Hobart musician

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

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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

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More pondersome plunk: The Witnessing Of Paint In Its Drying Moments (2021)

The Witnessing Of Paint In Its Drying Moments is an album of five very slow, minimalist piano compositions, created during a period of particularly intense grief and loss. Grief takes many forms, can return in great waves over decades, and loss is not exclusively the province of death.  The grief of losing someone deeply-loved yet

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Rock albums 2018 – 2021

For a quick overview of my loosely-genred “rock” experiments between 2017 – 2019, try my two Rock Samples compilations.  They are both available as free downloads (or pay if you want to) from my Bandcamp site.  You’ll find the individual album links below.  For a more detailed insight into each of the original “rock” albums

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The Ears Have Walls (2017)

Between 2003 – 2016 I was pretty obsessed by acoustic music from all over the world, in particular the authentic voice of acoustic instruments.  I’d pushed my acoustic guitar playing into increasingly complex territory with the gypsified Spondooli Brothers duo, dabbled in a few other folk instruments like mandolin & balalaika, and when I began

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SKIN (2017)

Uke takes a backseat in this new collection of original tunes, mostly-instrumental music influenced by my love of African & AfroCuban rhythms.  Danceable organic grooves, hypnotic atmospheres, driven by traditional percussion and a spirit of renewal. New Skin – Bradfield Dumpleton 2017 (Mya Moe ukulele, electric guitars, cello bass, keyboard, cajon, dun dun, lizard sticks,

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Pigbox & Co. Vol 1 & 2 (2016)

Pigbox & Co. Vol 1 and Vol 2 are two albums of instrumentals & songs inspired by my metal-bodied resonator ukulele, whom I affectionately named PIGBOX.  A ramshackle assortment of gutterblues, loose jazz, americana, folkalisms and lyrical noodlings, accompanied by a variety of other instruments and found sounds. As mentioned in Early Ukelele Explorations (2005

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Marzipan (2007)

Acoustic instrumentals using European mandolin, octave mandola & acoustic guitar, and drawing on exotic flavours such as baroque, the Middle & Near East, rembetika and more. Throughout 2007 I was recovering from a nervous breakdown and in the depths of clinical depression. The music that forms this album helped me examine my profound grief &

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Camel Lips (The Spondooli Other / 2005)

A collection of ramshackle field recordings of folk musics from across Spondoolistan…. In between Spondoolies, I was experimenting more with home recording my own material.  A few tunes were in Spondoolish territory but didn’t quite fit our repertoire.  Some were recording experiments that contained spontaneous improvisations, percussion or editing effects – in other words, not

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Cygnet Early Childhood Artist-In-Residence, July 2013

Hot on the heels of July’s school holiday workshops, I hurtled headlong into a week-long Artist Residency.  Last year Mirjam Holthuis from Cygnet Community Childrens Centre (CCCC) was successful in securing a grant to employ three local artists from the Cygnet area, including myself.  Each of the artists were asked to offer creative experiences to

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