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I don’t mean a Lewis Carroll-style whimsy, but something firmly rooted in Kember and Pierce’s experiences in the Midlands during Thatcher’s Eighties a dank, urban misery marked by a withdrawal into drugs and a proclivity for inner flight. Spacemen 3 represented a particularly British kind of psychedelia.
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There’s songs on Playing With Fire like ‘Lord Can You Hear Me?’ which can make me cry.”
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“When he’s good, he’s fucking amazing when he hits the mark, he really delivers. “On Playing With Fire, Jason’s songs were minimal – both the songwriting and the amount of sound on tape,” said Kember. It doesn’t matter whose song it was, or who did the greater or the lesser part of it, it was just that was what you did. We wrote songs together – no, we wrote songs and then we shared the credit. I mean, you can’t make songs with people who are putting flags in them – saying, that’s my bit, that was my melody. I joked that if you owned the tape, you owned the first part, so you could make this claim that I own the silence that the Starstreamer is going on to. Pete put down this long repeater thing and then I constructed a melody over the top, and his claim was that it was his song, because he’d put down the original track. “‘How Does It Feel?’ was originally called ‘Repeater’, which is the sound a Vox Starstreamer makes: you hit the guitar and that’s what comes out of it, it plays itself. Piece had some views on the way their songwriting processes during this period functioned. Playing With Fire demonstrates the high standard of the work Kember and Pierce achieved – if not entirely collaboratively, then at least within close proximity of one another. Although the album satisfyingly hits a number of marks – the way guitars on “Honey” are processed to make them resemble synthesizers, the soft-focus melodies pillowing “Come Down Softly To My Soul”, the enveloping minimalism of “How Do You Feel?” and the 11-minute, two-chord guitar drones propelling “Suicide”. If the early albums – Sound Of Confusion, The Perfect Prescription – channelled MC5, the 13th Floor Elevators and the Cramps, by the time they came to record Playing With Fire, Spacemen 3 were drawing from a more diverse, exploratory pool of influences including John Cage, Steve Reich, the Velvet Underground and Kraftwerk. More recent recording credits include producing the Transparency LP with Sky Saxon of The Seeds on Jungle Records, guest percussion on Geraint Watkins' Dial 'W' For Watkins on Proper Records, keyboards on Tres Chicas Bloom, Red & the Ordinary Girl on Yep Roc Records and guitar with The Odeon Beat Club on Beatclub Recordings and a guest performance on Martin Belmont's album The Guest List.Playing With Fire was a creative highpoint for the band: a moment where the combative psych-metal of the band’s earliest recordings had been replaced by more delicate, elliptical textures. In 2004 he issued the solo album the Psychedelic Ubik under his own name on Mint/Jungle records. He subsequently relocated to London and released an AAA associated 'space pop' single on the 'Mint' label subsidiary of Jungle Records. He then moved to Rome, Italy, where he worked with film-maker Massimo Di Felice. The band continued for roughly 2 years until half the line-up moved to Brighton Īfter the Darkside, he created a new band called The Interceptors with various members of previous Rugby-based bands White Noise and The Revolving Unseen. Īfter leaving Spacemen 3, he joined The Darkside in 1989 - alongside Spacemen 3 bandmate Pete Bain - and recorded three albums with the band. Roswell joined Spacemen 3 in 1987 as drummer, and performed on the albums The Perfect Prescription and Performance. Sterling Roswell (also known as Rosco) is a British multi instrumentalist and artist, known as being a former member of Spacemen 3.