DAVID PRESCOTT / HISTORY
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Here on Auricle are 4 unique releases in the annals of David Precott's early cassette album history. These showcase his love of German synth / cosmic music, and prove that he was a great talent of the genre. After completing these 4 he decided he couldn't really go any further without ending up sounding like everyone else, so he pushed on in a new direction of avant-garde electronics. So, these 4 releases are a time capsule exclusively given to Auricle as a "thank you" by the artist, with specially commissioned artwork by Peter Harrison, who was also a fan.
David Prescott, an explorative synthesist/experimentalist who came to prominence with a prolific burst of releases in the late 1980s (and through to 1990) covered a lot of ground, generally moving towards the avant-garde. He established the label Generations Unlimited along with other partners, including Gen Ken and extensively featured artist: Conrad Schnitzler. Knowing of our interest in deeper "cosmic music" David sent us 4 thematically similar tapes that he'd recorded earlier on that we may be interested in. Indeed, we were very interested, and we issued all 4 on cassette. Later though, when we sent him a royalty statement the letter came back, and as a courtesy we deleted the cassettes when they ran out. Two decades on, no one had heard of him since, and as there had been increasing requests for a reissue we made them available again, remastered and for all to enjoy. In doing so I was amazed how fresh and original this music still is. David was indeed an innovator. David did eventually resurface, but seems to have recorded nothing new since the early 1990s. We would love to reissue some of his other releases, should he be interested.
From Audion #9, page 10, Article & Interview by Alan
††† To quote David ĎNeologlsms ... is essentially one live performance, which I played back and did very sparse overdubbing on. It consists of this digital delay arrangement ... One digital delay line was hooked to the sequencer, timed to the same pulse as the SQ. The other delay line was hooked to the chords and sounds, and the delay line was always exactly twice the length of the other delay. I invert the phase on each delay, which gives me a more realistic sound. The actual synths were ... a Sequential Circuits Pro-One, a Korg Poly-800 (all the programming on the Poly-800 is my own, I despise factory patches!), plus an ARP Odyssey.í David claims this arrangement gave him freedom to explore his instruments well, and as proof of this was a trilogy of tapes (all recently reissued by Auricle)...
††† NEW MUSIC FOR CATHEDRALS finds David teaming up his synths with his trusty bass guitar for some atmospheric ramblings that uncannily resemble the quieter moments of Tangerine Dream live circa 1974. Davidís fluid bass style complements his synths perfectly. No doubt this tape, never officially available before, should win David a lot of convertees, as this is a rare music genre that has scarcely been explored.
††† More subtle and sequential is THE DREAMER, a more reflective work that while being similar in structure to NEOLOGISMS is very different in sounds. A lot more expressive keyboard soloing here, meandering, intricate yet spacious. Iím reminded as much here of Kevin OíNeillís subtle textures as those of Klaus Schulze and the like. This is one for late night peaceful listening that wonít send you to sleep!
††† FOUR MILLION YEARS is the closest Dave has come to the cosmic synth music of Klaus Schulze, here massed string-synthetics are to the fore, accompanied by gentle sequential patterns, rambling melodies and wafts of sound reverberating into the distance. Despite the Schulze-ian aura, this is unmistakably Prescott - lighter and more accessible than before, whilst still being mysterious and enigmatic. Dave gave a bit of background on this one - ĎIt essentially is three live performances at once. I took some ideas and recorded them, I played this back and "jammed" along with It, and repeated the process once more. For me, the essential ingredient is the use of digital delays (described previously). The way I use the delay lines necessitates using two channels at all times, so that multi-tracking is difficult. I do not overdub, nor do I like to. That is, I donít do punch-ins, etc.í
††† After this,
David decided to re-assess his musical outlook, and try something different.
FOUR MILLION YEARS - MC private (1985), Auricle AMC 019 (1987), CDR
Auricle AMCDR 119 (2007)
David Prescott articles and reviews in Audion: #2/33, #3/10, #7/3, #9/10-11, #11/28+29, #12/29+32, #13/28, #17/24+32, #53/30, #56/39
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