Finding the sounds in-between the sounds
I listen to spaces, structures, the unheard and the sounds in between the sounds through projects such as The Architect Has Left the Building for RIBA/The British Council, a multi speaker soundtrack for a film documenting the life of buildings after the architect has departed; Neolithic Cannibals, a deep time archaeology collaboration with school kids from the council estate where I grew up (winner of Sound of the Year Composed with Sound award 2024) and Electro Smog album collecting field recordings from Shenzhen’s electronic markets alongside brutalist Shanghai slaughterhouse Buchla synth workouts.
I’m a self trained sound artist from a working class background and over three decades of using field recordings in music and commercial work, including creating sonic landscapes and atmospheres for radio drama, TV and Film, that microphone mediated practice has opened a portal to an emerging curious and compassionate listening practice.
By engaging listening as an act of connection, solidarity, noticing and resistance, my practice offers a model for socially engaged sound art that goes beyond documentation to create spaces for dialogue, play, recognition, weirdness, mess, the power of not knowing and hope.
I bring decades of curiously attuned ears to workshops with a wide range of participants and believe strongly in the power that listening holds to bring about meaningful change.
My compositional approach is exploratory and instinctive, focussed on timbral shaping, and finding the sounds in between the sounds.