The Philosophy

Music is as natural as breathing. It took me a while to realise that, but only after I’d been doing it for a long time.
As a result I have a vast amount of material sat on the shelves that serves merely as a document to my days on the planet.
I will get round to releasing it while I have days left 😉

The journey as a musician is, according to my very well worn cliche, akin to doing an hardcore immersive psychology degree, without the qualification. Our stories and experiences are useful anecdotally at the very least. Mystery and mystique are reserved for the end product. The process is life itself. Bullshit is best isolated from the upstream.



The Verve was effectively founded in ’88, fortified ’91, signed ’92, broke 97 and then has since been put into ‘Deep Freeze’ several times according to the wishes of solo artist Richard Ashcroft.

My proudest moments are outside of the Verve, specifically: Black Submarine’s “New Shores” (2013), my guest work on Natalie Kocab and Michaela Polokova’s “Ellis Island” (2016) . Various unreleased works exist for Emit Bloch, mine and Mig Schillace’s Field Theory project.
You can find my playing on works by:


Greg Dulli

Shadow Party

Future Sound of London/Amorphous Androgynous

Callum Beattie


I started my musical life proper, with a WEM Copicat and Roland  SH101 at 13 years old. Multitracking on a Vesta Fire 4 track allowed me to refine an instinct for an atypical way of arrangement via voice limited counterpoint. Threading instrumental voices together took me to various instruments, eventually guitar; the instrument I somehow became known for. It’s maybe 5 percent of my musical life when it comes down to it. I’m still an electronic music freak by my own definition. Discovering Denis Smalley helped me understand wtf it is I’m doing with guitar at all. I’m only half joking.
Taught myself Max in 1999, PureData in 2002, and later, Csound, en route Kyma.
I went through the whole modular thing between 97 and 2010, becoming a Serge and nascent Eurorack adept (then choices were Analogue Systems, Doepfer).

I have attempted to infuse my electroacoustic and academic works with the same aesthetic and sensibilities intrinsic to all of my canon, these will also be made available eventually.

My instrument I have realised, is really ‘x plus delay line’, DSP or otherwise; that combination is endlessly enjoyable for me.

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