Can you tell us about your musical influences?
I’m inspired by Robert Ashley morse-code monologues, Eliane Radigue electric nebulas, Lonnie Holley reminiscences of a time before music, Hiroshi Yoshimura keyboard watercolours, Aldous Harding riddles, Julius Eastman flamboyance, the murky catacombs of late career Scott Walker, and The Field’s techno meditations.
What are you working on at the moment?
I’m composing for an outdoor movement and acrobalance performance that will tour England this summer, making a radio broadcast about queerness and disability in the Covid-19 pandemic with my collaborator, Gemma Nash, and thinking about how sleep stories, prose poetry and minimal techno could combine into a piece about the future we’re sleepwalking into.
What are you looking forward to most about Music Patron?
I’m excited to build a more reciprocal relationship with music funders, the people who’ll help me create music that reveals the world we live in today in greater detail, and conure a different world for the future. I do fundraising and development in my other life, so I’m curious about how what I’ve picked up in that role could apply to me. Experimenting and discovering; meeting the other composers and sharing ideas and experiences; I’m looking forward to it all.
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