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