I'm a composer and artistic director whose work challenges the gaps between genres. I was raised on modern orchestral classics and studied at the University of Cambridge, but spent the rest of my time listening to rock, electronic music and hip hop. From university onwards, I played in bands, MD'd a drag group, busked open mics and mixed songwriting with symphonic works and opera.
I have a diverse catalogue of music both scored and self-performed, spanning the range from classical forces, like orchestras, to synth-heavy live electronics. Its sound shows the influences of composers from Saariaho to Romitelli and artists like Fiona Apple, D’Angelo and SURVIVE.
This music blends the riffs and harmonies of rock with structures and instrumentation drawn from contemporary classical music. It combines intense, still, driven riffs, drifting synth sounds and notes that fall into the gaps of the traditional Western scale. Much of my music is about desire at a remove. A hot summer through a haze, a search for flow through mental obstacles, a desire for calm and clarity against a more proximate desire for stimulation and novelty. This has produced a sound that is both flat, slightly distant, and yet filled with energy and motion.
If you're looking to get an overview of my music, you could start with my EP, Flim Flam: as it's self-performed, it has the best recording. From there, you could check out my works for small ensemble, like A Noise So Loud or Us Alone. Alternatively, you might want to check out my unperformed orchestral work, London's Other Bones, or my adaptation of Hildegard's songs with Paul Vernon, titled Hildegard.
I co-founded Filthy Lucre, an immersive, mixed genre music-night. As Artistic Director, I curate our programmes, selecting music that fascinates me, no matter its genre. We create events sympathetic to the differences between the music we programme but resistant to any notions of hierarchy.
This approach is wedded to my composition and to my academic work. I studied music at the University of Cambridge and undertook a Masters in musicology at Kings College London. I specialise in the decline of classical music's social prestige and the possibilities for its future.