[Download : Released August 2014: Northern Echo Recordings]
1. A Long Way To Go (7.00)
2. Macbeth (12.05)
3. Merlin's Funeral (3.43)
4. Apostrophe (Azimuth Banishment) (4.18)
5. Adjective (5.30)
6. Better Things (No Wonder) (7.52)
7. Grass (17.00)
8. TE (4.09)
Following the intense activity (a track per day) of the DAS album ‘X’ (there was even a session on the final Saturday morning of our Easter break, when we thought the album was already finished), ‘XI’ follows on
from where ‘X’ left off; ‘Macbeth’/‘Merlin's Funeral’ is a cauldron of sound inspired by the three witches & the Third Ear Band, & was recorded during the same sessions, using the same instruments as ‘X’. (Moogs
Prodigy & Rogue, Pro-1 & Casiotone 202)
Over the course of the rest of 1984 we recorded sporadically, probably too busy socialising & drinking XB at the Middle House. ‘Grass’ was recorded downstairs in the music rooms, where Duncan’s mother taught
piano, & where we could put two pianos & various percussion instruments through their paces a little. The opening & closing pieces ‘A long way to go’ & ’T.E.’ were recorded with live radio signals as part of the
mix, to create a one-off sonic picture.
For some of these pieces, only the Moog Prodigy was available, & we were back to doing sequencing by hand. The Pro-1 & Casio heard on ‘X’ had been borrowed from James Barclay, who had since disappeared somewhere
else into the depths of Sheffield Poly along with his gear. But Duncan had also acquired a decent bass at last, a smaller Casio (which was immediately subjected to some circuit-bending), & the Moog Rogue from
the ‘X’ sessions had made a permanent return. These latter keyboards worked together to produce the filtered arpeggios of ‘Apostrophe’ & 'Better Things', while the bass & the Casio also feature on
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Do Electric Sheep Dream Of Space Rock?
This hour long collage of Radio Massacre International material consists of previously unreleased material from various sessions between 2003-15, and might be seen as their version of `The Faust Tapes' in its
construction. Endlessly fascinating, playing as a continuous suite, it is an unpredictable journey through many of the places RMI have found themselves in whilst working and improvising together.