My debut solo album Ealing Feeder is due for release on 20 April 2017.
Hear the album and buy a copy on Bandcamp:
In the meantime, you can also hear me on these collaborations and compilations – or listen to samples of my work on Soundcloud. Here you can hear studio tracks, the odd experiment and examples of incidental music for theatre.
Lost signals and the poetical science of Ada Lovelace are the themes of Message and Method, Spacedog‘s collaboration with Belbury Poly. Out now on vinyl and as a download, Message and Method is no 10 in the Ghost Box Study Series. The beautiful sleeve design by Julian House reflects the themes of this record. It’s lovely to be with my fellow Spacedogs on this album and an honour to be the concluding recording of this beautiful collection.
Buy from the Ghost Box shop.
Like a seashell glimmering on Bridlington beach, this is a little gem from an English summer. This pearlescent, summer compilation is from the gloriously confusing mind of Ian Hodgson (Moon Wiring Club). I’ve contributed three tracks to the album which also features sounds from Jon Brooks, Time Attendant, Knö, Howling Moss (seaside cousin of Pye Corner Audio), Moon Wiring Club and The Original Uptown Sycophants. Assembled in secret, now available on vinyl from the Blank Workshop.
My 2011 album from human, theremin and robot trio Spacedog, with cameos from assorted fellow musicians and magicians. Influenced by English folksong, 1930s techno-utopianism and the European songbook, this early work is essentially a studio recording of Spacedog’s live set. Available from Bandcamp on CD or as a download. ‘Juice for the Baby’ is a quote from the archives of the Electrical Association for Women – an association that’s explored in the eerie opening track Electric Lullaby.
This other juicy worm from Moon Wiring Club reveals an uncanny world where humans and birds dine together at a bewitching, Edwardian post-theatre banquet. I appear on recorder, here and there, extemporising fragments of the kind of minuets and gigues that were taught to birds in the eighteenth century. The album is available on CD and vinyl and curiously, different tunes are served up on each format. The CD is packed with exquisite electronic tracks, in compound time signatures that lilt like a high Baroque dance suite. The LP is largely cut from the same source material but is a more laid back affair, sans beats – an electronic lullaby of sorts.
A collaboration with fellow musician and maker Sam Underwood, who sent several artists a track, asked them to react to it, then recorded his own reaction. Getting into the spirit of the experiment, I listened to Sam’s track just a couple of times then tried to put down a rapid, immediate response. My own track, Dry Dock, is deliberately void of reverb and other effects I usually rely on to create a murky sound. In fact, I wanted to evoke the sound of a viol da gamba or portative organ, playing in a dead acoustic. Sam reacted in turn, splicing this interim affair and adding his own sounds. Sam repeated this musical exchange with David Morton, Lauren Redhead, Philippe Thiphaine and various other artists with fascinating, sometimes beautiful results. Available as a download from Bandcamp.
A free album from various artists, inspired by Close Encounters of the Third Kind, arguably the film with the most gratuitous use of a Arp 2500 synthesiser. This delightful, cosmic compilation was assembled by musician and CE3K fan Kevin Oyston (aka Soulless Party) and includes tracks from Monroville Music Centre, Pye Corner Audio, Logan 5 and many others. I wrote a piece inspired by the Voyager golden record. You can download the entire album free from Bandcamp.