Below are some audio examples of some of my work. Some of my work is also available to buy or preview on Bandcamp.

This album features a collection of my electronic music.

The ENERGY CANNOT BE CREATED collection is an ever-growing collection of pieces, which I started in 2013. So far, the collection comprises four pieces, three of which are available on this album.

I composed the soundtrack to Littley Car (Boylan Media). This film is not publicly available yet as it is currently being shown in UK film festivals; however the above trailer also provides a snippet of the music.

The Ridge is beyond the Edge is about a state of limbo induced by the act of ‘waiting to wait’ within a timeline that is not straightforwardly linear. This act of ‘waiting to wait’ is not to be confused with the act of simply waiting, which suggests a wait for something and a state of ‘transit’. ‘Transit’ manifests as various types of transportation such as the train (in which one physically travels from one place to another) or that point between being awake and asleep (in which one unavoidably waits to either fall asleep or wake up) or the process of physically falling. As such, ‘waiting to wait’ can take the form of waiting for a train or waiting to reach the point of transition between being awake and asleep. Since physically falling is generally spontaneous and requires no prior thought or ‘wait’, ‘waiting’ to fall can only happen when the fall is intentional. Sonic representations of these three extra-musical themes interact within The Ridge is beyond the Edge to portray a fourth theme: that bitter fulcrum of the one who deliberately falls onto the train tracks and, in doing so, undergoes this pivotal state before ‘waiting’ to reach the railway, itself a transitory space.

Parallax Error (2014) for any solo bowed string instrument performed here by cellist Katharina Gross. You can buy a copy of the whole CD here.

Air, Earth, Water, Fire (2015) for orchestra was composed specifically for the Yorkshire Young Sinfonia, a large ensemble comprising students from the age of ten to nineteen.

Air, Earth, Water, Fire explores four timbral domains that are each likened to the four states of matter as theorised by the ancient Greeks. ‘Air’ is represented by audible breath, brush strokes, and scraping. ‘Earth’ is represented by percussive rumbling characterised by a combination of tapping, knocking, key clicks, and pizzicati. ‘Water’ is represented by definite pitch, tremolandi, and glissandi. ‘Fire’ is characterised by instrumental techniques that result in unstable (or ‘volatile’) audible sounds such as harmonic glissandi, bowed percussion, and pitches that lie outside an instrument’s tessitura. Generally, these four timbral ‘states’ are separated into four consecutive sections; however, they do overlap at times before fully interacting in the final section.

petrichor (2015) for fixed-media electronics (including recorded acoustic guitar) is one of my electronic pieces. I enjoy writing electronic pieces and tend to do more so when I’m in-between commissions for acoustic works. ‘Petrichor’ is the name given to the smell that accompanies the first raindrops on dry earth.

Dry Veins was first performed in the LeedsLieder+ Song Festival in October 2012 by Dan Holden (piano) and Rhiannon Beck (voice). Words are by John Darley.

Words and their connotations in Dry Veins are approached with a desire to create an indirect sense of meaning, superimposed over a narrative inspired by ‘Pygmalion’ from Ovid’s Metamorphoses X. This piece portrays a stone cutter who is so in love with their statue that they turn to stone and, over time, disintegrate into dust. The subject matter dialectically presents an idealistic transcendence and a realistic transgression: the stone cutter’s idealistic vision of becoming united with their art and transcending into a desired life, and the realistic horror of turning to stone and transgressing into a denser material. The music reflects idealistic desire through normative performance techniques, wide pitch ranges, and faster durations. Realistic fear of turning to stone is reflected by non-normative performance techniques, indeterminate pitch, temporal changes, and slower pitch durations.

Resonance/Light/Decay for 28 Pianos was composed in collaboration with Dr Mic Spencer (University of Leeds) to celebrate the School of Music at the University of Leeds becoming a Steinway school. This composition also features Bach (arr. Kurtág). This performance took place at the School of Music, University of Leeds on the 12th December, 2017.

CROSSWOR[K] is the result of a request to write a graphic score on a postcard specifically for Notes Inégales. This piece is structured like a crossword practically as well as visually.  Deciphering a performance from this score resembles the process one goes through when solving a crossword. A list of interpretive guidelines takes the form of crossword clues.  Like the crossword, these do not have to be deciphered in a specific order: for example, it seems logical to start with instruction number one; however, this is not necessary if the interpretation of another column or row comes to a performer’s mind first. A performer can even attempt to interpret a column or row, cease to do so mid-way through if they are not satisfied with the interpretation, then return to it later. It also seems logical to overlap musical lines as they intersect at points in the score.