During the recording sessions for RE-GENERATIONS disc 2
        

Since after our Performance at EMMA in 1997, we had been considering what our next CD project could actually be. There were several possibilities; we had arranged for a live DAT recording to be made of our EMMA set, with a view to perhaps releasing a live EP of a portion of the concert. We had envisioned perhaps releasing four live tracks on the EP - the live versions of ‘Father Of Invention / Sounds Of Industry’, ‘Haven’s Lament’, ‘I.S.D.N.’ and ‘Trans Continental’. When we eventually had a chance to review the tape, it unfortunately turned out that because of various technical / mixing problems, only the tracks ‘Haven’s Lament’, ‘I.S.D.N.’ & ‘Trans Continental’ were worth considering out of all the material we played that day.

Another idea had been to release a REFINED remix album, drastically altering various songs from the original album in an experimental way, giving a different perspective on our previous work. Some experimental mixes of ‘Generation’ and ‘Dance Machine’ had already been attempted during 1996 & 1997 with an edit of the ‘Generation’ remix being released on a CD issued with ‘Sequences’ magazine. This was well before the definitive studio version had seen the light of day !

A third idea had been to embark on a completely new album of new material recorded in the studio. Since before EMMA, we had been thinking of a new project centering on digital technology and communications. In fact the track ‘I.S.D.N.’ was written specifically with this project in mind, hence its omission from the REFINED album when released. Eventually, the idea for this whole project evolved into a hoped-for future studio album under the working title of MODEM TIMES.

It suddenly occurred to us that the use of extracts of our 1998 BBC Radio Derby interview would be a nice, cohesive method of combining aspects of all these ideas into a unified CD release. Luckily, we had been provided with the whole interview on DAT cassette by the radio station. We could also include on the CD some live tracks from EMMA, our experimental REFINED remixes and brand new studio material while using the interview extracts to provide some occasional bridges to link the tracks together or act as introductions. Hopefully the CD release would therefore contain something that would appeal to any of our Kinetik followers.
      
Remixing REFINED

With two remixes already in the can, it seemed obvious that we should include a studio version of the well- received reworking of ‘Sounds Of Industry’ - ‘Industry Of Sound’ which had been prepared for the Micro Tour. On the recording, we replaced the sung vocals with entirely synthesized male and female ‘spoken’ vocal lines which was very effective. Also included was an improvised drum pad solo near the end, actually inspired by our antics while performing the song live. It is notable that this track was the first instance where we had used a Supernova for a Kinetik studio recording. It was while we were recording this track that I began to notice that something appeared to be not ‘quite right’ with the performance of our multi-track tape machine. As it turned out, ‘Industry Of Sound’ was to be the last Kinetik track to be completed using our old analogue tape technology, but more on this later….

The remix for ‘Industrial Technology’ utilised a completely different approach. Instead of a complete reconstruction of the song using the original MIDI data, we instead took some elements from the original multi-track master tapes of the song, and mixed them from the multi-track ‘live’ while playing synchronised additional instruments on top and recording the end result onto DAT in one take. Thus, the version of this song on the CD can be thought of (partially) as a Kinetik live recording !

The final REFINED remix to be added to the CD was in fact the first Kinetik remix ever to be assembled, way back in January 1995; the Late Shift Remix of ‘Kinetik Energy’. Although previously issued, this track had only ever been available on the scarce ‘Kinetik Energy’ cassette release in 1995 or the extremely rare CD version of the same title.
      
New Songs For Disc Two

We felt it was very important to show that Kinetik were still committed to writing and recording new material, so it was decided to include a second disc containing new studio tracks with the RE-GENERATIONS package. The idea was that each member of Kinetik would solely write the words and music for a song, but the song itself would be constructed and arranged along with the other members of the band during the recording process.

A promotional CD of ‘In-Novation’ was released in early 1999. This was distributed to a few radio stations and to Novation to demonstrate what could be achieved using the Supernova arpeggiators. The promo CD was limited to only 10 copies, the last few of which were given away as competition prizes on the Kinetik website.

Andrew arrived at the Kinetik studio one weekend with a sequencer crammed full of the building blocks and ideas for his contribution to the second CD, a song entitled ‘Hydro Electric’. This song drew on the themes of renewable energy sources and was in fact an undeveloped idea left over from the REFINED album, not included then due to lack of time. Andrew had constructed the framework of his song at home using various melodic motifs which we found were very effective when re-programmed as Supernova arpeggio sequences. The studio session had been progressing very smoothly on our multi-track tape recorder, when we suddenly realised on playback that some audio tracks were varying completely out of pitch with others, despite being originally recorded in the same key ! Absolute and accurate pitch control is essential when making multi-track studio recordings otherwise you end up with a horrible discordant mess. All of the hard work we had done while attempting to record ‘Hydro Electric’ over the weekend was now useless and had to be abandoned !

It was a very depressed Andrew who made his way back to Bath, despite my assurances that we would find a way to somehow complete the song. Obviously our analogue multi track tape machine which had served us well since the first REFINED sessions wasn’t now functioning properly. Instead of having the deck serviced and the delay that would involve, I decided that Kinetik should dispense with unreliable analogue tape systems altogether and move forward to the latest digital technology now becoming available for our recordings. Before Andrew’s next visit, I had acquired a new digital hard disk multitracker and had managed to re-create the recording of the song in a new version up to the point where we had had to unhappily abandon the studio session previously.

Some weeks later, Andrew reappeared at the Kinetik studios in Wales to complete his track. He was amazed that I had been able to completely recreate our previous progress on the new machine and how easy it now was to manipulate and edit sound data digitally. Our remaining task was to record the vocals for the song. Andrew had requested that unusually, he would actually sing the lyrics for this particular track, but we soon found that it was difficult to find enough room in our very small, cramped studio to set this up. Andrew eventually ended up recording his vocals in our bathroom (better acoustics !) while being connected to the studio by various lengths of cable !

Shirleyann’s contribution for the second RE-GENERATIONS disk was the next piece to tackled. The song ‘Go Elements, Go’ was actually based upon a little ditty which Shirleyann had found herself singing to herself during a car journey !

‘Go Elements, Go’ was the song which underwent the most dramatic development during its recording history. Early demo tapes of the song featured various different sequence ideas which were subsequently dropped. Listening to this early version today, it sounds very strange ! As with the other songs for the disk, the other members of the band (in this case Andrew and myself) developed and expanded upon the original ideas provided by the writer of the song.
    
In The Can

The final touches to the album were completed during another hectic visit from Andrew. During this period we recorded several new short ‘linking’ and introductory pieces to the material we had already recorded for Disc One.

‘What Is Energy ?’ served as an introduction to the ‘Kinetik Energy’ remix. Again, this was a development of an idea originally conceived for the Micro Tour. For the tour, Andrew had assembled a sample of a sinister artificial speech to act as an introduction to the song ‘Kinetik Energy’ in our set. It was only after the CD had been pressed that we realised that the song could have been called ‘WATT Is Energy ?’. Similarly, ‘You Can Dance….’ Was again based on another such introduction prepared by Andrew, this time for the song ‘Dance Machine’ in the Micro Tour.

Because these studio sessions were so productive, Andrew actually postponed his train home to complete the final work for the album; an introduction section for the ‘Industrial Technology’ remix. This utilised samples from the ambient recordings which Shirleyann and I had prepared for the original version of the song on REFINED. It was Andrew’s idea to ‘morph’ these sounds (of someone welding a sheet of aluminium) with a synthesizer tone playing in the same musical key. The completed introduction was then easily pasted onto the beginning of the remix, courtesy of our new digital recording technology.

At the start of 1999, I had noticed a shop selling transparent CD cases in packages containing a range of different colours. These struck me as being very unusual (they were nowhere near as common then as they are now !) and I wondered if it might be possible to use them for the packaging of the RE-GENERATIONS 2 CD set. Instead of producing normal CD inlays for the release, it would be possible to use transparent sheets of printed acetate, giving the whole package a unique translucent look. To try out the idea, we had previously used transparent blue CD cases (matching the blue colour scheme of the Novation Supernova) with the acetate inlays for the ‘In-Novation’ promotional CD and it had worked out very well.

Dave England had produced a stylised pylon design for the ‘In-Novation’ acetate inlay after I had described to him the idea I envisaged for the artwork. Dave had initially tried using various digitised images of real pylon photographs, but soon found that his own stylised design had worked much better. This same design was re-used for Disc Two of the RE-GENERATIONS set. The Disc One RE-GENERATIONS Inlay featured another stylised design, this time a reproduction of the railway / power station image used originally for the REFINED album. The RE-GENERATIONS two CD set was finally launched in October 1999 and was available in a range of different cloloured CD case schemes - according to whatever CD cases we had readily available ! Also included with initial copies of the album was a sticker featuring the stylised pylon cover design as used on disc 2.
     
A Modem Start

With the music material for RE-GENERATIONS finally complete, we turned our thoughts back to what was envisaged as Kinetik’s next project - a new studio album with the working title of MODEM TIMES. We had been thinking about this album as far back as our 1997 EMMA Festival rehearsals. The album was to recorded on and influenced by modern digital technology and it had always been intended that the song ‘I.S.D.N.’ (as performed at EMMA) would eventually be destined for the CD.

Over Halloween 1999, we began constructing a new untitled piece for the album (later known as ‘Digital World’), though as it turned out, it was to be over three years later before this music was actually recorded and mastered for the album. During this song’s construction process, we actually had a rare visitor to the Kinetik studio. Clive, one of our friends from the Kraftwerk Convention days stayed with us for a few days and was able to witness the various Kinetik creative processes at work.

Later in the year, we recorded the album’s title track, based on an idea from Andrew who envisaged the music in a mock-classical style complete with a vocoded choral line, somewhat in the style of Handel. ‘Modem Times’ ended up being a very short track at around two minutes in duration and was a radical departure in style from anything we had recorded previously. Nevertheless, we were all very pleased with the light-hearted end result, especially with a baroque wind synthesizer solo provided by Shirleyann for the piece. It would form an intresting introductory piece for the album. Much later, nearer to the album’s release we would add an ambient introduction to the song consisting of a recording of Andrew’s computer logging on to the internet.
     
No Sleep ‘Til Windows

Some months before the onset of the new millennium, we had started to think about Kinetik performing live again. We had been approached about the possibility of participating in some kind of Millennium concert in London, but unfortunately nothing had come of this. Additionally, we had also considered putting on an open-air concert of our own in Wales - even going as far as provisionally booking a bandstand in the seaside town of Tenby. However, in the end, we decided the postpone the next Kinetik live performance until some time in the new year, since it would have obviously meant Shirleyann and I would not be able to attend an eagerly awaited Millennium concert given by Jean Michel Jarre in front of the Egyptian pyramids.

As yet, we had still not managed to play our desired gig in Andrew’s home town of Bath as finding a suitable venue had proved very difficult. Eventually however, we made contact with the manager of the Windows Arts Centre and after much negotiation and chasing about, arranged for Kinetik to perform there in February 2000. A long standing friend of Andrew’s, Jonathan very kindly offered his services immediately as a lighting technician for our performance. He had been heavily involved with various live preparations for Andrew’s old band Paradox many years ago (including the concert featuring the infamous ‘Laser Harp’ incident as detailed in Part One of the Kinetik Story !). Jonathan had many innovative ideas of how he could contribute to Kinetik’s live presence.

We had learned several lessons from our previous live excursions during 1998’s Micro Tour. The whole live set up was by far much too complicated then and we needed to find some way of modularising our equipment in such a way as to both make it more reliable and much easier to set up and dismantle. Andrew was very keen to dispense altogether with our custom-built wooden stands which were now becoming a little fragile and often required last-minute repairs involving judicious amounts of Super Glue. These stands were actually gradually disappearing anyway from our live set up; the last of them was being used to support our very large and bulky on-stage mixing console and sequencers. Together, we started to investigate ways of replacing this heavy mixer unit with a range of rack-mounted replacements. Preferably, these could have a patch panel included as well which would reduce the amount of fiddly cable connections necessary before each live performance.

Our final choice of stage mixer was a Behringer 1604A. These were basic in design, but provided two independent stereo output pairs from 16 inputs which was very useful. The idea was for each of us to have our own mixer, rack mounted directly behind us on stage complete with patch panel located directly above. This meant that we need only provide a sound engineer with six stereo signals (two stereo signals from each mixer) instead of the multitude of complex cabling we had provided before. Unfortunately, the height of the mixers was such that they required the purchase of three new 12U rack cases in order to house them.

Having decided upon our choice of mixer and patch panels, actually locating the required equipment proved to be another matter entirely ! After much fruitless telephoning, we finally located a dealer who had three of the mixers for sale. However, while we were in the process of placing the order over the phone, one of these was sold to another customer ! With the date of the concert drawing nearer, it became more and more urgent that we located a third mixer to complete our set up. Nobody had any in stock. In the end , things were becoming so desperate that we were telephoning dealers in America & Australia trying to locate one ! Finally, a frantic, pleading call to Behringer HQ in Germany revealed that a dealer in Scotland had just taken delivery of a batch, so we promptly called the dealer to place our order. I think he was very surprised at his quick sale - the mixers had only just arrived and had not even been placed on the warehouse shelves yet.

Colin deep in thought during rehearsals

For rehearsals, we again set up a temporary residence in Max Fairbrother’s outbuildings. This time we arranged our equipment in a large whitewashed room, adorned with various exotic plants. This normally served as a tea room for tourists during the Summer months. The room had a very comfortable atmosphere to work in and was adjacent to Max’s kitchen area where we were free to come and go as we pleased. Once again Max’s family (as always) had made us feel very welcome and often took an interest in our strange activities, watching us through the large adjacent kitchen window. Often we would be working quite late during the cold February night and must have made a very strange sight playing our instruments while wearing woollen hats and mittens ! Sometimes we would see bats emerging from various nooks and crannies in the roof space while we played.

The Bath concert was to have the largest set list so far prepared for any Kinetik concert with the concert set to last for around 100 minutes. This meant that rehearsals were unusually complicated and required a lot of preparation work, including completing some new synchronised computer graphics for ‘Go Elements, Go’ and ‘In-Novation’, both of which had never been performed live before. Halfway through rehearsals, we were briefly joined by Jonathan who had ridden to Wales by motorbike to understand how we would be using MIDI on stage. He made a data file during our rehearsals in the hope of being able to somehow synchronise his lighting equipment to our MIDI information while we played. His plans were certainly very ambitious and we were impressed when he showed us his designs of various lighting rigs, banners and spot effects for the stage.

As usual, we worked very hard to get as much done as possible in the limited time available to us before the concert. As is often the case, things really only came together during the last couple of days. The new computer graphics were the most time intensive - Because time was so tight, these were actually tested in sync while we rehearsed. Shirleyann and Andrew were becoming most agitated when I had to interrupt a rehearsal to make some fine adjustments to the graphics software. As it was, our tight deadline meant that we were unfortunately unable to prepare any sort of video imagery for the song ‘Hydro Electric’.

Kinetik rehearsals for Bath

To coincide with the concert, we quickly recorded a limited edition EP featuring the popular track ‘I.S.D.N.’. The whole CD was recorded and mastered over a single, very productive weekend in late January. After recording the definitive studio version destined for MODEM TIMES, we found it surprisingly easy to then construct two alternative experimental remixes using various elements of the song , one of which - the ‘Trance - Ference’ mix we decided to include into our set list as an encore. The ‘No Sleep ‘Til Windows’ mix is a typical example of a Kinetik jam session, with us improvizing and playing around with various song motifs in real-time while recording. The ISDN EP was initially to be a very limited edition pressing of a mere 31 copies intended for sale at the Windows gig.

The night before the concert, we drove to Dave England’s house in Hereford and spent the evening placing ISDN EP insets into the CD cases. Dave had prepared a very simple, stylised design for the CD inlay based on an image of a computer floppy disk. It made a very effective image printed on a bright, fluorescent yellow background. Dave had also helped to produce a limited number of Kinetik T Shirts for sale at the concert. These featured a montage of the RE-GENERATIONS inlay designs and looked very stylish ! Because numbers of these were so limited, sadly it was not even possible for any of us to have samples of these T Shirts for ourselves.

Dave England's excellent poster design for the Bath concert

Bath Electronica 2000

On the morning of the concert we left with Dave England and drove to Bath. As we approached the city, the reality of the situation dawned on Andrew and he started to get a twinge of nerves for the first time while thinking about performing in front of his friends at the venue that same evening. During the journey in the van, I suddenly realised that I forgotten to ask Dave for the loan of his MIDI drum pads for the gig. My own ones were an identical model but were now triggering very poorly on a couple of the pads, sometimes requiring a great deal of force to trigger a drum sound.

We arrived outside the venue in Bath city centre at around lunch time. When we started to unload, we soon realised that Jonathan had not been able to erect his lighting equipment the previous day as he had originally planned. Instead, placed on the stage was an ominous note written by Jonathan, addressed to a person who had supposed to meet him at the venue to help set up. This person had obviously not turned up and had let Jonathan down. Soon afterwards, a very flustered and stressed looking Jonathan arrived making his apologies. Instead of setting up our own equipment as originally planned, it now made sense to try and help him erect his lighting rigs and equipment since he was now very much behind schedule. Some time later Jonathan returned with a van containing case after case of lighting gear. I realised that he had actually had brought with him considerably more cases of equipment than we would be using ourselves on stage. If you have ever seen Kinetik perform live, you will realise the significance of this statement !

As the afternoon progressed, it became more and more obvious that there was simply no way that Jonathan was going to complete his ambitious set up in time for our performance. We still had not set up our own equipment yet and of course this had to take priority. There came a time where Jonathan had to make the best of what he had already erected. I tried to explain that the lighting was not too crucial since we would also be using our own video projection system throughout the performance. Even so, Jonathan was still kept busy right up until we were about to take to the stage. I remember seeing him looking very stressed while up a ladder, frantically replacing a bulb which had typically decided to blow at the very last minute.

Dave England was to take the role of controlling our computer graphics and video projections for the first time and we duly provided him with a desk at the side of the stage to control the proceedings. We had not had time previously to explain to Dave how it all actually operated, so poor Dave had to pay very good attention while I quickly explained it all to him before we changed into our stage clothes. Since our last live performances, I had at last invested in our own video projector which was to be used for the first time at this concert. The projector was suspended from the ceiling in a specially constructed Meccano-like box designed by Jonathan and linked to Dave’s desk by a long, improvized video cable held together at many points by judicious amounts of gaffa tape. The Windows Art Centre hall was equipped with a suitable video projection screen behind our equipment and the projection was extremely effective in the near total darkness.

Kinetik's guest DJ Pedro

Another friend of Andrew’s, ‘Pedro’ had kindly offered his Djing services before we took to the stage. Unfortunately, because of everything was so behind schedule due to continuing problems with the lighting, poor Pedro only had around 15 minutes of DJ time before we were scheduled to start playing. During Pedro’s set, Andrew’s mother arrived to help man the Kinetik merchandise table at the rear of the hall. This was to be her very first live Kinetik experience, and I don’t think she knew exactly what to expect !

Immediately before we took to the stage, the audience were treated to an early mix of the new ‘Modem Times’ title track played through the PA speakers from tape. Some of the audience looked slightly puzzled as to exactly what this strange classical-style music was - it was certainly not in the musical style they had come to expect as typical Kinetik music ! As the taped music died away, we took to the stage and started the sequencers for the first piece in our set list - the newly written ‘Digital World’. At first things appeared to go very well. However, about two minutes into the song I suddenly realised that none of our keyboards appeared to be sending MIDI information. As the sequencers continued to play along without us, I tried frantically to find the source of the problem. Eventually as a last resort, I ran around to the back of our equipment and disconnected the MIDI merge units fed from the keyboards. Once these were powered up again, the problem immediately disappeared and we were able to resume playing for about the last 30 seconds of the song. Somehow, one of the merge units had ‘hung up’ - possibly the result of a mains power surge somewhere as we were setting up.

Whenever Kinetik play live, we have a tradition of incorporating at least one completely new piece of music into our set list. For the Bath concert, ‘Digital World’ was to be the only completely new piece in our set. We were therefore a little disappointed that this technical hitch had prevented us from giving a proper performance of the song. However, since the piece was completely unfamiliar to the audience, most of them didn’t seem to realise any problem had occurred and were nevertheless very appreciative when the song ended.

Despite the shaky start, the concert then proceeded quite well. As is often the case, the further into a concert we get, the more relaxed we become and the better we play. However, there were longer than usual gaps between each song while I made absolutely sure that Dave was ready to start the next computer graphics program. Despite it all being completely new to him, he actually coped admirably.

On stage, playing 'Kinetik Energy'

As expected, my MIDI percussion pads were proving difficult to trigger, often requiring a huge amount of force to operate. This led to some comments about my ‘enthusiastic’ drumming style when the concert was reviewed sometime later ! Playing in the often near-total darkness also sometimes presented problems. It was often difficult to read the displays of our instruments while we adjusted them between songs. We had anticipated this and Andrew had previously invested in some cheap battery-operated torches to help us in this task. But as the concert progressed, the batteries grew weaker making the operation more difficult. A couple of times we frantically had to make some last minute corrections to our settings during a song. I made a mental note to somehow make this adjustment process more ‘automatic’ whenever we next played live…

During our very brief soundcheck earlier in the afternoon, the venue manager had actually thrown a minor fit at the level of noise we were making. Therefore, the overall volume of our music while we played was a little bit less than I would have liked. Because the music volume was so relatively low, we had no problems at all with microphone feedback and our vocal performances were very relaxed. Gradually throughout our set, I slowly increased the output level of our mixers….

We enjoyed performing much of the new material from the RE-GENERATIONS album live for the very first time with all three songs form the second disc included in our set list. Shirleyann added an improvized wind synthesizer solo on top of ‘Go Elements, Go’ which worked so well, it has been a staple element of every Kinetik live performance since. Andrew also relished the opportunity to sing live vocals for the first time during our rendition of ‘Hydro Electric’. Later on in the set, he also sang vocals for a revised version of ‘Trans Continental’ in combination with the more usual vocodered lyrics. Present in the audience was Andrew’s friend Mark who had actually written the song with Andrew many years before - it must have been a very strange experience for him !

We decided to omit many of the more radical remix arrangements of REFINED material from our set (as featured on the RE-GENERATIONS CDs), preferring to perform the more traditional arrangements of the songs instead. An exception was ‘Industry Of Sound’, the remixed version of ‘Sounds Of Industry’. Unlike the version performed live during the 1998 Micro Tour, we now incorporated the artificial lyrics prepared for the recorded version. These comprised of a series of samples which were triggered at the appropriate moment by the sequencers during performance. However, as the samplers we were using on stage could only hold eight samples at any one time, Andrew had to manually reload a new sample disk on stage between ‘verses’. Because of the amount of time the disk took to load, we had calculated that he had a mere three seconds leeway to make sure he loaded the disk at the right moment ! Luckily, because we had rehearsed this so much, all went well and the second set of samples were loaded and integrated into the song seamlessly.

To conclude our main set, we played a shortened, re-arranged live version of ‘Refined’ which omitted the lengthy improvized solos traditionally performed at the end during previous Kinetik concerts. This was followed by the live premiere of an extended version ‘In-Novation’ which incorporated a lengthy section at the end where we were all free to improvise and interract with each other to our heart’s content. For myself, this was the most enjoyable portion of the whole evening. The performance of this song remains in my own opinion another of Kinetik’s ‘finest moments’. It was a real adrenaline rush not knowing exactly what we would be playing next and relying on visual cues from each other as we played ! The computer visuals accompanying this song featured a giant head in wireframe graphics whose lips followed the artificial lyrics as we played.

Kinetik on stage at Bath

We then left the stage for a much needed drink of water and shortly afterwards went back to play a remixed version of ‘I.S.D.N.’ for an encore. This ended up being a curious hybrid of the standard version and one of the remixes featured on the newly launched EP and appeared to go down really well with the audience.
  
After The Concert

Once the concert was over, we now had the mammoth task of dismantling our gear and helping Jonathan with his. Jonathan seemed more than a little depressed and seemed to think that in some way he had let us all down. We tried to assure him that what he had managed to put together for us had been more than adequate for our needs. Loading up the vans with all the equipment took a good bit longer than we had hoped. Paul Wilkinson had travelled down from Blackpool to see the concert and we met up with him in the street again as the last crates were being loaded up. Since the end of our performance, he had managed to visit a nightclub which had just closed !

Jonathan had kindly arranged for all the equipment to be stored in a secure warehouse in Bath overnight. By the time we all met up again at Andrew’s home it was well past 4:30am. Of course we were all still far to excited and buzzing to be able to sleep immediately. We reflected on how it had all gone during the evening. I was a little disappointed that we had had the technical hitch during ‘Digital World’, but otherwise I felt we had played fairly well. The new modular design of our equipment housings had certainly made setting up easier than during the Micro Tour, but there was still room for improvement, especially when making adjustments between songs.
                  
A Farewell Gig ?

What hadn’t been announced at the concert was that, at the time, we felt that there was a very real possibility that the Bath event would be Kinetik’s very last live performance. Shirleyann and I had decided to relocate away from Wales, taking the Kinetik studio along with us. We were currently in the process of purchasing a new home and studio on a tiny island some 30 miles off the Cornish coast. It was intended that our Kinetik work would continue, but that we would have to become a studio-based band since transporting all of our equipment by ship to the mainland in order to perform a gig would not really be practical….
         
In Part seven of The Kinetik Story, Kinetik relocate their studio, record and release the MARCONI single and play their first live performance in London…..