The recordings on Textured Monotonies V have actually been ready for release since Dec 2022, but the many-tentacled beast that is life added multiple layers of entanglement that caused the album to wait in the wings for a bit. Musicking is how I respond to and integrate the process of living, and sometimes the more […]
Textured Monotonies V (2023) Read More »
Because, Remember is in part a meditation on memory: its fragmentary nature to begin with, and its unavoidable fragmentation over time. In particular, it explores the memory of a time that my children can’t even remember having with me. As an aging parent, I feel a strong undercurrent of sadness and loss in knowing that
Because, Remember (2022) Read More »
Although chronologically some of these recordings were made prior, Kalonga follows on from Floater, and the pieces all emerged from the same event, ie having to leave our home of the last 5 years. Kalonga is the name of the dirt road leading to where the house is situated – I’ve always liked the visual
These two albums, at least in name & presentation, are very loosely continuing the ‘Music For….‘ series begun in 2019, but not really adhering to the parameters I set for myself back then (eg . 20 – 30 min long, continuous edits that organically evolved into new shapes as each new musical idea emerged, but
Music For Deep Relapsation / Music For Mindless Unwhereness (2022) Read More »
Some of my albums have no particular story, no underlying thematic glue or particular point of inspiration when I’m creating them. I might impose an identity on these albums after the fact, but they really just exist as exercises in sound and composition for their own sake. Crucible is one such. There are, however, two
While these two albums certainly both share qualities of atmospherics, spacious soundscaping and ambient textures, they are both stylistically distinct from each other. Part of why I’ve included them together in this post is that they also share the somewhat dubious quality of being ‘rehashed’, even if in different senses. I’ve written elsewhere about cannibalising
Other spaces: Postnebulism / Uncertainty Box (2021) Read More »
More soundtracks to limbo, stasis & suspension – in this case, the grinding halt of a broken wrist, the physical restrictions of doing things onehanded or not at all, the slow process of allowing the body to heal. Coming to terms with not being able to play guitar, maybe for months, maybe not ever. A
Other spaces: One Hand Three Ears (2021) Read More »
Often, by way of amusing myself, I assemble my recording experiments around a particular play on words, and the oddly-connected thoughts I encounter while working on the music, as I roll the idea around in my mind. The tracks on Occupy Your Mind have been rallied together under just such a tenuous link, like the
Other spaces: Occupy Your Mind (2021) Read More »
In musicking, as in life, there is never any one particular process – each project seems to emerge with a life of its own, with its own rhythm and breath, with both a sense of self-determination and of the unknown. In being receptive to the music as an entity in its own right, with its
Other spaces: Oort (2021) Read More »
In June this year I was cleverly duped into allowing my bank account to be hacked and the little money I had in there taken. I’m usually more cautious, but these people were sophisticated and psychologically astute, using very compelling explanations in their call. They clearly had no moral parameters guiding who they stole from.
Other spaces: Red Tape Bardo I – IV (2021) Read More »
This collection, Down On The Farm, could never really make up its mind about anything. It just kind of floated in the middle of a paddock somewhere, chewing its cud, gazing at the occasional fluffy cloud in the blue sky overhead…..just hung there, suspended in time, without really knowing what, if anything, it wanted to
Other spaces: Down On The Farm (2021) Read More »
This has been one of those albums that I’ve sort of snubbed a bit since recording it, but on revisiting I can appreciate it better – both its sonic flow and its significant position in the evolution of my recording process. In 2016 I was reaching the end of a ten-year obsession with playing solo
Other spaces: rain river rain (2016) Read More »
