Friday, 11 July 2014

Ghost Box - Other Voices 01; Brooks & O'Hagan.

Back in the mists of time (we're talking probably 14 years ago) I 'creatively re-appropriated' a snippet of a High Llamas song into one of my own tunes. Wanting to do the honourable thing, I contacted Sean O'Hagan and played him what I'd done. I remember him being quite pleased about the whole thing and we stayed in touch, often talking about making a record together. Of course, these things always take time.

Fast-forward to now and here we are, kicking off a new series of singles on Ghost Box. It's available to pre-order now, at the Ghost Box shop.

Friday, 6 June 2014

Woodbines & Spiders

Ian from Moon Wiring Club and I have finally made a record together. Did it really take seven years to make? Yes. With the two of us involved, it was never going to be fast - the concept of rush-releasing doesn't really apply to either of us. The process was highly satisfying, though - wonderful to slowly find all the strands of the album and watch it take shape - exactly as it should be.

We've 400 years experience in the property market, so why not let us help you find your place for the summer?

The vinyl and download package is available to pre-order now from the Blank Workshop site.

Monday, 2 December 2013

The BFI and The Black Pearl.

I've had such a busy time recently and this is the project that's been at the forefront of my activities for the past month or two; creating a score for a silent film from 1908, The Black Pearl, for the British Film Institute. If you attend Vault: Music For Silent Gothic Treasures on the 14th at the BFI, you'll be able to experience it first hand. Check out the Belbury Parish Magazine for more details.

Sarah Angliss and her band Spacedog are in charge of curation (as well as composing and playing live) and invited me to create some studio music for the event. It's been a very interesting experience; the stencil-coloured film seemed to suggest working texturally, building up from base textures, to outlines, to filling in. I created sounds of glass, various woods and metals. The process became intense at times (and sometimes interfered with my sleep patterns, as I kept thinking of textures and structures to go with certain sequences in the film) so I made a lot of notes when I wasn't sitting directly in front of the visuals.

Creating music is a never-ending process of changes to approach and the process seems to be as malleable as sound itself.