‘brak’ review in Tiny Mix Tapes

Employing subtle sine tone oscillations and field recordings as sonic source material, the two short pieces simply titled “1” and “2” gently explore timbre and presence … This is an excellent, restrained effort, both in terms of content and length, and a thoroughly remedying listen.

Full review

brak is available on Soft Error. Edition of 50 C16 cassettes, and infinite downloads.


‘aural documents #1’ – Reviewed in ATTN:Magazine

Everything about aural documents #1 is clean and exact; a precise negotiation of noise, time, space and silence, architecturally arranged into a structure of symmetry, right angles and impeccable counterbalance. The hand of the composer is barely present, intervening at the behest of necessity rather than preference, instigating switches in polarity rather than nudges of increment. Vivid and irrefutable.

ATTN:Magazine. Read the full review here.


CERENEM Journal #5

Flickers and flashes. Fizz, pop, whoosh, rrrrttthhhhh. In the corner of my mind’s eye. In the street, the train; on an old record, down a YouTube rabbit hole. Stop a while, listen. Consider the sound. Watch its movements, colours, textures. If it excites, take out the phone. Record a short excerpt. Forget until the urge to make a new thing arrives. Revisit. Stretch, mold, filter. Layer with more bottled sounds.

The latest issue of University of Huddersfield’s CeReNeM journal is out! It takes the form of a website, and I’ve written an article on how I use my synaesthesia to compose music and audio/visual work. It also features articles by postgraduate colleagues, including Pia Palme, Beavan Flanagan, Eleanor Cully, Daniel Portelli, Alex Grimes, David Pocknee, and Michael Baldwin.

You can read my article here, and click the menu on the left of the page to view the other contributions.

CeReNeM is University of Huddersfield’s Centre for Research in New Music.