First Habit

Second Habit

Will You Kiss Me?

An experimental guitar piece that attempts to describe ideas of Duration and the Virtual in sound

Habitual

A piano improvisation based around a blues scale derived from the structure of the helium atom.

BlueHelium


Saudade is a word in Portuguese and Galician denoting an emotional state of melancholic or profoundly nostalgic longing for a beloved yet absent someone or something.
It derives from the Latin word for solitude. It is often (especially with reference to songs or poetry) associated with a repressed understanding that one might never encounter the object of longing ever again. It is a recollection of feelings, experiences, places, or events - often elusive - that cause a sense of separation from the exciting, pleasant, or joyous sensations, once experienced, remembered in the present. In Brazil, the day of ‘Saudade’ is officially celebrated on 30 January.
This composition features vocal parts by Joyce Keitumetse Mogoloagae, my erstwhile collaborator, trained opera singer and master of South African song. Her vocal parts, which she composed, were recorded in a studio in Soweto. They express a deeply felt lament to ancestors in challenging circumstances. The core, the community, of a nation gather and kneel praying in hope, pleeding for forgiveness for the sins of our troubled times.

Saudade

Sounds of factory spinning machines meld into manic sub-saharan zezes

Machinations

A psychedelic sonic meditation on the poem of the same name by the artist.

I and Thou

Composed with Ableton during a spell in hospital. Random arpeggios meet string bass, African zeze textures and GRM Atelier sound design to a rhythmic pulse.

Ward Two

Seven notes seven colours many cultures. Thanks to Joyce and Laura for vocals. Demetri for dun duns and cowbell, Diego and Buba for djembe.

From Red To Green All Yellow Dies Mix 1

Elements of a Chinese folk song, eerie piano motifs, recordings of footsteps in a hammam in Sarajevo and bagpipe dissonance suggestive of donkey bray, converge and collide. A symmetrical narrative structure sees the third passage echoing the first, but with increased vehemence and the addition of the prefigured voice and piano phrases. An atmosphere of the uncanny and a sense of lost, disembodied spirits permeates the texture and suggests the unresolved nature of the tragedy of Bosnia. The Balkan theme is reinforced by extended excerpts from an improvisation on open, retuned piano at a Rădulescu ‘Sound Icons’ installation in London.

One Day Mao Met A Donkey On The Road To Sarajevo

Mixed-media intercultural artist and PhD Performing Arts student

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