("Blue veils and golden sand" en een edit van "The Dreams") maar ik wil meer! Ik ben dus onder meer op zoek naar platen waar haar dingen op staan en ik ben het meest benieuwd naar de volledige versie van The Dreams (1964) waarbij ze de geluiden maakte onder een collage van stemmen door Barry Bermange...
