FatCat Podcast #88 - Lee Grainge: Film Sound And Music For Different Spaces V.2

Lee Grainge started his journey into music in the early 80's – listening to soul and funk and the emerging electro scene he became fascinated with the electronic sounds that were being used to produce these types of genre. Following a near tragic car accident Lee found inspiration in this and chose to become a DJ, at first it was for fun, DJ-ing in pubs and bars in his local area of Walthamstow he soon became to realise he had the skills to further this. Around the acid house era Lee decided to ‘live’ his passion for music and sound and got a job as Import buyer/seller for a distribution company. A year or so after this with much success selling prime dance music to all the independents in the UK he left and went to work for the Fat Cat record shop. Lee also went on to release many 12? singles under many pseudonyms for a variety of UK Techno labels. Lee also became a prominent DJ in the UK and on the international stage. Human records was Lee's last venture into Techno music, although short lived as a label of only two releases the music is highly regarded as timeless and inspirational to many who collected them. In 1999 Lee worked at Smallfish records, where he helped shape the beginnings of the shop. After two years he left to concentrate on another obsession, sound in films. He studied Sound Design and Music Technology for two years at the London Institute, after which he went on to create collaborative installations using picture and sound to create feedbacks, with a highlight being shown at the Pompidou, Paris. Since these days Lee has been freelancing as a sound recordist and post production FX editor. In the past year Lee has started to collaborate musically again. Although he won't let on with who yet, after a 10 year break from music he has become interested in his field of dance music. Lee has always believed in sound and music being about passion over anything else. He has created this podcast of a selection of film sound and music to create something he regards as one piece rather than the 30 or so different sound tracks and sound bytes actually used in this.