I consider myself a non-musician. I don’t approach my art from an academic standpoint, having had no formal training. Instead the terms arranger, collector or curator might better describe my practice in sonic and visual art.
Using an old computer running cracked software and without a mixing desk or any outboard gear my sonic explorations use sounds from field recordings I’ve made as the building blocks of these ‘constructions’. In some of my work I also use stripped back electronics and vintage 808 and 909 drum sounds to experiment with the boundaries of rhythm and texture.
Under various guises (Platform, Seven Hour Germ, Shaded Monocle, Fertile Structure) I’ve produced all but two of the thirty two releases on my own label, Minimal Resource Manipulation. I am particularly interested in abstraction, loops, shifting textures and timbres and the element of chance. My recent work leans more toward the practice of sound art, with fewer traditionally ‘musical’ elements.
I’ve released music on other labels such as Midnight Circles (Germany), Falt (France), Invisible City (UK), Rusted Tone Recordings (UK), TQ (UK), Hemisphaenkuyoko (Australia), Outlet Archval (Scotland), tsss Tapes (Italy), Epicene (US), Cryoworks (Ukraine), Escala (Spain), Smallfish and Suburbs of Hell (UK) and The Unexplained Sounds Group (Italy). I’ve been played on Zoviet France’s ‘A Duck in a Tree’ show on Resonance FM a number of times and the British Library have also recently added the MRM back catalogue to their sound archive. I have recently begun organising a series of improv concerts called 3x3, which take place at the Arch 1 venue in West Ham, London.
I currently play drums in several London based bands; Crumbling Ghost, Newts, Smallgang, Slowgun, Splintered Man and Russell and the Wolf Choir and, in the 90’s, Huge Baby.