Richard Pike has been nominated for Best Original Music Score in Television for his work on Romper Stomper. Thank you to Australian Academy of Cinema and Television Arts (AACTA) for the recognition. "The score was inspired by John Clifford White's original 1992 score, which in turn had echoes of Bernard Hermann's music for Taxi Driver. My effort was to bring in my love of electronics to reflect the modern setting, along with the orchestral-Nazi-jazz of the original. The result is bold, which director Geoffrey Wright gave me the impetus and courage to pursue throughout. And producers John and Dan Edwards took a big risk on me taking on a 6-episode series, as I'd never done it before. So I want to thank them all for the chance to do something so unusual." It's still on BBC Three iPlayer UK. ICYMI. https://www.bbc.co.uk/programmes/p065dqm8
Necessity is the mother of invention. I think we sampled the sound of sticky tape on our first album come to think of it... https://www.theguardian.com/music/2018/oct/16/jean-michel-jarre-michel-granger-oxygene
Today marks 10 years since our second album ‘O Soundtrack My Heart’ was released, so I felt a few words about it might be in order for the occasion, and please, feel free to share yours with us in the comments. After a few years labouring over our first release “Make Me Love You’, and a significant line-up change which eventuated in the now classic Pike/Miller/Pike configuration, we set about capturing the new feeling of the band on record in 2007. Made via early file sharing websites in between our respective homes in Newtown and Bethnal Green, the material felt like it came easily and quickly. I can remember writing the synth parts for ‘In The Blood’ in the living room of the leaking flat that Richard and I shared off Wilson St, and the very first time we came up with the riffs for the title track in the tiny, shitty Room D of Troy Horse Rehearsals. We mainly communicated with Dave (living in London at this stage) using primitive gifs and emoticons on MSN, as the three of us essentially worked around the clock for several weeks – with overnight developments and files from the opposing time zone awaiting us in our inbox each morning. With some electronic outlines in place, we headed to Sydney’s now defunct BJB studios to track live instruments over a couple of days with engineer Scott Horscroft, and then more or less finished the album after hours in the production house that Richard was working at by day down near the Wentworth Park dog track (I remember ‘Love Like I’ was an 11th hour creation of one of our evening sessions there… a great track that we could never seemed to figure out how to play live…). Shortly after we wrapped post-production on the album, the three of us were at a party in London and noticed Warp records founder Steve Beckett sitting on a couch. I introduced myself (I think at this point I had just done some recording with Prefuse 73, another artist on the Warp roster, so I had an awkward starting point for our drunken conversation). We also met Phil Canning, who would also eventually champion the album at the label, and we told them both we were about to fly to Chicago to mix a new album with John McEntire of Tortoise. They said they’d love to hear it in due course. Working with John McEntire turned out to be well worth the trip to the America. There’s not too many people who could’ve given a mix the width and crunch we were after at the time, and it was great to spend some time in the windy city with one of our formative influences. John is not a man of many words. We arrived at the studio in Wicker Park and pretty much got straight to work. The first song we mixed was ‘Sweet Memory’, and I remember making the comment to him that I was astonished at how quickly he had pulled the drum sound (which was one of the best I’d ever heard). He turned to me and said completely deadpan ‘is something wrong?’. We managed to loosen things up over the course of the 5-6 days it took us to complete the mixes. I think at one point we even introduced him to the music of Jean Michel Jarre, which to our surprise he hadn’t encountered. I have strong memories of catching the L train home from SOMA studio each night to the northern suburbs where we stayed with our friend Laura Pusateri and her ailing dog Peanut. We ended up finishing ahead of schedule, and feeling high from the experience Rich and I went to the top of the Sears tower in town to survey our new dominion… In the end, Warp were the only label we sent the mixes to, and Steve Beckett emailed me shortly after hearing it and said he wanted to put it out, starting a weird ride that took the three of us and the music of ‘O Soundtrack My Heart’ all over the world, from Sydney to London, to New York, Moscow and everywhere in between. Oh, In a Tim and Eric-inspired attempt at Aphex Twin style myth building, we sent Warp a fully cooked and dressed hot dog from Sydney to London in a sealed bag with the contract, as a symbol of our new friendship. Admittedly a pretty weird thing to do in hindsight, but it was obviously funny enough to us a decade ago. It’s satisfying to be 10 years from that moment and think the album has got some legs yet. You can’t really ask for more creatively. A quick note on the artwork; Ultimately we just wanted something for the cover as iconic as Jean Michel Jarre’s ‘Oxygene’. It took a friend to point out that we should just ask the same artist, Michel Granger, if we could use another of his images from the same period. Happily, he agreed. We went all out for the double vinyl version of the album; gatefold, spot gloss crosshairs on the cover, printing on both sides of the record inners. It was fucking absurd. I remember getting angry at the label when I saw the accounts of how much they had let us spend on the pressing. Those days are gone, I can tell you that much for free. Sadly, we lost most of the remaining stock of the LPs in the PIAS distribution warehouse fire in London several years ago. Time for a repressing? Hmm. Maybe we’ll save that for the 20th anniversary. Laurence/PVT
Excited to share this. Please share also. ------ Thanks to Headphone Commute for the premiere. https://reviews.headphonecommute.com/2018/07/13/video-premiere-deep-learning-freedom-of-things/
A message from Rick: I'm very excited that D E E P L E A R N I N G has reached 50 likes. That's 50 genuine people, and I'd like to thank all of you for the support. If you're in London there's something goin down on Tuesday July 3rd. The Waiting Room, N16. Come say hi. I'll be wearing dark sunglasses and a light kaftan. I will have a minder who is 5 ft called Lil' P, who speaks mainly in Mandarin. He will insist you call me 'Deep' and not my real name. He will be carrying my pet axolotl in a small mobile tank. I will be selling my cassettes for a fiver.
Our Larry aka Laurence Pike has been busy again. His spiritual-jazz-techno-super-band Szun Waves have a new album coming out on the Leaf Label on Aug 31st, and it looks like Pitchfork have the opening track on offer. Recommended listening. https://pitchfork.com/reviews/tracks/szun-waves-constellation/
Hi all. Things may have gone quiet on this page, but we've been digging in deep. D E E P L E A R N I N G is my new electro-ambient pseudonym. A record will come out @salmonuniverse on June 8th. The Line Of Best Fit have written some nice words on a new track I have 'shared' today. I'm pleased to be finally sharing it with you all. And 'dropping' it... into the ocean of the internet. - Rick https://www.thelineofbestfit.com/new-music/discovery/deep-learning-freedom-of-things Preorder: https://deeplearning.bandcamp.com/releases
Laurence Pike EUROPEAN/UK TOUR STARTS NEXT WEEK. Our very own one-man drum show Laurence Pike is hitting the road with James Holden & The Animal Spirits for a number of shows in Europe in April, as well as a handful of his own solo gigs in Rome at InFunzione, the Rewire Festival in The Hague, and a special London show presented by Bird On The Wire and ODYXXEY to launch his forthcoming album 'Distant Early Warning' on the Leaf Label. Links to all events are below. April 4th COLOGNE - Club Bahnhof Ehrenfeld w/ James Holden & The Animal Spirits https://www.facebook.com/events/392904864492985/ April 5th FRANKFURT - Zoom Club w/ James Holden & The Animal Spirits https://www.facebook.com/events/141762053297733/ April 6th AMSTERDAM - Paradiso Amsterdam w/ James Holden & The Animal Spirits https://www.facebook.com/events/1757140674361030/ April 7th THE HAGUE - Rewire Festival https://www.facebook.com/events/477007252683343/ April 9th LONDON - Album Launch, The Waiting Room. https://www.facebook.com/events/556965914658927/ April 13th ROME - InFunzione https://www.facebook.com/events/1839070519471655/ April 14th BOLOGNA - Teatro Duse Bologna w/ James Holden & The Animal Spirits https://www.facebook.com/events/302535543600484/ April 19th ISTANBUL - Babylon w/ James Holden & The Animal Spirits https://www.facebook.com/events/185350468722987/
New vid for 'Life Hacks' from Larry's forthcoming solo album on The Leaf Label. A lovely live collaboration with our old friend Alexander Orlando Smith who also did the clips for 'In The Blood' and 'Light Up Bright Fires' for us. Well worth a peep. https://www.youtube.com/watch?v=7DZ61nrVUWc
#Repost @richardpike ・・・ So, I wrote the music to Australia's hardest-hitting new political drama, #ROMPERSTOMPER. And now it's been officially picked up by BBC for UK broadcast later in 2018. Which probably makes it the biggest thing I've ever been associated with. Pieces from the score will be played on radio for the first time tonight on ABC Classic FM, so please check it out. I've somehow made the transition back into the world of classical music (as a 'real composer'), which is sort of where I started. . . The program is called 'Screen Sounds' hosted by Jason Di Rosso, Saturday 5-7pm AEST. Turn it up loud. Feel the orchestral power. If you like Bernard Herrmann and Vaporwave (hey who doesn't) those were the main inspirations for the score. Big brass, junk percussion, twitchy strings, ambient synths. Kinda like a Pivot record gone wrong. I'm very proud of what we achieved on a tight schedule and feel that I've given the show a sonic identity all it's own. Big love to all my buds who helped get it recorded @evmchugh @laurenzpike @donnybenet @freeenergydevicestudios @trackdownstudios, players from the @sydneysymphonyorchestra, #geoffreywright for the vision, @gunnhead for the patience and @devomull for the political chats. More soon.
There's a lot of internet-based cultural wars going on in Australia at the moment. But this topic seems to be constantly swept aside. Why? Because there's a bitter truth to be swallowed. It's the bedrock of the whole nation. The Mapping of Massacres https://www.newyorker.com/culture/culture-desk/mapping-massacres