listen

See Slow Blue for clarinet, violin, cello and percussion
performed by LSO players and released on NMC’s digital album ‘Six Degrees of Separation’

I was listening to a lot of the New Jersey-based ambient, noise rock, shoegazing band Yo La Tengo when I started working on See Slow Blue, spending time with Ira’s lazy, ambling slide guitar and Georgia’s muted toms, jangling bells and rustling shakers. I’d also recently finished an open-scored piece made up entirely of dyads. I love how much harmony there is to hear with just two notes sounding at the same time.

The title refers to anything slow and blue you might see: the sea, sky, paint, someone playing the blues (slowly) etc.

Read more about the piece here. Buy or stream the album here.


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. 


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


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.


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. 

view score or get in touch to listen


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.