Beginning from recordings of a range of metallic objects, Chroma Quay explores the use of FFT-based spectral compression to distort material, and to imprint the timbral and tonal qualities of sounds onto one another.

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Binaural mixdown from the original 3rd Order Ambisonic work.
Premiered June 2024 in BEAST Body-Space-Action-Agency https://beast.cal.bham.ac.uk/events/bsaa24-concert3/

Chroma Quay

Chroma Quay (June 2024) - Binaural Mix

From the Karios EP

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murmuration

My finished piece based on Odilon Redon's 'The Crucifixion', to be displayed alongside the artwork in the Barber Institute of Fine Arts soon

The Crucifixion - Simon Meikle

The view atop Primrose Hill, on which this painting is based, has a clear view of London's industrial skyline, which juxtaposes the more natural parkland in the foreground. I wanted to evoke Auerbach's more bleak vision of their coexistence by creating conflicts between natural and synthetic sound worlds, whilst emulating Auerbach's aggressive painting technique. The piece is in three sections: the first is to symbolise the listener approaching the hill, the second is to depict the view itself, and the third, briefer section is a reflection; the listener departs from the hill, contemplating the marred countryside from impending human manufacture.

Frank Auerbach: Primrose Hill – Winter

This composition was inspired by 17th century artist Claude Lorrain's painting, 'A Pastoral Landscape'. I was initially drawn to this work because of its beauty – the picturesque scene in the foreground, with man and nature living in harmony, is complemented by the distant hills over the river and the warmly coloured sky above. After studying the painting further, however, I found the castle and cliff on the right-hand side of the canvas casts an ominous presence over the work, overshadowing the scenic image with its commanding and authoritative character. My composition, An Interpretive Landscape, aims to sonically represent these contrasting interpretations, placing the dark, sinister, castle in conflict with Lorrain’s Utopian vision. In doing this, I hope to challenge the viewer's experience of the work, and encourage them to see the painting in an alternative light.

An Interpretive Landscape (April 2017)

Night Reveries

This is my final submission for my third year Studio Composition module.  As the title suggests, this piece is based around the idea of “entropy”, where musical patterns (rhythmic or pitch-based) or traditions (such as a rigid form) are established and eventually set into chaos, to build relationships between otherwise separate musical ideas.

Entropy

Entropy (May 2017)

PHŒNIX XXI (full version)Stereo
16’32  —  2016

To Inés Wickmann
An archetypal symbol of rebirth and continuity, what is this musical Phoenix?
A trace / confirmation of the acousmatic vitality at the beginning of the XXIst century, of course.
But, for me, it is also a new life given to ancient musical ashes, very old recordings and reanimated but transvestites extracts of instrumental works. A kind of eternal return, the present - so prominent today - being finally only the past of the future.

Phoenix XXI was commissioned by the INA-GRM. The work comprises three movements in chains and was composed in the author's personal studio in Avignon. World premiere on October 8th 2016 in Paris (MPAA Saint Germain), concert INA-GRM.

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©	SACEM, Paris

Phœnix XXI

Great Jazz standard by Oscar Levant and Edward Heyman

Blame It On My Youth

This is one of the works from the final portfolio of my Master's degree. It's made entirely from recordings of water taken from a trip to the French Pyrenees in May 2018, and was composed as four separate movements but can be listened to in one continuous sitting. The movements are detailed below:

1: River Flow (0:00-2:57)
2: Precip (2:57-5:50)
3: Buckets, Lakes (5:50-9:24)
4: Water Cycle (9:24-13:04)

Chroma Quay (June 2024) - Binaural Mix

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