A Musical Map: Easy User’s Guide?

As my musicking meanders across, between, and in spite of, so many styles, and my album catalogue is something of a wild garden, I thought it might be less daunting for some folks if I grouped my recordings into a few categories for easier exploration. I’ll update new releases to the list whenever I remember to. The links will take you to audio samples, either within this website, or on my Bandcamp site, where everything is available as digital download.

And the categories are….

  • Acoustica / World / Ramshackle Folk
  • Ambient / Gentle / Neo-Classical
  • Other Spaces (Experimental / Not-so-ambient)
  • Jazzishness
  • Rock And Other Mineral Combinations
  • Electronica
  • Dub

For a quick dip, I’ve also curated a few compilations as samplers (most are available as free downloads). These albums are also listed in their respective categories further down the page: Textured Monotonies series (I – IV) (2023) / Rock Samples Vol 3 (2022) / Uncertainty Box (2021) / The Mood (2020) / Rock Samples (Vol 1 & 2) (2018 – 2019) / Introversations l & II (2016 – 2019)

Or, for an alternative entry point, you could try my own recommendations: albums marked ** are my personal favourites, that is, albums I feel are my most musically cohesive and complete, and that I personally continue to enjoy as a complete listening experience.


For many years I immersed myself specifically in acoustic music from other cultures, especially African, Latin and all things gypsy. Through these years I developed my own style of fingerstyle playing on acoustic guitar and ukulele, integrating melody with complex rhythm. I also played and taught African-style percussion for many years, and collected a range of interesting acoustic folk instruments, all of which make appearances on these albums. Not all this music is acoustic, and some includes electronic textures, but if you enjoy exotic sounds from other cultures, or have an ear for the acoustically-inclined, you’re bound to find something of interest in here.

Xenografika (2022) ** / Kro Gnosis (2022) ** / Cut From A Different Cloth (2021) / As Is Was (2020) / Hill Tribes Of The Huon Valley Region (2020) / Introversations l & II (2016 – 2019) **/ Is Land: Edges Defined By Water (2018) / Gringo! (2018) / Threestringbox (2017) / Skin (2017) **/ Pigbox & Co Vol 1 & 2 (2016) / Limited Emission CD (2013) **/ Marzipan (2007) **/ Camel Lips (2006) / A Month Of Moonbeams (2006) / An Anthology Of Revised Ambiguities (2005) **


While many of my other albums include ambient tracks, these albums are probably the most consistently ambient or at least gentle listens as a whole. Some feature piano, some are a nod to minimalism or neo-classical, some are drifting soundscapes. The Textured Monotonies series (I – IV) are compilations of various previously-released shorter pieces, and could also be a good entry point for this category. Any subsequent releases in the series consist of new, previously-unreleased compositions in this vein.

Looking For Light (2023) / Making Peace I & II (2023) / Textured Monotonies series I – IV (2023) / Intimacies (2023) / Floater (2022) / Temple (2022) ** / Elegiac Reaction (2021) ** / Postnebulism (2021) / Walkabout I (2020) / The Witnessing Of Paint In Its Drying Moments (2021) ** / Huon Pieces: Letters & Notes (2021) / Loveletters From Beneath The Waves (2018) ** / Rain River Rain Pts I – V (2016) **


These days, most of my albums sit in a genreless territory that I loosely term experimental in some sense or other – that is, explorative, often longform, soundscapes, loopscapes, textural abstractions, some more musically accessible than others. In this category, many of these albums can’t be genred because they contain an eclectic mix of styles; others are almost ambient but contain elements of dissonance; some feature certain instruments, others eschew recognisable instruments altogether. These albums are most interested in atmospheres, sonic journeys, and states of mind to inhabit momentarily. Think: Lucky Dip.

Burial Grounds (2023) **/ Because, Remember (2022) **/ Kalonga (2022) **/ Music For Mindless Unwhereness (2022) / Crucible (2022) **/ For A Few Gringos More (2022) / Uncertainty Box (2021) / One Hand Three Ears (2021) / Occupy Your Mind (2021) / Oort (2021) / Red Tape Bardo series I – IV (2021) ** / Down On The Farm (2021) **/ Blues For A Mapless God (2020) / Walkabout series (II – VII) (2020) **/ Self Isolator (2020) / Offkiltered (2019) / Language Systems (2019) / Music For Nervous Systems (2019) / Music For Deep Procrastination (2019) / Music For Avoiding Consensus Reality (2019) **


Although there are particular areas of jazz I especially enjoy, I’m certainly no jazz musician. I tend to think of ‘jazz’ more as a mode of experimental thinking than a musical demarcation. The albums in my ‘Jazzishness’ category contain enough familiar sounds (eg doublebass, trumpets, sax etc) to provide an illusion of ‘jazzishness’, some more accessible than others. A pinnacle for me is the Echo Location double album, which was deliberately composed in an ambient jazz styling, in order to feature Malcolm Martin on trumpet, trombone and flugelhorn, complementing my ‘faux jazz trio’ of electric guitar, cello bass and drumkit. I also like the meandering odyssey of Displacement Ritual, which I think has a kind of offbeat Afro-spiritual freejazz flavour.

Hillbilly Spacejazz (2022) ** / Angles Of Entry (2022) / Displacement Ritual (2022) **/ The Mood (2020) / Echo Location (2020) **


Another loosely-defined category, in which some of these albums fit more obviously than others. The Ears Have Walls, Tectonic, Melancholia and And Then I Wasn’t… are eclectic, with smatterings of ‘rockishness’ here and there. Stelliferous (recorded in Spring) has a summery tone, and leans more into dreampop and shoegazey vibes. The Rock Samples compilations provide a good cross-section of material from several albums. I suppose the most consistent thread is that most of this music is built around electric guitar: some of it pays more attention to melodic composition, some is mellow, some is experimental, and some (as found on Asp Burger, The Impertinence Of Being, Cupcake and Crux) is most unashamedly about making a lot of guitary noise.

Rock Samples Vol 3 (2022) / Asp Burger ReMangled (2021) / Crux (2021) / Rock Samples (Vol 1 & 2) (2018 – 2019) ** / And Then I Wasn’t… (2019) / Cupcake (2019) ** / The Impertinence Of Being (2019) / Asp Burger (2018) / Stelliferous (2017) ** / Melancholia (2017) / Tectonic (2017) / The Ears Have Walls (2017) **


I’m usually reluctant to use this label to describe some of my music, because the term has accumulated so many contemporary connotations. These are just albums for which I set myself the creative parameters of only using synthesised sound, so I figure that’s electronic, but you won’t find any techno etc here.

Eclipse (2022) / Music For Deep Relapsation (2022) / Sad Pop Song (2022) / Solaris Beach Party (2020)


I’m a big fan of Dub music from all points in its history. While these albums may not satisfy a purist’s definition of Dub, they emerged together in 2019 as part of some broader experiments I was making at the time, and straddle elements of dub, psychedelia and electronica.

i! (2019) / Dubber An Dubbererer (2019) / Dub An Dubberer (2019) **