AN ARTIST’S STATEMENT

I make music for instruments with or without electronic sound, or sometimes electronic sound with or without instruments. Beyond that, I suppose that for a long time I’ve been interested in glitch. That’s the closest I’ve got to a summary so far. Although I’m not sure I would have always expressed it in that way. I use the term glitch broadly - as a term to describe things that are, or move to become, distorted, corrupted, or slightly beyond my control. The more visceral senses of the term - the soundworlds of mangled digital audio, for example - have only come into my work more recently. That said, analogues of these kind of sounds have occupied my acoustic music for a long while. Glitch serves as means for me to think about and explore the agency of sounds and sound-making things, both digital and physical, and their ability to exhibit a creative will beyond my own. More broadly still, glitch offers me a window into something of the fantastical. Of a world at odds with the normal, where things are somehow warped and skewed. In this way, my work plays-off against convention or does what it perhaps shouldn’t. Sometimes logic is suspended. And sometimes archetypes are wrenched and bent into something decidedly queer. (2022)