soundscapes

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

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

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

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

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

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