experimental music

Burial Grounds (2023)

The pieces on Burial Grounds emerged as part of the same process that produced Making Peace I & II and Looking For Light, and conceptually they carry elements of the same themes. This album explores how a place (land / house) can accumulate layers of historical trauma, and how the energies of that trauma can

Burial Grounds (2023) Read More »

Intimacies (2023)

In today’s culture (gasping as it is for nuanced vocabulary and thought), the word ‘intimacy’ seems mainly to appear in conversations about (human) relationships, as polite popular code for sex. For those inclined to living with more nuance, there is a multifluence of ‘intimacies’. These include states of connection that can be metaphysical, extra-sensory and

Intimacies (2023) Read More »

Because, Remember (2022)

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 »

Displacement Ritual (2022)

A restless ceremonial jazz journey, exploring physical, emotional & psychic displacement. Moods shift in fluid ripples or jagged left-turns, dreamlike, coiling and slithering through moments of harmonic repose, fragmentary riffing and freeform dissonance. Initially recorded over a couple of days, in the thick of a very difficult & distressing house-move, and developed around one meandering

Displacement Ritual (2022) Read More »

Kalonga (2022)

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

Kalonga (2022) Read More »

Floater (2022)

Over the months of June / July we had to move from our home of the last 5 years (Kalonga). Noise restrictions at our new home won’t allow me to freely record live sounds, so I spent the final weeks alone in the empty Kalonga, saying goodbye and hastily recording various live sounds that I

Floater (2022) Read More »

Crucible (2022)

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

Crucible (2022) Read More »

Kro Gnosis (2022)

Once again, a combination of disparate ingredients organically converged to bring about this new collection of musical explorations, Kro Gnosis.  I began these recordings immediately after completing the Temple album, which marked a return to actual recording (ie using a microphone & playing real instruments again, rather than collaging existing recorded materials, or generating sounds

Kro Gnosis (2022) Read More »

Temple (2022)

The emergence of the Temple recordings began with an unexpected musical gift from my partner Heidi: a beautiful 17-note kalimba (thumb piano).  I had mentioned to her quite awhile back that I’d like a kalimba to experiment with, so I was especially delighted when she surprised me with it. I didn’t engage with playing it

Temple (2022) Read More »

Elegiac Reaction (2021)

Earlier this year I recorded a collection of spacious, minimalist piano pieces that became the album The Witnessing Of Paint In Its Drying Moments.  I was using these pieces to help me process a surge of deep grief and loss at the time.  I have no theoretical understanding of classical music composition (nor am I

Elegiac Reaction (2021) Read More »

Other spaces: Postnebulism / Uncertainty Box (2021)

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 »