Fields at LSO St. Lukes

I’m incredibly excited to share this – my piece ‘Fields’, being performed by players of the London Symphony Orchestra, under the baton of Darren Bloom.

Harry Cameron-Penny – Bass Clarinet
Neil Percy – Percussion
Sam Walton – Percussion



Fields at LSO St. Lukes

I’m delighted to announce that this Saturday, my piece ‘Fields’, for two percussionists, bass clarinet and electronics, will be performed by players of the London Symphony Orchestra at LSO St. Lukes, under the baton of Darren Bloom.

I just got back from the rehearsal, and it is sounding great!

Tickets are still available, get down!

This is absolutely fantastic

I’m a huge fan of Nate Wooley’s work, check out the full version of this if you can.

The Gambler

For the past two months, I’ve been working as a producer on a musical film project with fellow composers Elliot Murphy and Josh Reichental, directed by Donncha Gilmore. At this point, the project has taken in work from teams in London, Dublin and New York.

Its a ten minute piece, with the closest musical reference point being musical theatre, but the music moves far beyond the conventions of that idiom. Harmonically, its incredibly rich and adventurous, and the arrangements, which are hyperactive and dense, frequently occupy a space bordering on the surreal. Its also very funny.

All of these things make it a real challenge to mix. Check out this screenshot of one of the Logic sessions.

Much coffee is being consumed.


Alnico in New York

I’m delighted to announce that my piece ‘Alnico’, for viola da gamba and electronics, will receive its American premiere in New York tomorrow night. It will be performed by Liam Byrne, for whom the piece was originally written. I’m very excited about this!

Ticket link here!

Sunrise Mix performance at Wigmore Hall

Thanks to Daniel Huntley Solon for writing such an awesome text to set to music, Patricia Auchterlonie and Jack Holton for bringing it to life,  Yi-Ning Liao, WaiBun Chan, Timothy Lin,  Manon Browning and Hannah for absolutely smashing the instrumental parts.

Special thanks to Mr. James Albany Hoyle for conducting and putting up with my constantly changing time signatures + electronics.

I got a haircut shortly after this photo was taken.13277990_10209363903198091_1821540932_n.jpg

Sunrise Mix at Wigmore Hall

I’m delighted to announce a new collaboration with the writer Daniel Solon. The piece, entitled ‘Sunrise Mix’, will have it premiere at Wigmore Hall on May 26th.

More details soon.

Escapology – April 27th/Ensemble Adesso


On April 27th, Ensemble Adesso are going to give the world premiere of my new piece for sinfonietta, called ‘Escapology’.


This piece is, as the title suggests, about escape, and takes as its source material a short fragment of a piece of electronic music I made.


I have always been interested in the ‘inessential’ components of complex sounds, such as what happens when a complex chord is distorted; a lattice work of harmonics appear, they react against each other and interfere in a fascinating, rhythmic way that is difficult to represent on paper. I hear these textures almost as thousands of little dots on some invisible canvas, constantly changing shape and making new patterns with each other, and I find it very exciting.


So, how to use this in a piece?


There is a principle in physics that every complex sound can be broken down into its essential building blocks (sine waves) – and so this is what I did; I took eight essential pitches from the sound I made, and also analysed the way each one of these pitches changed in level (amplitude), and used a programme called Max/MSP to transcribe the resulting rhythms. So this chord and all of the subtle rhythmic details and gradations contained within it form the basis of the first movement. I use this material very freely, and superimpose these rhythms on top of each other in many different configurations. So, in a sense, the movement is simultaneously a way of looking inside a sound I liked, and also a response to it.


You can listen to this first sound here:


And here is what all of the individual components of the sound look like. The black lines are the loudest parts. Notice the way the lines change their shading over time? Those are the rhythms embedded in the sound.

Screen Shot 2016-04-19 at 20.28.08.png


The second movement takes this chord and ‘buries’ it – it transposes the pitches down electronically, which affects the overall makeup of the sound. Also, all of the rhythms we hear in the first movement will become trapped. So the second movement is about being trapped, or submerged, or stuck in cement, and struggling to escape.


In the third movement, which is a kind of vulgar scherzo, the material breaks free, but keeps getting pulled back into the cement. The escape attempts gradually become more frantic, but you will have to come to the concert to see what happens.



Alongside my piece, there will be three other premieres by Laurence Osborn, Donghoon Shin and James Hoyle, who will also conduct.