In the end, Sarah withdrew her involvement and it was probably just as well as the Electronically Yours label venture proved to be misguided. They helped us book shows, drove us around, made us delicious sandwiches… I miss them! And their tunes! Some Schmoof-iness can be heard in Hyperbubble songs as well as in Maison Vague. And Vile Electrodes certainly have a similar although less animated look. You can also read a brand new interview with the band on The Pansentient League! Skip to content.
She studied sound recording technology many years ago - using mainly analogue equipment. She has contributed to publications worldwide, worked with promoters Live Nation, producing copy for one of their mainstream rock events, and has also worked on high profile photographic assignments for some of the largest UK rock festivals.
Loading player…. Scrobble from Spotify? Connect to Spotify Dismiss. Search Search. Add artwork. Length 10 tracks, Release Date 12 November Related Tags electronic new wave 80s pop instrumental Add tags View all tags. Tracklist Sorted by: Running order Running order Most popular. Buy Loading. More Love this track. Play album Buy Loading. Scrobble Stats? What is scrobbling?
Artist images. Also a member of Visage , Billy Currie co-wrote and co-produced their hit single "Fade To Gray" and played keyboards on their first 3 albums. View wiki. He has had a succe… read more.
He has had a successful solo career and has played with Steve Ho… read more. Similar Artists Play all. Trending Tracks 1.
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Learn more about Amazon Prime. Get free delivery with Amazon Prime. Back to top. Get to Know Us. Amazon Payment Products. English Choose a language for shopping. Amazon Music Stream millions of songs. Amazon Advertising Find, attract, and engage customers. The lower sequence sound is a typical minimoog sound and the top is a very spiky sound.
They work well together. I do this type of mix arrangement at the end as well. It is definitely a case of less is more. I spent the rest of the week practising the piano. I always need to keep doing that! I also worked on another project as well.
I can't say much about that yet. July 15 Hope you are all very well. I am working away still on what will be a ten track album. I have 13 tracks but 1 was used as an intro for 13 Balletic Transcend. That leaves ten tracks. I do love this time of thinking about titles. To feel the pictures that words conjure up in my mind and see how they connect with the pictures and emotions that my music creates.
This is a picture I took of the beautiful landscape of the Totteridge and Mill Hill area. This is Lake Darland. Folly Brook flows from here. I named one of my tracks after the stream. July 31 Hope you are all very happy and well! This is a photo from way back in I am in there leading the Viola section, with the long hair. Not sure where this is though. The Bruch Violin Concerto is being performed here.
My viola teacher is playing the solo violin part. This is a very emotional piece. We all had our hearts on our sleeves. If you look at my teacher, Herbert Whone, you will see his fantastic technique. The bowing arm is producing power and pressure on the string without tension. You can actually see that from the photo! I spent four years trying to learn that from him. Many a time I would be playing the music for him in my lesson and he would just suddenly grab my arm to demonstrate how tense I was.
Being left handed my fingering hand was light years ahead of my right handed bowing arm. If I had gone on to the London Royal Academy, where I managed to get a place, I am sure I would have got quite close to accomplishing this technique through the oncoming five years there. It was not to be! I have a different type of technique now after playing in Performance Art groups and Bands for many years. I learned how to apply the bow, with pressure, near the bridge when I needed high harmonics and sometimes a screaming sound.
It has become my electric violin style. An electric violin sends out these harmonics in a much more powerful way! It is an exciting journey which I am still on. I am working on the Viola at the moment to play on track I dropped the Violin part when mixing. September 11 There is an excellent article in The Electricity Club. About my album Accidental Poetry of the Structure. Had a great day today with Dave Spiers.
Great to meet Chris, his partner at G force, as well! It has this amazing simple programming part, at the top, that allows you to add extra LFO's and ADSR's and lots more thingies to each slider.
Changing what each slider can do. It has three filters mirroring the three different Odyssey's. Mark 1 Mark 2 and Mark 3. I still prefer Mark 2 but it is great to be able to have all three and mix them.
Adding the third oscillator is mind blowing not to mention the polyphony. September 26 Had a very good day today starting the mixing of my new album. I am really tired. A satisfied tired. Peter Dudley who is mixing the album with me came over and we went through the whole album together in my studio. We have started mixing the first track. It is going good! I haven't got all the titles for the tracks yet.
They will come with the mixing. It is good to actually have the title of the album now. It usually comes later. Have all the mixing dates in the diary and sorted. We will finish at the end of the week. Friday 18th October. Soliloquy 2.
Extremism 3. Empty Stage Mantra 5. Beyond Our Own Skin 6. People Came And Laughed 7. Martyr Points 8. Bend The Bow 9. Love Signs And Triangles Cycle There. Containing superb moments of light and shade, there remains no shadow of a doubt that this is Billy Currie's finest output to date. A work of philosophical complexities and strong inner concepts, the ornate album artwork is the perfect pictorial representation. The opening passage, an amalgamation of gracious violin and piano, gently entice, going forth to exhibit one of albums boldest tracks.
Its power and glory is celebrated during outbursts of dynamic synth textures, enhanced with the discrete underlying melody throughout.
The vibrations of " Extremism " extend beautifully alongside a contemporary styled groove; the expressive instrumentation injecting a sense of adventure into what could be a sinister journey, before a more jovial destination is reached in " Supporting the Sky with Both Hands. Bridged with celebratory sounding synth swirls and crashes of atmospheric improvisation, it's complemented with a vivid digression to the most beautiful naked piano - all before the tracks final climax.
The violin solo is one of the most engaging flashbacks. Emulating a creepy cold presence of spirit with its gentle chimes is " Bend the Bow ," constructing its own ghostly tune - each note decaying in such a way that lends a darker side to every lurking shadow. Billy Currie is a virtuoso who continues to seek new forms of conceptual expression.
The unrivalled quality that is 'Refine', is set to ensure that demand for Billy's highly prized originality shall not be diminished. Refine is a grand result and wonderfully produced - expect a full-bodied unveiling of distinguished and intellectual musical illustration.
Accidental Poetry of the Structure 2. Williams Mix 3. Skips of a Chopped Head 4. Krakow 5. Idee Fixe Movement Three 6. Matsang River 7. Hall of Impressions 8. Folly Brook 9. Compassion Listening to Strength. This is a powerful, extravert, electronic album. Billy experiments with amp distortion, not just on his Synthesiser sounds but also with the Viola. A reggae influence creeps in. He is obviously having fun with this track! His time at Island records must have had some influence on him.
Billy says that the fifth track was influenced by Steve Martland. That will be the fast, syncopated rhythms I think. Much piano soloing on this track. A very free feeling. Billy hadn't listened to that solo for years but on doing so thought the improvised melody, that he comes out with right at the end, could be utilised for a completely new work.
Here it is, very joyful! By the seventh track the listener is reined in a little to experience a more quiet and sometimes peaceful music. The quirky feel of these last four tracks is very attractive.
Billy's unique Violin playing now comes to the fore. This is about compassion for all the suffering in the world. Billy uses simple ingredients of Synthesisers, Violin and Piano to a mesmerising effect.
When I write I usually have two or three ideas on the go. Differing colours and emotions. It is only when I work on the structure that the sparks start to fly and accidental to this process of structuralising the piece the musical ideas come to life and speak! Waving Hands in Clouds 2. Simultaneity 3. Afterglow 4. Apocrypha 5. The Waves Look Sleepy 6. Standing Still 7. Highfalutin 8. The Other World 9. Stately Deflect Downward Step Forward To Seven Stars.
Billy Currie is well known for his contribution to the group Ultravox and the studio project Visage playing Keyboards and Violin. Billy first started playing keyboards at the Huddersfield Music College back in Piano was his second instrument.
He was there to train to become an orchestral Viola player but things did not quite work out like that! Piano became a very interesting tool for him as a way to hear the harmony he had to compose for lessons and a means to see fully what was going on while reading scores. All the notes were there on the keyboard! Billy was a natural string player but loved this elevated view of music the piano gave him. His music had a very spacey organ sound that was a bit like a current sparkly synthesiser version of an organ sound.
Billy managed to secure a place at the London Royal Academy of Music in to take his next step to becoming an orchestral player but took a sharp left turn. He was invited into a band and grabbed the opportunity. This band, based in London, called Springbirth then Company Roadshow had a strong leaning towards blues and Jazz but with a rock edge. The drummer had played with The Graham Bond Organisation. Improvisation was the way. The Hammond was an amazing instrument for Billy to experiment with when the band were not around.
He loved the way Pink Floyd used it as well as Jimmy Smith. The boffin roadie for the band used to look after Hawkwinds strange oscillator synth so Billy got the chance to sit in his workshop playing with this weird synth all night. Billy left this band after a year and worked with the Tim Buckley styled song smith Jeff Starrs who later, after Billy moved on, did two albums for Virgin with his band Interview.
This was a time when Billy, playing piano, started writing very emotive songs, with Jeff on vocals. They had a few big gigs supporting The Strawbs so Billy experienced the serious thrill of playing a grand piano up on stage.
It was at this time that Billy worked with the amazing Mellotron. It belonged to the the Strawbs. Billy was invited into Pye studios, London, to produce a young female vocalist and so got a chance to use this instrument, that had great string sounds, on the sessions. Ultravox was the next band that Billy joined in Billy was still considered an electric Violin or Viola player first and it took a year for him to move into the position of keyboard player. The first keyboard Billy bought was a bland sounding Crumer Electric piano.
This was just good enough for gigs and worked fine for the rehearsal writing process. Billy loved writing using the keyboard as he could see what was going on with the structure and harmony. Ultravox signed to Island Records in and went in the studio to record there first album.
Billy used the acoustic grand piano, wurlitzer, string machine, organ and clavinet. Bits and pieces really to get the job done. It was the sounds coming from the Mini Moog synthesiser that blew Billy's mind. Brian Eno was co producing with Steve Lillywhite and showed Billy how to get some sounds from this great instrument. The Arp Odyssey synthesiser was the choice for Billy.
He felt it sounded more raw and emotional. Billy immediately started to experiment and, as well as using the instrument to make electronic rhythms and sometime violent effects, developed his own solo sound. The sound had a vibrato made from the LFO sounding like a very intense Violin. This seemed a natural way to express himself being a Violinist. The Oscar arrived in and Billy started using this more reliable Synth instead of the Arp. The new version of the Arp is now called the Oddity and the new version of the Oscar is now the Imposcar.
Both have new features for Billy to experiment with, for example polyphonic sounds. Only two notes at a time could be played back in the early days of Ultravox. Please use phasing. One of the other Billy Currie trademark sounds was the huge, almost religious in its intensity, string sounds he created from the magnificent Yamaha CS Its a Billy Currie Synthesiser Album. Eleven beautifully crafted tracks created with passion! Stand Like a Balance 2. Step Forward 3.Balletic Transcend is the new studio album from Ultravox’s Billy Currie ; the ninth installment from his notable instrumental solo catalogue and a mature work of multifaceted character that has found its way from the depths of the darkest, distant, yet most beautiful Isles.