VIDEO: Christus & the Cosmonaughts song (Scot Solida, Har)

Elektronauts Our Music
#1

So many years ago, my guitarist, Har, did a video for a song by our ‘band’, Christus and the Cosmonaughts. It was intended to coincide with an album release, but the label we were on folded before the record came out and the video languished in ‘the vaults’. This morning Har released the video (and therefore the unreleased track).

Full of scorching guitars, modular synths, and classic gear - not to mention some very old footage of yours truly, here’s “We Can Build You”, at long last. I hope you dig it!

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#2

This is awesome.

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#3

Thank you. :blush:

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#4

Wow. Far out and Solida!

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#5

:slightly_smiling_face:

#6

Immediately made me think of Chrome - always a good thing.

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#7

Great stuff all around (apart from too loud hats - sorry had to say it). Really like the vocals - there’s some cracking lyrics straight from the opening line. “Take me apart bit by bit and sow me up with wires, Fire glows behind the marbles I used to call my eyes.” :+1: I’m going to have " I know just what buttons to push," in my head all day. Thanks for posting.

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#8

I loved Chrome all the way through, with and without Helios.

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#9

Thank you! It means a lot to me that you singled out the lyrics.

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#10

I thought the headgear was one of the best parts of the video :wink:

I came to them relatively late through the Chrome Box inherited from a friend 20-odd years ago and never looked back.

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#11

It was as painful as it looked. An old band mate now has it hanging on his studio wall.

A friend gave me that box as a gift, too. However, it was Red Exposure that first sucked me in, when I was an alienated teenager getting excited about electronic music. Back then I thought Chrome were the perfect blend of Hawkwind and Suicide. I was a die-hard science-fiction fan and comic book reader… both of which are now mainstream, but could get you a walloping in 1980. Chrome seemed to embrace those concepts and spit them out as some sort of acid-drenched interstellar transmission.

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#12

You’ve seen my book and record collection then :wink: (except I was never so much into comics)

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#13

Played this to my other half “f… excellent”, “it’s got all the elements I want to hear in a track,”, “timelesness” were her comments on 1st listen - and she doesn’t give musical compliments easily. We’ll listen to this many, many times more! Not just the lyrics, , the vocal delivery, ace, ace guitar, melding of guitars and synths. super production, Many thanks again :heart_eyes:

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#14

That’s really cool. Thanks for that!

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#15

Awesome @Scot_Solida! I’m surprised this just sat in the “vault”, it’s really good!

Love the little acidy sounding sequence that goes for most of the song. Also, I agree as some stated above, that the lyrics were really good too. Lots of memorable lines.

Have a friend I know would love this, I’ll make sure to share it.

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#16

Thank you. The sequence is really why the song exists. It started life thirty years ago when I bought a brand new Wavestation EX from Synthony in Phoenix. Determined not to be put off by rumours of the difficulty of the instrument’s programmability, I set out to build a patch from the ground up. A couple of nights later, the then-version of Christus got together for rehearsal and jammed to this first patch (along with a JX3P pad). Eventually, I recreated the patch on another Wavestation (A/D), and added a layered wavesequence built on the big modular system. That’s the version heard here.

Incidentally, when jamming that first patch on that first night, my instructions to the band were that it should sound like an malevolent version of The Legendary Pink Dots.

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#17

Awesome to know the history behind it too. I always forget that a lot of your early stuff happened here in Phoenix.

Any sequence that can go through a whole song and it still sounds good and not annoying at the end is a good sequence! The sound and the notes equally make it!

Waiting for the next one to get scraped out of the vault barrel :wink:

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#18

Indeed, the first recorded version of this song was recorded at my best friend’s studio, Livinghead Audio, that used to be at that wonky intersection of Thomas, Grand Ave, and 27th Avenue. (he’s still in Phoenix and teaches recording at GCC). I have a great Gefell UM92 mic bought from Chaton studio in Phoenix. My first gigs were played in Phoenix (MasonJar, Hollywood Alley, the infamous Roxy) and I knew a lot of people from the underground 80’s/90’s music scene there.

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