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Electronic Sound Electronic Magazine Music Electronic the Radiophonic Workshop the Inside Story of the of Story Inside the Delia Derbyshire and Derbyshire Delia 43> 139006 ELECTRONIC SOUND 772398 9 THE ELECTRONIC MUSIC MAGAZINE ISSUE 43 £5.99 DELIA DERBYSHIRE AND THE INSIDE STORY OF THE RADIOPHONIC WORKSHOP THE THE | LET’S EAT GRANDMA | JOHNNY JEWEL | L’ORANGE | DORIS NORTON | JON HASSELL TESTING TESTING 2 HELLO WELCOME TO ELECTRONIC SOUND “Guess who our biggest customers were in the 1960s This early exposure normalised the sound of weird and 1970s,” Dick Mills of The Radiophonic Workshop noises stitched together as music and the various challenged us when we spoke to them for this month’s characters of tones generated by oscillators, creating extensive cover feature. There are a couple of things generations of electronic music fans in the process. to unpack there. It’s a Radiophonic-heavy issue, this. But we 43 First, the word “customers”. That’s how The have plenty more for you to get your teeth into. Radiophonic Workshop composers saw the various We interview Italian pioneer and the first Apple programme producers who traipsed over to the Computer-approved musician, Doris Norton, the EDITOR BBC’s Maida Vale Studios, home of the Workshop, legendary experimenter Jon Hassell, and Jeff Wayne PUSH in search of bespoke theme tunes, incidental music, of ‘War Of The Worlds’ fame. Let’s Eat Grandma @PUSHTWEETING atmospheres and sound effects. You can almost talk about their new album, as does L’Orange, and DEPUTY EDITOR imagine a bell attached to a shop door, clanging away Thompson Twin Tom Bailey catches us up with MARK ROLAND like in an episode of ‘Open All Hours’. some of his key influences, and we have an extract @MARKROLAND101 Second, the obvious response is, “’Doctor Who’, from ‘Long Shadows, High Hopes’, the authorised ART EDITOR Dick!“, it being the most well-known carrier of biography of Matt Johnson and The The. MARK HALL @HELLOMARKHALL Radiophonic sound. You know what to do… But the answer, which you’ve probably already COMMISSIONING EDITOR sussed, is programmes for schools. Endless pieces of ELECTRONICALLY YOURS, NEIL MASON @NEIL_MASON musique concrète and electronic compositions were PUSH & MARK beamed into the young minds of British schoolchildren EDITORIAL ASSISTANT FINLAY MILLIGAN as they were pretended to be trees, or riding a magic @FINMILLIGAN carpet, during music and movement classes. CONTRIBUTORS © Electronic Sound 2018. No part of this magazine ADVERTISING Ian R Abraham, Piers Allardyce, Steve Appleton, may be used or reproduced in any way without Chris Dawes James Ball, Joel Benjamin, Lottie Brazier, Bethan the prior written consent of the publisher. We may [email protected] Cole, Stephen Dalton, George Fairbairn, Iestyn occasionally use material we believe has been placed SUBSCRIPTIONS George, Carl Griffin, Velimir Ilic, Jo Kendall, Sophie in the public domain. Sometimes it is not possible electronicsound.co.uk/subscribe Little, Ben Murphy, Kris Needs, Nick O’Leary, Robin to identify and contact the copyright holder. If you [email protected] Rimbaud, Fat Roland, Mat Smith, Jools Stone, David claim ownership of something published by us, we Stubbs, Neil Thomson, Spenser Tomson, Ed Walker, will be happy to make the correct acknowledgement. PUBLISHED BY Ben Willmott All information is believed to be correct at the time Pam Communications Limited of publication and we cannot accept responsibility WITH THANKS TO for any errors or inaccuracies there may be in that Studio 18, Capitol House, Emma Garwood information. Heigham Street, Norwich, NR2 4TE, UK PRINTED ON PAPER THAT WWW.ELECTRONICSOUND.CO.UK ORIGINATED FROM MANAGED FACEBOOK.COM/ELECTRONICMAGAZINE FORESTS, RECYCLED PAPER OR A COMBINATION OF BOTH TWITTER.COM/ELECTRONICMAGUK 3 DAPHNE ORAM AND THE ORAMICS MACHINE Tower Folly Studio circa 1960 Pictured here is visionary composer and inventor Daphne Oram working with her Oramics Machine, after she left The Radiophonic Workshop in 1959. She’s applying ink to the 35mm strips of film celluloid, which would then be pulled across an array of photoelectric cells in the machine’s base. The signals generated would then be converted into sound, the shapes painted onto the film controlling pitch, timbre amplitude and other parameters. She pursued the technology for years, but it didn’t get beyond some working prototypes, despite the undoubted brilliance and ingenuity of its design. Via the modern GUI, the idea of graphically controlled music generation now underpins almost all music technology. Oram was a gifted musician and composer and was offered a place at the Royal College Of Music in 1942, aged 18, but joined the BBC instead, where she was trained as a junior studio engineer. She used the studio out of hours to experiment with sound, and in 1949 composed a piece called ‘Still Point’ for turntables playing electronic sounds, a “double orchestra” and five microphones. It wasn’t heard until 2016, when it was performed for the first time by the London Contemporary Orchestra, and on 23 July, it will be performed for a second time at the BBC Proms at the Royal Albert Hall with the London Contemporary Orchestra, conducted by Robert Ames and with Shiva Feshareki on turntables and electronics. The piece is due to be broadcast on BBC4 on 24 July. Another date for your Oram-related diary is the second annual Oram Awards event, which takes place on 20 July at the Bluedot Festival in Cheshire. The awards, which recognise talented female music creators innovating in sound and related technologies, is backed by the PRS Foundation and The New BBC Radiophonic Workshop. Two winners will receive talent development bursaries of £1,500 each, and another four winners receiving £500 each. For more, see oramawards.com 4 THE OPENING SHOT 5 3 Welcome 4 The Opening Shot THE FRONT 8 Reader Offer 11 Eyes Of Others 17 Depeche Mode, Blood Blood 19 Sparks, Ratgrave 21 Elizabete Balčus 22 Black Box 24 Jack Dangers 26 Tom Bailey 28 Fat Roland 30 Jeff Wayne 32 Synthesiser Dave FEATURES 36 The Radiophonic Workshop 50 Let’s Eat Grandma 54 Jon Hassell 60 The The 64 Johnny Jewel 66 L’Orange 72 Doris Norton THE BACK 78 Reed & Caroline 80 Submission 02, Brian Chase, Eiko Ishibashi And Darin Gray, Masayoshi Fujita 81 Kiefer, Years & Years, 1i2C, Jaye Jayle 82 Book Of Shadows, Spaceship, Mutant Beat Dance, Tsembla 83 Pariah, Gossamer, Walton, LiiN 84 Gang Gang Dance, Claudia Brücken & Jerome Froese, Emanative 85 Hannah Peel 86 The French, David Sylvian & Holger Czukay 87 Let’s Eat Grandma, Turquoise Moon, Field Lines Cartographer 88 Bjørn Torske, C33, Natureboy Flako, Spheric Music Silver 89 Emilie Levienaise-Farrouch, A Flock Of Seagulls, Martyn, Zanti 90 Andrea Benini, Wave Earplug No 2, Seven At 77, Varg 91 Boxwork, Jodie Lowther & ARC Soundtracks, DALI, RP Boo 92 Soulwax, Kumo, Graham Reznick 93 Immersion, Slows, Castles In Space 94 Ben Chatwin 95 Abul Mogard, Concretism, Pinklogik 96 Sink Ya Teeth, Geniuser, Arp 97 Miss Red, Max Richter 98 Stockists 6 CONTENTS KOZMOPHONE | PAGE 20 7 READER OFFER EXCLUSIVE READER-ONLY LIMITED EDITIONS THIS MONTH: THE RADIOPHONIC WORKSHOP FEATURING DELIA DERBYSHIRE ‘STRANGE BEACONS’ / ‘MIND THE GAP’ HOW DO I GET THE ELECTRONIC SOUND READER OFFER? THREE EASY WAYS… • Buy the latest issue directly from electronicsound.co.uk as a magazine and vinyl bundle, so that’s the magazine and reader offer single for £10.99 • Take out our new Bundle Subscription to get the magazine and the reader offer every month for just £9.99. See electronicsound.co.uk/bundle for details • Visit electronicsound.co.uk/radiophonic to buy the single on its own for £7.99 – but be quick because stocks are strictly limited 8 READER OFFER TWO TRACKS FROM THE RADIOPHONIC WORKSHOP MAKE THEIR VINYL DEBUT THIS MONTH. WORKSHOP VETERAN DICK MILLS, AND LONG-TIME ASSOCIATES KIERON PEPPER AND BOB EARLAND REVEAL HOW THEY WERE PUT TOGETHER A. ‘STRANGE BEACONS’ AA. ‘MIND THE GAP’ ‘Strange Beacons’ is a composite track that explores detachment Co-created by Dick Mills, Kieron Pepper and Bob Earland, the piece and remoteness, classic Radiophonic dystopian themes. It contains a has its origins in an idea Dick and Kieron had while passing through drone sequence from one of the many reels discovered in Delia’s attic London Underground stations like Waterloo where the platforms are after her death, which now reside at the University of Manchester as curved and there is a gap between the carriages and the platforms part of their Delia Derbyshire archive. when the train stops in the station. The other drone sequences are from similar unnamed reels from The announcements to “mind the gap” echo through the station the same period. The ‘Hamlet’ drone was originally recorded at and tunnels and have a eerie quality that lends itself to dystopian Kaleidophon Studio on Camden High Street in Chalk Farm. Set up by abstraction. The work itself was initially created from tape elements David Vorhaus, Kaleidophon was the studio where Delia, Vorhaus made at Peter Gabriel’s Real World Studios in 2014 with Dick and Brian Hodgson recorded some of the famous ‘An Electric Storm’ and Kieron holed up in a back room with multiple Studer 1/4 inch album, which was released in 1969 under the name White Noise. machines. The elements were then edited by Pepper and treated by The drone sequences were originally part of director Tony Earland through his own custom-made modular synth. Richardson’s production of ‘Hamlet’ at The Roundhouse (also in Chalk Farm) in 1968, which was then made into the 1969 film ‘Hamlet’. DICK MILLS: “Sitting on the Underground, the warning about Delia’s drones accompany the apparitions of the ghost of Hamlet’s ‘Mind the gap, between the train and the platform’ provides several father. These and other drone sequences from the attic tapes were opportunities for abstraction: just substitute ‘gap’, ‘train’ and then combined and treated.
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