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David Cunningham

September

1984

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JUST WHEN YOU thought it was safe to go back into the record shop . . . The Flying Lizards release 'Sex Machine' (a single) and 'Top Ten' (a multiple). Why?

David Cunningham: "Well, I honestly don't know where to start. A good question but I've no idea how to answer it."

This is his first UK interview for three years. He needs dusting off, obviously. He's done "lots of foreign ones where they always talk about art" and not read the music press for a year – so I don't know what I'm supposed to say."

Good.

"It's all off the top of my head."

Better!

"I feel it's necessary to do these records but not from any great desire to change the world. I do other stuff, film music, it's important to be able to switch between roles and sometimes do something very lively and outgoing. The stuff I'm doing just at the moment is so laid back you'd hardly notice it (this may become a solo LP). It makes Eno's Ambient records sound like Top Forty.

"There's a great contrast between what I do and what I also do and how do you join the two? There's no way in terms of the marketplace to join these two really. But there are a lot of techniques which feed off one another. Like when I work with Michael Nyman (The Draughtsman's Contract soundtrack among others), there are a lot of Flying Lizard techniques employed in the recording which is unfortunate because that's why everyone says Michael's using synthesisers when in fact the instruments were just being mutilated."

To continue reading this article and to discover many more (over 140,000 words-worth!), purchase Mick Sinclair’s Adjusting the Stars: Music journalism from post-punk London. 

 

 

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