The ‘studio’ at Du Cane Court, in Balham, South West London, where I recorded and arranged many albums and tracks including ‘False Dawn’, ‘Die Datenschleuder’, ‘Knowledge’, ‘Prismatic’, the Lagowski Chromium Industries 12″ series, Nagamatzu and engineered Lustmord, Terror Against Terror and Isolrubin BK. That is Lustmord’s Akai keyboard in the foreground, which we used as a MIDI controller and sampler. A while after this, I got a Yamaha DX11 to control my MIDI equipment and sold the TEAC 8 track and Seck 12-8-2 mixer to Paul Rooney, the guitarist from Vice Squad.
Posts Tagged ‘Nagamatzu’
I have compiled some tracks I made while working in the attic of my parents’ house in London, between 1984-1987. There’s quite a bit of guitar, melancholy and some noisy drum machine workouts too. These were recorded while I was very active with Nagamatzu, so fans of Nagamatzu will be able to hear some of our trademarks here too. Star of the show has to be the Boss DE-200 digital delay that I used on most of my recordings from 1984-2000+ – see if you can spot where it’s been used.
As Nagamatzu were inspired so much by NASA and of course S.E.T.I. uses NASA and other space samples, it is appropriate to share this lovely item as a PDF nasa_graphics_manual_nhb_1430-2_jan_1976
Promo from the release’s FB page ‘We’re delighted to announce CTTNF will be released on April 29th. 4CDs of ‘Proto-Synth Pop, DIY Techno and Ambient Exploration’, accompanied by over 9,000 words of artist recollections, sleeve notes and an introductory essay by Dave Henderson. Coming to a record shop near you, or directly from Cherry Red Records’. Here you can see the press release with full band list CLOSE TO THE NOISE FLOOR PRESS RELEASE
An interview with Andrew Lagowski/S.E.T.I., conducted by Mike Harding of Touch, was broadcast on Dublab Radio on January 8th 2016 (2-4pm L.A. time) Long Wave. The interview includes an hour long S.E.T.I. mix and also custom made S.E.T.I. interstitials as well as a potted history of how and why Andrew Lagowski got into music and sound making, including Nagamatzu’s origins…You can listen and download it here
As I sit here in the bunker near Heathrow Airport, tin foil hat on to protect me from David Icke’s reptiles and remote control ‘planes, I receive news from my Polish brothers at Zoharum that the new Nagamatzu double CD ‘Neural Interval’ has hit the streets. You can hear some of the tracks and buy the CD’s or digital versions here. It’s limited to 300 copies, so get moving if you’re into this stuff!
Also in the pipeline, my other brothers in Leipzig, those of the Loki Foundation, plan to re-release my S.E.T.I. album ‘The Geometry of Night’. This will not be a simple re-issue. Rather, it will be accompanied by a new ambient sister album entitled ‘Companion’.
As alluded to in my last missive, Andrea Bellucci has been patiently waiting while our bunker had its rebuild and I am now back on track working on our joint album.
Finally, Astro Myrmex will be presenting his data logs in the next few months. I’ll keep any interested parties informed via this site as, although my Facebook band pages still exist, I no longer use the site myself. The Lagowski and S.E.T.I. pages are run by my Polish and German brothers mentioned above, while the Nagamatzu page is run by Stephen Jarvis of Nagamatzu/VII Sins/Motorcade Records.
I was invited to release a S.E.T.I. album on a nice looking label a few months ago, so have spent many evenings creating tracks and am pleased to say the album was finished a few weeks ago and has already had the stamp of approval from ‘the label’. They release very limited runs of glass mastered CD’s – I will of course announce further details in due course. When it will be released is another matter, but I am very happy with the direction this album has taken and fans of S.E.T.I. will notice a big difference between this and ‘Final Trajectory’. Some of the sounds were played at my recent gig in Berlin and more will be previewed in Poland at the Gorlice Ambient Festival in July.
This doesn’t mean my relationship with Loki has ended and of course I hope they will be happy to release my material in future, but as I was invited and like the look of ‘the label’, I thought it might be fun.
For the Gorlice festival, I have been extending my video backing, as my set will be at least an hour long 🙂
In other news, there are plans afoot for a bunch of Nagamatzu CD releases on a Polish label, which may be familiar to some of you from a few of my recent releases 🙂 Stephen Jarvis has been hard at work sourcing graphics and we are at the stage of cataloguing tracks for the albums, which will include some never before heard demo tracks and possibly live noises too.
Finally, I have been working with Andrea Bellucci (‘Red Sector A’, not the voluptuous actress!) on some very hypnotic techno-type material and we hope to find a label for it towards the end of the year.
Don’t forget Nagamatzu vinyl and other releases of mine can be found at my Discogs Seller page
I’ve never had a manager for my musical output and am not the kind of person who can schmooze his way to success. I don’t believe in kissing the backside of those who I think might help to increase my exposure in the electronic music/sound world. I find it hard to look at my musical output from the outside in – to me it seems sporadic and patchy with a few tunes here and there that I still enjoy. I’m always analysing my own tracks and wishing I could have done this or that better but ultimately, once a track is done and ‘out’, it’s like saying goodbye to an offspring and time to make another one.
So this week, in an attempt to increase my circle of listeners, and to introduce people to my music (which I’ve been making for 30+ years) I’ve paid FB to bring traffic to this page. Only a very small amount but without a manager, there is not much I can do to push it out there and spread the virus.
In the long distant past, I would have sent cassettes out to fanzines and later, cd’s to magazines and websites. I even met people and gave them cd’s in person! I soon realised that giving people your music free, in the hope that they’d review it or talk to others about it, was a very naive thing to do.
I don’t really know what I’m trying to say apart from, this is the way I’ve always done it and I don’t think it’s ever going to change. So paying FB to promote me is perhaps the equivalent of sending out that cassette 30 years ago and I don’t really expect it to go anywhere or reach anyone but you can’t hang on to your children forever and maybe this will push them further afield into areas that they’ve never been.