I make music using found and made objects, everyday materials, hand-made instruments, diy electronic devices, microphones, studio technology and computers. My sound gathering procedures include foraging, scraping, rattling, plucking, caressing, rubbing, banging, forcing, striking, squeezing, coaxing and eventually teasing out musical shapes and forms to produce layers, textures, densities, gradients, canalisations, epiphenomena, structure and formal properties. I'm drawn to the idea that in listening to musical sound our perception follows every twist and turn, every fold, cusp, crimp, bifurcation, transverse intersection, every discontinuity, every catastrophe in its attempt to understand, enter into and actively participate in the complexity of morphogenesis and changing forms. My recent and most representative works from the past are intended as engagements with architecture. These longer pieces set out to energise, activate and define a given space, lending colour, texture, form, spatial definition and identity to the site of performance or playback. All of this sits alongside the deeper historical and anthropological notion that music might have come about as an assistive technology, deepening our understandings and navigations of space and time.
I'm currently creating new work and remastering older compositions for publication. Cdr are available at the shop. Streaming and downloads are on my Bandcamp pages.