I’m a composer who also writes, a writer who also creates sound arts, and a sound artist who also publishes academic work. My current interests lie mostly in combining text, image and sound in audio-led interactive pieces and in writing about sound, listening, landscape and place.

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I’m extremely bad at promoting new stuff here – please Facebook friend me, that’s where I post my news. In the mean time! – Here’s some upcoming or recent stuff with some lovely people.

  • 28 May – Cambridge, Anglia Ruskin University – Carla Rees and I will perform my work A walk I do at the TENOR conference. More info here : TENOR conference, May 2016
  • 11 May, London – London premiere of A walk I do for quartertone alto flute, live text animation and live audio processing. Composed for Carla Rees, funded by Britten-Pears Foundation. At The Forge, Camden, London. More info here: A Walk I Do
  • 27 April, De Montfort University, Leicester, I’m curating a concert at De Montfort University with rarescale: flautist Carla Rees and Michael Oliva on electronics (and composer). We’ll play A walk I do, my new work for Carla and others.
  • 26 April, New School, New York. Pianist Daniel Schreiner will perform my Making Place for live instrument, live text animation and audio processing. Organised and coached by Madeleine Shapiro, with Ryan Anselmi.
  •  22 November 2015: Maja Cerar performing the violin version of Making Place at Stony Brook University, NY, with Doug Geers on electronics
  • 4 November 2015: Paul Roe performing Paul’s Walk in Dublin, with recorder player, Laouise O’Brien. More info here.

Some recent creative work

  • Paul’s Walk IMG_0153, made in 2015, for instrument (or two instruments) and mac App (iPad or mac). The performer influences the way the visual and aural landscape emerges and recedes, and tells a story about a walk, a lake, and being in a place. Words are drawn from an informal text on a walk by Paul Roe.
  • Making Place makingplace, composed 2013, is for 1-2 instruments and electronics, and is also available as a fixed video realisation. It’s a poetic exploration of place, and place making, and makes use of live interactive processing of animation, text and audio.
  • How to play the piano (in 88 notes) piano, written and recorded for friend and fellow composer, Richard Hoadley to use in an interactive work with pianist Philip Mead.
  • Fuga Interna (begin) memory, composed in 2011, is the sixth piece in a series for piano, Fuga Interna, and the first to include a digital part, which also includes a text by myself about listening, learning to play the piano, age and memory.