Given what they took, we reckoned they were just kids. I had an NTSC VCR player nicked and other people in the flat lost bits and pieces. The downstairs flat I was in got broken into. “ Here is a bit of trivia about 184 Southgate Road. They got in through a tiny bathroom window. The police said we were in the midst of juvenile half way homes, and that we should expect more Artful Dodgers. The house was pretty smart, but we got burgled a couple of times. Eventually they put out records by some of the house’s extended cast, P.P Roy and Global Goon were Stu’s mates, and The Gentle People, were friends of Jon.ĭo you have any other anecdotes or memories from your time at Southgate Road? Grant was a regular visitor, a sweet guy, Maff too. Presumably the flat was also the base of operations for the newly minted Rephlex Records, do you have any memories of activities relating to the running of Rephlex? For one person to have the keys to so much new territory was incredible.ĭid Richard ever explain the functionality of his custom circuits/equipment? I’m no expert on his music, I just enjoyed it. I don’t remember details of Richard’s studio, but it was right above my room, so I first heard his music, through the floorboards. Another Kingston designer, Jon Clayton, also had a room, but he was rarely home, he’d sleep at his studio across town rolled up in a futon like a hot dog in a bun. Sam and Richard lived in a separate flat upstairs, Paul, Stu and I lived on the ground floor. 184 Southgate Road, was where we ended up. do you remember him using his Atari ST to sequence tracks? You first shared a flat with Richard at Southgate Road, the spare room was Richard’s studio, can you recall what equipment was being used at this time or what tracks might have been created during this time period? i.e. They said they’d ghosted treated samples of his music under some of their tunes to establish the moods. In the summer of 1992, I worked for Saint Etienne, and I mentioned that I’d just moved into a house with Rich. I remember someone playing the didgeridoo live with him- that techno crusty Spiral Tribe scene. I think I heard Didgeridoo for the first time at Knowledge. I didn’t hear them until after we were living together. What did you think of his first releases such as ‘Analogue Bubblebath’ or ‘Didgeridoo’? I think he was about to go to America, but I can’t find any evidence of that on the web. Stu was the motivator and the glue between us. A few weeks later we met with Richard and Sam Robinson, his delightful girlfriend, and they were up for moving too. Paul lived with Stu Harrison, also a Kingston illustrator, and we were all planning to move to Islington. We were both about to graduate from Kingston, and lived in the same house in different flats. There was some in-joke going on between them, it was par for the course with Paul. He was sitting with Paul across from Surbiton station. How did you first meet each other, what were your first impressions of Richard? Richard began the North London gig with an endless, slow, beat-free flange, which Paul (Nicholson) danced to full tilt… The first time I saw Richard live was in the year we all started living together, either at the Polytechnic of North London, or Knowledge at the SW1 club. No, I was a ‘60s obsessed indie kid, techno wasn’t really on my radar. Were you aware of Richard before you met him, did you attend any of his early gigs? I first wrote about my time living with Richard as part of the book, I thought it was about time. My retrospective “Drawn in Stereo” was published in 2016. I moved to San Francisco in 2001, and have been in California ever since. During the time remembered below I was making art for Elastica, Saint Etienne, Select magazine, Nude records etc. I’ve always been inspired primarily by music. I grew up in Swansea, and went to art school in Taunton and Kingston. Hello Michael to start with could you please tell me a little about yourself and your career as an artist/illustrator?
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