Kev Hopper

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[edit] Kev Hopper (Musician)

Kev Hopper (born 1961) is primarily known as the bass guitarist with the 1980's band, Stump, but it is more accurate to define him as a composer and multi-instrumentalist playing Musical Saw, guitar and samplers.

Since the mid 80’s, Hopper’s (mainly instrumental) output has been diverse and not easily quantifiable but his work is best described as a blend of experimental and melodic pop styles. His electronic work has lead him to the creation of virtual software instruments (such as sequenced resonators and generative devices) "that 'impose' harmony on multi-harmonious, multi-textural, multi-ambiguous source material" ^[1]. He has played and collaborated with pop bands such as Stereolab and The High Llamas and individuals such as guitarist, Derek Bailey and drummer, Charles Hayward.

Hopper began his musical career as a bass guitarist with the Anglo/Irish, Captain Beefheart-inspired Indie band, Stump, in the mid 80’s. His playing was heavily influenced by the fusion bassist, Percy Jones; busy triplets, tremolos and stretched harmonics on a fretless Wal bass. After the group’s demise in 1988 his interest moved from bass playing to sequencing odd sound sources and samples resulting in the 1989 recording ‘Stolen Jewels’. A ‘concept album’, (with a garlic theme) ‘The Stinking Rose’ followed in 1992 further exploring sampling.

Around 1994 Hopper began playing on the London Free Improvisation circuit and with the electronic ensemble, 'Ticklish'. The resulting recording from that period, ‘Spoombung’ marked a return to bass playing with extensive new playing (hammering) techniques and ‘preparations’ – clips and other devices attached to the strings to produce overtones. He combined this approach with the tuned percussion of Dominic Murcott and the musical saw for a more melodic effect and greater tonal scope on the ‘Whispering Foils’ album (2000).

In 2003 he abandoned the experimental bass guitar element and released a Musical Saw album, ‘Saurus’ featuring 6 melodic, original tunes. His last recording to date was‘I Saw Spoombung's Daughter consumed by Kirby Dots’ (2005)under his 'Spoombung' alias; a combination of acoustic and electronic mutated, granular pop with extensive use of the modular software synthesis/sampling package,’Reaktor’.