England.... The Midlands.... 1972:
It's a warm summer's day some time in your teenage years.... Only a few weeks of school to go, and you're looking forward to that long summer break. You've avoided a ride home with your neighbour in his 2-door Vauxhall Viva (a small English sedan with less cred than an AMC Pacer....) - you always had suspicions about the back seat and could see no escape route, so you're now seated at one of the Formica-topped tables in the Bus Station Café. Plastic sauce bottles shaped like giant tomatoes and chrome-topped glass sugar dispensers sit on the counter next to the grimy Gaggia machine which hisses like an Express Train. The summer's heat cooled by the ice-cold glass of orange crush you are drinking and occasionally stroking across your forehead. Orange drink always tasted good if it was referred to as "crush" rather than "squash", and somehow even better if it was drawn from a cooler with plastic oranges rotating aimlessly inside its transparent reservoir. Then you hear it. You're not sure at first whether you've heard the coffee machine or the Still (Hastings Ltd) hot water jet filling another aluminium teapot. You soon realise it's coming from the Tannoy, and it sounds strangely musical.
Inspired by all those little themes from BBC Testcard Tunes from the 1960s, Sundae Club's debut album, TECHNOSTALGIA, has already been compared to Air, Lemon Jelly and more recently The Real Tuesday Weld. Mainly instrumental, but with a smidgin of vocal contribution, it's a thoroughly English-sounding record, recalling the spirit of British Leyland Industrial Action; the advent of Decimalisation; the days of Dual Standard 405/625 line TV, and the discovery of North Sea Gas (RIP). The cracking 6-panel Digipak cover was designed by Ian Bilbey, the creator of those stylish posters for the VW Beetle Cabriolet and the stripes on Paul Smith's socks.
Enjoy a taste of the England you never visited and never knew.
The Sundae Club* Archive is committed to the care, conservation and preservation of the following fine instruments, effects and devices, all of which feature on this fine recording:
Streetly Mellotron M400, Rhodes Suitcase 88, Yamaha CP80, Hammond A100, Leslie 145, Wurlitzer EP200, Moog Etherwave Signature Theremin, No.1 Electronics Theremin prototype, Minimoog model D, Moog Prodigy, Korg micro-preset, Korg microkorg, Bentley Rhythm Ace, Datanomics Synthi VCS3 Mk2, Datanomics Synthi DK2, Russell Hobbs K2r, Hohner Clavinet D6, Octave Cat SRM II, Yamaha DX7, Roland JX-8P, Akai S1000, Roland SVC350 vocoder, Arp Quartet, Stylophone 350S, Casio VLT-1, Hohner Melodica, Estey Reed Organ style 62 (1881), Yamaha G1 grand piano, Suzuki Omnichord OM-27, Gibson Les Paul Custom, Squier Stratocaster, Peavey Foundation, HMV portable gramophone, Erich Werner violoncello (1979), Musikus-Studio Chromatic Elite glockenspiel, Zojirushi CD-JSH30.
Vocalists on this fine album include Sam Holmes, Helen Boulding and Tacye.
More information at www.technostalgia.org