What are you doing today, Warren? I’m trying to do damage control in the smoking rubble after a project exploded this week and listening to lo-fi Finnish blues, what about you? (The CD arrived today, thank you IKUISUUS label, you are doing great things)


Who I recently discovered via ALL IS QUIET AT THE ANCIENT THEATRE.

My music usually evolves from a story, often about a place I’ve visited, enhanced by the help of the imagination. The story will develop while I improvise and immerse myself deeper and deeper into the piece, using a kind of tone painting to express this. 

Behind the Spider Web Gates draws inspiration from a house I happened upon in rural southern France last year. An imposing, dramatic, tall dark Gothic house with mysterious, black spider web-shaped gates at the entrance to the grounds. 

It is indeed gothic and spiderwebbed – the attention to sonic detail is exquisite, as is its carefully constructed form. It’s a twenty-minute journey through imagined space, and towards the end I’m sure I can hear the gates creaking. Utterly transporting.

Improved my trashfire of a day no end.

THE WHITE HORSE OF THE SUN: David Terry & Eye Spirit

This is amazing. Almost two hours of ecstatic drone. I’d kill to have this on a 2CD set. It’s been on the player all evening while everything else has been going nuts and it may have kept me sane. Or sent me to space through a portal in a hillside. One of the two.

IMAGINARIUM: Dancing Deadlips

This is fascinating. Field recordings, atmospherics and crepitation, whispers and incantations. The sun just went down here and I feel like this is why.

WAKE UP LAKE, WAKE UP: Lake Mary feat. Inner Oceans

Okay, so I guess I’m just doing summery drone-tropical-folk music today as I trawl through the back end of my Bandcamp saved-for-later queue. But this starts off beautiful and unfolds around the 10 minute mark into magnificent sun-dappled euphoric glory.


Five longish, haunting, folk/drone/early-music pieces. It’s strange to me how the whole “New Weird Britain” thing “happened” to mainstream attention during a long period where I’d been ruminating on just that, in private, without having my head up long enough to see where things were going. And now, all these wonderful sounds are filling me and guiding me. This is a superb set.

Note also THE BLACKENING, by Cotton and Michael Tanner.

OUTCROPS, Spaceship

A particular kind of Britain: a guy dragging his synths into a series of small caves in northern England to make electronic music within ancient atmospheres. I mean, if you were born after a certain time, you associate electronic music as central British music, and so placing it within the landscape makes complete sense. For some of us, this is the sound of Britain.