I wanted to make the kind of records that I heard in the discos that I danced in at that time. Funky, electronic sounds, while the musicians in the band were more rock oriented. This I suppose created the sound we know as Frankie Goes To Hollywood.
Doing something like that, quite radically changing your approach to sound in one go, could leave you high and dry. It's happened before where people have changed direction and then everyone's stopped liking their music.
My training in music and composition then led me to a kind of musical language process in which, for example, the sound of the words I play with has to expose their true meaning against their will so to speak.
I've been informed by both sides, jazz, western music, Asian music, African music, all sides, because I've been interested in the sound of the universe, and that sound is without limit.
When I slept it was literally in the midst of an arsenal. If I heard dogs bark more fiercely than usual, or the feet of horses in a greater volume of sound than usual, I stood to arms.
In poetic language, in which the sign as such takes on an autonomous value, this sound symbolism becomes an actual factor and creates a sort of accompaniment to the signified.
Acoustic phonetics, which is developing and increasing in richness very rapidly, already enables us to solve many of the mysteries of sound, mysteries which motor phonetics could not even begin to solve.
Instead of following one another the sounds overlap; a sound which is acoustically perceived as coming after another one can be articulated simultaneously with the latter or even in part before it.
