See Slow Blue for clarinet, violin, cello and percussion
performed by LSO players and released on NMC’s digital album ‘Six Degrees of Separation’
“See Slow Blue takes inspiration from the music of American indie rock band Yo La Tengo, conjuring their ‘lazy ambling slide guitars’ into a glorious, woozy hymn to slowing down.” – Kate Wakeling, BBC Music Magazine 2021.
Bobby D for violin, harmonium, two guitars, percussion and harmonicas
performed by Lara Agar, Darius Paymai, Patrick Hegarty, Christian Drew and Harry Harrison at the Festival of Laurence Crane.
The title is an accidental pun on Laurence Crane’s Bobby J for electric guitar. I was chatting with Patrick Hegarty about putting the piece together and told him we might both have to muster up our best Bobby D impressions (aka Bob Dylan).
LIDO for percussion trio and audio
performed by Ben Clark, Christian Drew and Antonin Granier
This work began as a series of open and flexible scores that drew on the rondeau Fumeux Fume Par Fumee (c.1390) by the 14th-century French composer Solage as a form of source material. Slowly, over the course of a collaboration with percussionists Ben Clark and Antonin Granier, this fixed but still very loose assemblage of the piece came to the foreground, leaving most of the source material behind as a faint trace beneath the surface.
Shoegaze Medieval for four instruments and audio
commissioned by the Richmond Concert Society and performed by W37 Saxophone Quartet
Shoegaze Medieval is based on the ballad Corps Feminin (c.1390) by the ars subtilior composer Solage (c.1340-1400), examining and reworking its materials within a loose and blurry context. All four instruments fulfil equal roles within the work’s surface, cycling through the song’s pitch material in loosely constructed canons, but with newly conceived rhythms and durations.
Jangle Consort (excerpt) performed by What Guitar Trio at 840: New Music for Guitar Trio
Jangle Consort is music about noodling and meandering; casual, lazy, private, as if improvised. A haphazard convergence of Scottish and English folk, consort, medieval, blues and appalachian music.
Tunnel Music for harp and audio, performed by Cara Dawson
Harp sounds and tunnel sounds, originally written for a concert that was going to take place in the Tunnel Shaft at the Brunel Museum in Rotherhithe.
TWINE for violin, soprano saxophone and accordion
written for choreography by Harry Ondrak-Wright
more lines and ballads for chamber orchestra
more lines and ballads initially stemmed from a series of experiments that used the American folk song Shenandoah (as recorded by Tom Waits and Keith Richards) as a form of source material. After a long process of filtering and transformation through improvisation and re-notation, the soft, vague and blurry edges of the current work began to appear. The static, hazy lines and sliding, shifting ballads hold only a tangential relationship to the source, which in the end offered an oblique stepping stone to this version of the piece.
32 landscapes for six voices performed by EXAUDI/James Weeks
A piece about dwelling, blurring, gazing, drifting. The text is a list of landscape paintings, selected part arbitrarily and part subjectively from the artuk.org database.
within the remit of possibility for recorder, piano/melodica, electric guitar and violin
performed by OUT-TAKE Ensemble
within the remit of possibility is frail, circular, veiled, local. A few familiar harmonies, stretched, overlaid and accumulated.