Falling Man is almost on stage - 19th - 20th August at Wilton's Music Hall in London. Here is one of the tracks from the piece which will be performed live with vocals by US artist Apricity.
It's a cover of Bjork's All Is Full of Love, and is a special track to me, ever since I heard her perform it on the Other Stage at Glastonbury - one of the best atmosphere's of any festival gigs I've ever experienced. You could really feel the unity and connection between everyone in the crowd, enhanced and reflected in the beautiful vocal by the Icelandic artist.
This version is admittedly darker, but Apricity's vocal lights up the night with her naturally rich and lush tones. I'm looking forward to getting this performed live before the public.
Here's a new track I've been working on as part of a bigger project coming soon. It's based on techno, but it refers to acid too, especially in the monosynth 303 lines. Redlof by AFX was an inspiration - an unusual but compelling track by the great man. Interesting leaving things to four on the floor for once...
Laurel is an accomplished wordsmith with a heavenly voice, Anteros a brutally exciting pop rock band ("bitter dream pop" in their own words), both are set for great things. The gig was a massive hit- such a contrast of styles working so well is testament to the curatorial nouse of the teams at Clash Magazine and Metropolis. Click the image below to link to an exclusive gallery of my photographs over at Clash now
Manchester's IAMDDB is one of the hottest artists on the British R&B and Soul scene. Her live sets are beautiful and irreverent, and her adoring crowd love it. Here's a gallery of shots I took of her performing in London recently over at Clash Magazine.
Just before headlining Glastonbury, the Foo Fighters were in Metropolis Studios, where I took a set of photos of the seminal band. They were lovely guys: down to earth, fun, and interested in the history of the prestigious London recording studio, and Dave Grohl cheekily teased me for the way I rolled up a cigarette with the paper stuck to my lip.
I shall be releasing the photos first on Instagram but in the meantime here is a portrait of the much loved Mr Grohl
This October I shall be involved in the capacities of composer and photographer in an exciting new project at the Dulwich Picture Gallery. Conceived of by Dane Hurst, the evening will feature a set of dance pieces in the gallery space inspired by the 17th century French artist Prud'hon. I shall be photographing the dancers as they perform and the resulting images will be projected live on to screens in the gallery space. The audience will be able to move around the dancers, immersing themselves in the performance from any position. There is the opportunity for audience members to take sketches, with the gallery's life-drawing tutor on hand.
Musically, I shall have several pieces being performed, including the 'Breaking Through' duet from Finding Freedom, and a new piece entitled 'Goodbye in the Night'.
The event will take place over two evenings on 16th and 17th October this year.
Here is a clip of Dane Hurst and Amy Thake working on a duet for 'Finding Freedom' in the rehearsal studios of Rambert.
The piece is about a man locked in prison, separated from the woman he loves. He is tortured by being unable to reach her. He holds on to the slender thread of hope of being reunited with her, but ever struggles with the fear she will leave him while he is helpless in prison.
When Dane was creating the choreography, he conceived of a section where the man and woman dance a heart-rending, intimate duet where the couple move together so intimately, but without actually making physical contact. This tension of restraint builds until it is finally released in a beautifully tender lift at the end.
The music to which they are dancing is from a piece which I composed for the performance. It is called 'Breaking Through' and forms the musical centrepiece of 'Finding Freedom'. It accompanies this encounter between the prisoner and his love as she tries desperately to reach him through the armour he has donned to protect himself from fear.
This fear is represented elsewhere in the piece as a daemon aggressor, an incubus who comes to torture the prisoner in his dreams, threatening to steal his love while he lies incarcerated and helpless.
The piece is about a struggle. It feels like a struggle with an external adversary, but really it’s a struggle within yourself. Inside the heart of every artist - every person- if you look deep enough you find your greatest enemy and your greatest love. Carl Jung described them as archetypes: the Shadow and the Anima. Finding these cut off parts of our souls and rejoining with them, Jung thought, is the great journey of opening up to all our potentialities as a human individual. It’s the barriers in the mind between them which form our prison. The key, the way to break down these walls is creativity.
'Finding Freedom' will be performed this coming Saturday night (27th September 2014). Tickets are in short supply but you can watch the performance streamed live to all the billions of people across the internet by following the link on the Wilton's Music Hall webpage.
I have written the music for a new dance piece choreographed by Dane Hurst called 'Finding Freedom'.The piece is going to be performed at Wilton's Music Hall on Saturday night (27th September 2014).
As a sneak preview, here are some shots I took at a rehearsal in the Rambert studios.
Due to Dane's heavy schedule, I stood in for him at the technical rehearsal last night working on the lighting and so on, and I have to say that Dane's choreography is looking beautiful. Wilton's Music Hall is a stunning venue - an authentic 19th century hall with a magical atmosphere, embellished with ornate details in every boss and column, and a tangible sense of East End theatrical history which you feel the moment you walk into the hall.
'Finding Freedom' features performances by Dane Hurst, Amy Thake, and Owen Ridley-Demonick, and will be streamed live worldwide via the internet. You can find out details about tickets and a streaming link on the Wilton's webpage. I'm supposed to be interviewed in the interval too, so please tune in to see me drunk, incoherent, happy, and mumbling something about Jung.
My friend Jack and I walked around the river Thames last Sunday. The greyness of London at this time of year soaks through your pores. Last Winter I wrote a piece of music, called ‘The White Sky’. With all that anaesthetic blankness overhead, Summer can feel as distant as a house you you moved out of years ago.
I have written before about the South Bank, and how much I love its blend of expansive modernist architecture, ragged but lovely humanity, and the timeless industry of the River. Its faded and renovated squalor embodies the grandeur and the humanity of the capital. When I was young, my parents used to take me to see Bach’s St Matthew Passion at the Royal Festival Hall every year. Even back then, I felt how strong the character of the South Bank was: this thriving concentration of artistic output in the midst of urban dereliction (it used to be a lot seedier twenty years ago, believe me). Nowadays, I like to meet up with friends there. There is always something interesting (and free) to stumble upon such as a musical performance in the RFH lobby or a photo exhibit in the National Theatre balconies. It is the quality and the abundance of this sort of thing where you really see the advantage of living The Big Smoke.
So we wandered round the Thames. We met a girl on (what used to be called) the Hungerford footbridge who was trying to sell dream-catchers. She was somewhat furtive about the fact she wanted to money for them. Jack fancied her. I have no idea what a dream-catcher is.
At the foot of the bridge we went straight in for a free hug (were they the same troop as at Glastonbury?), watched the skateboarders, and discussed Joanna Newsom. A girl was down on the beach beneath the Oxo tower, combing for something or other.
Then Jack mugged a child, and we had a look at some more stuff, and parted company.
With some more time to kill I headed back onto the bridge by Embankment for the second time that day. It was getting dark and I was tired so I stopped to listen to a morbid yet persistent steel-drummer. The West Indian clangs sat weirdly with the gloom, but it was a nice way to take in the end of the day over the Thames, since I was cold and tired.
Looking across to St Pauls, the Barbican, and the Natwest Tower made me think about the persistent grind of London. Working and surviving in this city can really feel draining although people do not often like to admit it. Actually, come to think of it, sometimes it’s all we talk about, perhaps because it is something we all share. The city looks awesome of a Winter dusk. Shelley wrote of the eponymous mountain in his poem ‘Mont Blanc’:
Power dwells apart in its tranquillity,
Remote, serene, and inaccessible
The lines could have been written for those fortress casinos in the square mile. If good old Percy Bysshe were writing today, he might well write about the city instead of Mont Blanc, and he could have picked a worse spot than the Hungerford bridge to reflect man’s relation to the vast and awful power down the river.
I looked over to the terrace on the South Bank where the free-huggers had been. The crowds had mostly gone home. It gets cold down there when the sun goes. I noticed there was an arc of people performing. The double amputee at the end of the bridge was still begging after hours in the bitter evening, poor sod.
I approached the horseshoe of singers by the river bank. There were a few people stopped to listen despite the cold so I took a seat on a bench. Close up you could see that they were a dozen or so young ladies probably around the age of twenty. I realised they were American immediately when they started to sing. Not from their accents. Everyone sings in American accents. The clue was in their quality and understanding of performance, of which Americans are the masters. They are just better than everyone else at entertainment. It’s like when you see Russian ballet dancers, Italian drivers, Australian cricketers, Spanish Flamenco dancers, British football hooligans, French pickets, or German nudists: as far and wide as you travel, when you see one there is something inside you which clicks and thinks: ‘They’re taking it to a whole different level. Shit, that comes from the source.’
The girls (a troupe from Princeton Universty NJ called The Tigressions) were singing a capella standards, and their own arrangements of modern pop hits. Rich harmonies, perfect tuning, packaged with all that American charm. Perfect to warm the proverbial cockles. I recall them singing an arrangement of ‘Happy Ending’ by Mika. It was surprising to hear something so luscious and personable amidst all the cold riverside concrete. Singing just for the joy of singing. No pretensions to fame and stardom, that bane of true music. Just a group of young ladies on holiday in a ridiculously grey city, enjoying singing with each other.
There were others who were enjoying this spontaneous performance as well. I noted a slightly gruff looking cyclist who seemed absorbed by the music. He sat there intently, taking it all in, clutching his bike frame. Also there was a little girl who went right up to the singers and stood right in front of them. She was young and uninhibited, bathing in the overlapping vocal lines.
I hope the young ladies from New Jersey enjoyed their vacation in London. At least they looked like they were having fun, despite the gloom. It is indeed cool that they were able to contribute to and even become part of the life of the South Bank in their visit. I was grateful, at least.