LORIN CUTTS
A misspent youth as a singer/bass player in various punk bands from the age of 14 brought cider-fuelled dreams of rock n roll stardom. That was until an opportunity came along to move to the big smoke and work as a tape-operator and later as an engineer in a London recording studio. It was in this studio that I fell in love with the developing music technology of the day. The studio had been set up in a Camden attic by The Eurythmics to record their ‘Sweet Dreams’ LP, and it was here that I learned how to mix in the dead of night by sneakily digging out master tapes and making my own mixes of tracks.
The studio was also host to a couple of very early drum machines/toys built by legendary Kraftwerk producer Conny Plank. It seems almost dreamlike that my first exposure to electronic music making was in these amazing circumstances. I never truly appreciated how lucky I was at the time. I don’t have many regrets, but if I had one it would be turning down the chance to buy Dave Stewart’s ‘typewriter’ drum machine (the one that appears in the ‘Sweet Dreams’ video) for 50 quid. I simply didn’t have the money! During this time I worked as tape-operator/apprentice and learned how many records were made. I even appeared on a few and I’m particularly proud of making crowd noises in a supposed strip club alongside Johnny Thunders on his ‘Copy Cats’ LP.
Stints as engineer, studio manager and vocalist in various indie bands followed until in 1991 when a reluctant visit to Trade club in London showed me how the other side of the music obsessed public lived. This music was just as dark, dirty and rebellious as punk, but without all the hideous hours spent hung over in the back of a transit van on a tour of the East Midlands.
Trade became a weekly scheduled stop and using skills learned during my grueling studio experience, I was soon making tracks for legendary Trade DJs Tony de Vit and Tall Paul as well as those at brand new club-on-the-block DTPM. The following year saw the debut releases of original tracks and remixes on fledgling labels Hooj Choons, Positiva, and Jumpin’ and Pumpin’, and of course numerous obligatory white labels.
A seven year publishing deal was signed in 1994 with Polygram / London Records, but by 1996 I’d become tired of the vacuous place that the music industry and club scene had become. Disillusioned and exhausted, I moved once more and became a West Country recluse, listening to Strange Cargo albums with my sheep dogs in Somerset.
By 2004 I’d became excited by new developments in music technology, and a growing love of the breaks scene in the UK tempted me out of self-imposed exile. DJ dates followed in places as far afield as Russia, Europe, and the USA. Exposure to a barrage of amazing new music prompted the launch of music label and multi-media company – mmrmmr. Now based in Portland, Oregon, I spend my time between writing, producing and remixing music, researching UFO’s and frequency healing, and working as a freelance writer.
I’m currently working on several projects to do with frequency healing / response and incorporating this technology with my music production.
TV credits include: Top Gear, Inbetweeners, Eddie Izzard, Royal Variety Performance, MTV, BBC, ITV, Channel 4. Publishers include: Polygram, Warner Chappell, BMG, Audio Network and BBC Worldwide.
All things Lorin Cutts on mmrmmr.com: here
Go to www.lorincutts.com for my ufology and writing.
