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Jamie Lidell

Bio

BIO Born-18/09/73 - Huntingdon, Cambridge, England Attended Great Storton County Primary Here he studied music, for which he received "an alright grade". Taught by Andrew Westcott, learn xylophones and drums.
-Started annoying teachers.
-Played a squirrel in a school play.
Questions already emerge, and with no absolute answers. To what extent did being raised in the country affect his musical sensibility? He may have been isolated from the noise, chaos and speed of culture in the city, but the countryside is not a place of innocence. How did the clamour and calm of the country contribute to the sounds that he would create?
-School report states " showing promise on percussion"
-Writes a music and voice melodrama that was performed in the dark.
Was told by Christians in his school that he was "playing with a devil" NEXT SCHOOL (Alma mater of Cromwell and Pepys)

-Makes some of his first recording with cymbal and synth.
-Starts trombone
Prince as creator landmark. Funkedelic.
Decides he must start over again.
Tactics emerge. He begins to try to take instruments to the bridge.
-He gets his first guitar, and hooks it up to "1-7 several" effects peddles, playing it through a tiny marshal.
-Breaks several ensembles in school. Is encouraged to stop with the freestyle,
-Begins recording what is now referred to as the "three four track years". (A longing that would later be called Analogue instruments)
He receives £1000 inheritance, and blows it all on music equipment.
Receipts found suggest the following purchases... -amplifier, synth device, drum machine (apparently used by Duran Duran.)
-begins recording "songs" on bedroom (tape deck - Sony EM4.19), layering backing vocals, guitars (unknown)
At this point, the data stream gets murky...there are discontinuities and more unknowns. Somehow he ends up in Bristol. Studies philosophy. We can only speculate here about the impact of this shift - the opening up of new possibilities, limitations and expectations.
He shifts to London. Hooks up with Jason and Phil, who form Subhead.
-New studio works. Learns how to deploy sound as relationships.
-Learns mixing technique he called " the nudge".
His studio time gives him a new flexibility. He begins to "see doors" opening. His approach is no longer linear, and he makes some attempts at toying with under-melodies.
His tactic at this point is to not feel limited by technological restrictions but to actually use it. The frustrations of filtering ideas through instruments is met with by improvising with space. To use the studio space itself as a sound tool. The how and where to place microphones to create / recreate sounds. -He considers Cristian Vogel to be the only one making "fair cop" technology music.
He quits London and moves to Brighton.
He is introduced by a chance encounter to Cristian. A. Vogel. Cristian is a fan of Jamie’s Subhead. A relationship of mutual respect begins. They begin sharing studio space, and creating their own sound. They call it Super_Collider. (Jamie is also seen under four legs, with notorious Brighton band Balzac.) He begins more work with the computers. Super_Collider record two singles and an album titled " Head On " to rave press reviews. Seemingly, all of Germany is awakened by the sound of Super_Collider - comparisons to Marvin Gaye, Funkedelic and Prince abound. The English press are positive but more " reserved". They find it all a little more awkword-weird.
But they ain't heard nothing yet.
Jamie spent 1369 long half days recording his solo album Muddlin' Gear for Spymania records, home of some of Squarepusher’s first vinyl efforts and purveyors of a wide range of...well, less sophisticated stuff. During this period he claimed to be " thinking more in terms" of the under tone how "sounds are unmade." He becomes enraptured by what he called " the mysteries of a bass"
The album works to blend a whole slew of influences; music genres and studio techniques. Built on analogue sounds, the album mixes the studio approaches of the Radiophonic Workshop, whose influence he acknowledged as "good", and Todd Docksteader, the American experimentalist who Jamie admired for his “control and humour”. To this already heady brew he tried to mix the attack and delay of the Marvin Gaye album " What’s Going On" with the triumphant sounds of John Coltrane who drove. As if this was not enough to chew on, he also takes on board one Pharoah Sanders styles of " running with your instrument." And the album also claims a debt to Mr. Mystery himself - Sun Ra. The man who can make something you've never heard before feel comfortable and almost familiar. The magic of spacing and placing. An ambitious task. And it succeeds on all these levels, and more besides.
So there you have it. With Muddlin Gear Jamie Lidell created a monument, no, no, better yet - a flying carpet, which lifted him off of this weary world into the diversity that extends to the stars. To merge with the meteors, catch bees on the moon, give birth to suns, deepen dark space. And you dear reader can bring him back to earth. Find Muddlin Gear. Open it up. Savour the flavour.