I make atmospheric, textural music: cascading patterns, phasing harmonic colours, a great many delicate things layered until they add up to something bold. Some of it drifts. Some of it is meticulously busy.
Piano and keyboards underpin most of it, and more recently synthesisers, with glitched beats, varispeed tape effects, Mellotron, Stylophones, pots and pans, and birdsong. Playfulness matters a lot in my music expression, and I think it comes out in reaction to how serious contemporary instrumental music can sometimes feel. I treat the musical and the sonic as equal expressive levers, and I enjoy the collision between the organic and the digital.
Moving image and gallery
I have created sound and music for some of Elizabeth Price's recent moving-image works, working in close collaboration with the artist. The approach we have arrived at synthesises speech into musical, rhythmic and melodic figures, so that voices seem to emerge musically from the archives the films are built on.
WHERE ARE YOU WHERE ARE YOU
Elizabeth Price. Commissioned by Manifesta 16, 2026
Sound design and musical score, with Elizabeth Price. A post-war Catholic modernist church in Essen set against a counterpart in London, both built on the bombed remains of the neo-Gothic churches they replaced. Opened in the Ruhr in June 2026, showing alongside HERE WE ARE.
Installation view, WHERE ARE YOU WHERE ARE YOU, Manifesta 16 Ruhr, 2026. Courtesy the artist.
HERE WE ARE
Elizabeth Price. Commissioned by Liverpool Biennial, 2025
Sound design and musical score, with Elizabeth Price. The Guardian called it "the best artwork of the Biennial", and described the film as using "a suspenseful soundtrack, digital graphics and sinister negative images".
Installation view, HERE WE ARE, Liverpool Biennial, 2025. Courtesy the artist.
UNDERFOOT
Elizabeth Price, 2022
I revised the sound before the work was shown in SOUND OF THE BREAK, Price's solo exhibition at Schirn Kunsthalle Frankfurt, in 2023.
Installation view, UNDERFOOT, Schirn Kunsthalle Frankfurt, 2023. Courtesy the artist.
The Unknown Celebrity
With Sean Redmond. The Model Citizen, RMIT Gallery, Melbourne, 2019
Four looping, atmospheric pieces, positioned in a one-to-one replica of a devoted fan's bedroom: gold walls, and a shrine to a computer-generated composite celebrity, a face algorithmically blended out of many into nobody in particular. Redmond co-curated the exhibition with Darrin Verhagen.
Records
Bird Rib
2020
Made from the tapes of the Rococochet sessions, run slower, faster, and backwards, working with and against material that already existed.
Includes a version of "Brundle Beat", which later appeared on STYLOPHONIKA. This record was released on limited vinyl and is sold out (though I may have a couple spares, if anyone's desperate...)
Rococochet
2017. Recorded at Visconti Studio
Rococo and ricochet: bouncing, flying, lightness, freshness, something in me seeking newness and a bit of whimsy. Made only with analogue instruments and tape, my first time working that way. What a journey.
Three Preludes
2013
Three pieces written for the pianist Ben Dawson on his 30th birthday, and three companion collages built from things that around them: sight-reading, rehearsal, mistakes, edit offcuts, chair squeaks, traffic outside. Written to be played by others, and it has been. R. Andrew Lee performed them at Spectrum, New York, in 2015, in a set the New York Classical Review called "well-shaped music that moves the attention to the point of both satisfaction and anticipation".
Machines
2013
A song cycle with spam emails for lyrics, looking for truth inside utter, utter nonsense. Featuring soprano Laura Wolk-Lewanowicz, and cellist Catherine Saumarez.
Feather Hammer
2011
The sounds of one piano multi-tracked and prepared, listening past the notes to the other sounds it makes and the sounds around it. Exploring memory, touch, and a lifetime of learning and connection to a specific instrument.
Compilations and one-offs
These are single pieces made for Bigo & Twigetti's concept-led compilation albums. The label often asks their roster to contribute to these releases, commissioning tracks that rework other artists' materials, explore novel ways of writing for the piano, or respond to the seasons. If there is a game afoot, I am usually inclined to say yes.
"A Memory Hole" — Perceptions Vol. 6, 2025
"Pegs" — Perceptions Vol. 4, 2023
"In The Menagerie (Leah Kardos Rework)" — Jim Perkins, Immersed in Clouds Reworks, 2022
"Little Beating Heart" — Perceptions Vol. 3, 2022
"Malio Reprise" — 10 Waltzes, 2021
"Retracing Your Lines" — Perceptions, 2020
"Little Phase" — Summer, 2016
"Kyrie (Leah Kardos Mix)" — Jim Perkins, Byrds, 2016
Variables, 2015
"Butterfly Kite", "Memory Machine" and "Preen" — Spring 2014, 2014
"Correction E17" — Winter, 2014
Works for performers
Pearly
Commissioned by Curve Ensemble. Premiered 22 February 2024, St Giles' Cripplegate, London
For twelve strings: seven violins, two violas, two cellos and a double bass. Inspired by the starlings that visited my garden in London during Covid lockdown.
Download the score (parts available on request)
Kick
Commissioned by Ruthless Jabiru. Premiered 9 May 2013, Australia House, London
For string orchestra, and their first commission. It borrows effects from record production and puts them in the score: ducking, synced echo, a violin and viola overdubbing their own solos. The title comes from a double bass motif that recurs like an involuntary movement.
Download the score (parts available on request)
Collaborations
"Sparrow"
Tim Shiel, Kaitlin Keegan, Leah Kardos. Spirit Level, 2021
Tim Shiel built the music by rearranging and adding beats and samples to "Contact Mic", my piano piece from The Exquisite Corpse, with a vocal by the Melbourne singer Kaitlin Keegan. The vocal sample that can be heard at the beginning and end of the track is Barbara Sher's TEDx address "Isolation is the dream-killer, not your attitude".
The Gardens Between
The Voxel Agents, 2018. Score by Tim Shiel
Tim asked composers in his network for textures, loops and atmospheres, and remixed what came back into the score. I am credited as a collaborator on it.
The Exquisite Corpse
Bigo & Twigetti, 2017
Based on the surrealist game of the same name, eleven artists were tasked with reworking materials from the piece before them in the chain. It began with an early version of my "Little Phase", and my own track on it is "Contact Mic".
Pairs
With Jim Perkins. Bigo & Twigetti, 2017
Two tracks for Piano Day: my "Rosamund Chime", and Jim Perkins' "Junk Bonds".
Forty Eight
With Jim Perkins and Jules Dickens. Bigo & Twigetti, 2015
Three pieces written, recorded, mixed, mastered and released across a single weekend.
The Great Outdoors EPs
Lonesound. Miller Records, 2013
James Ewers' solo project, released first as three EPs and then as a numbered vinyl edition of five hundred, recorded at Northern Sky and Abbey Road.
I played in the live band at the time and, on the record, piano and backing vocals across four tracks, sharing the lead with James on "Long Gone". It was a lovely change of scene to sit back and play a supporting role in a friend's project.
Kingston University Stylophone Orchestra
Founded in 2019, sponsored by Dubreq, and believed to be the only ensemble of its kind. Staff, students, alumni and local residents, play Stylophones alongside theremins, drone synths, beat machines, Suzuki Q-chord, Volca sequencers and voices. I lead the ensemble, write the arrangements and produce the records.
STYLOPHONIKA
Spun Out Of Control, 2022
Jarre, Vangelis, Bowie, Eno, and Purcell by way of A Clockwork Orange. Two of the pieces are mine: "Brundle Beat", after Dr Seth Brundle, and "Olancha Goodbye", for Harold Budd.
This version of Bowie's "Space Oddity" was produced by Tony Visconti, recorded at the Visconti Studio around the fiftieth anniversary of the original.
LIVE TO TAPE AT VISCONTI STUDIO
Spun Out Of Control, 2023
Kraftwerk, Gary Numan, Bowie, Blade Runner and the Doctor Who theme, in new arrangements, recorded live to tape at the Visconti Studio. The record ends with the whole session as one continuous take.
Commissioned work
Apollo 13: Survival
Netflix, 2024. Directed by Peter Middleton
I assisted with string orchestrations on this project. By some way the largest production I have worked on. Original score by James Spinney.
Notes on Blindness
2016. Directed by Pete Middleton and James Spinney
Four cues and some orchestration within a score by James Spinney, James Ewers and Noah Wood.
Earlier features
Attack of the Herbals (dir. David Keith, 2010), My Brother's Keeper (dir. Lee Hutcheon, 2012), The Redwood Massacre (dir. David Keith, 2014).
Library and production music
Reflections (2019) and Young Hearts (2016)
Volta Music, part of Universal Production Music.
I composed and orchestrated all of Reflections, and wrote the string arrangements on Young Hearts.
Because I love combing through my PRS statements, I can confirm recent synch credits include DIY SOS: The Big Build and Americas with Simon Reeve for the BBC, First Dates and First Dates Hotel for Channel 4, Ben Fogle: Return to the Wild and The Dog Rescuers for Channel 5, and across Sky Sports Golf. In the United States, Dateline NBC, Sister Wives, Naked and Afraid, and NFL Network's Good Morning Football.
Elsewhere, the Turkish drama Istanbullu Gelin, Canal+'s La Flamme, Poland's Ukryta Prawda, and Sweden's Lyxfällan.