Although these two albums were created as very separate entities from each other, I’m placing them together here for a couple of reasons (one being my autistic tendency to perceive patterns and connections in these things….). Chronologically, they were released within a couple of months of each other, although a lot of Is Land: Edges […]
World folk? Is Land / Gringo! (2018) Read More »
After taking brief dips into ambient waters on other albums, this is my first attempt at a focused collection that fully completes itself as an ambient cycle. I think of these pieces as “sound mobiles”, as a way of describing the happy accidents that occur when their seemingly unrelated elements gently collide, bounce slowly in
Loveletters From Beneath The Waves (2018) Read More »
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
Rock albums 2018 – 2021 Read More »
Part 1: Tectonic Following The Ears Have Walls, I continued my renewed interest in playing electric guitar, and the new potentials I was discovering in recording, using the Reaper platform and experimenting with various FX. I am self-taught in everything I do, and I’m sure many who learn this way will agree: it’s a process
Trilogy of Change: Tectonic / Melancholia / Stelliferous (2017) Read More »
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
The Ears Have Walls (2017) Read More »
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,
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
Pigbox & Co. Vol 1 & 2 (2016) Read More »
Beyond all the pop fads & historical derision, the ukulele is a versatile & deeply expressive instrument in it’s own right – simple yet complex, delicate yet certain in its melancholic humour, eloquently humble in a world of noise. After I had explored guitar & percussion on and off for 25 years, ukulele somewhat serendipitously
Early Ukelele Explorations (2005 – 2013) Read More »
In 2003 I spontaneously answered a small hand-drawn ad in MacFie’s Music shop in Nth Hobart, someone looking for interested parties with whom to play guitar music of a Eurofolk bent. It was Luke Yates, a young uni student recently-returned from travels in France, previously an 80s metal guitarist who had an acoustic epiphany while
Mini-Exhibition: Spondooli Brothers artwork Read More »
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 &
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
Camel Lips (The Spondooli Other / 2005) Read More »
“Legends abound as to the origins of the Spondooli Brothers: Born in a guitar case in a Lower Spondoolovitch potato field. Raised by feral goats in the barren foothills of Upper Spondolia. Illegitimate heirs to the throne of the Grand Hoopla of Absurdistan, sold as child slaves to a nomadic circus tribe who trained them
The Spondooli Brothers (2003 – 2006) Read More »
