I started making electronic music some twenty years ago – experiments with cassette tapes and a 4-track mini-discs recorder led me to study music technology, at the Leeds Conservatoire, and music production, at Leeds University. During this time, I was introduced to computer composition, and my pieces started being performed overseas.
Since then, my pieces have appeared in the finals of many composition competitions (winning prizes, residencies, and mentions in many of them) including: IMEB (France); Metamophoses (Belgium); Destellos (Argentina); Contemporanea (Italy); SYNC (Russia); Musica Viva (Portugal); Musica Nova (Czech Republic); Ars Electronica Forum Wallis (Switzerland); KEAR (USA); MusicAcoustica (China); Prix Russolo (France), Red Jasper Award (USA).
Over the past 15 years, I have worked in the composition studios of the IMEB (France); Musiques et Recherches (Belgium); VICC (Sweden); EMS (Sweden); LCM (UK); CMMAS (Mexico); Holst House (UK), Mise En Place (USA), Bowling Green (USA) and the Sydney Conservatorium of Music (Australia). In 2022, I should (Covid permitting) be undertaking a residency at the GRM, Paris, where I have been commissioned to compose a new piece of acousmatic music.
My music has been performed in over 400 festivals and concerts around the world, have represented the United Kingdom at two major international festivals and have featured in wide range of popular music contexts (including performances at the Glastonbury Festival and several appearances on the BBC). I have published two solo CDs (Empreintes Digitales and Sargasso) and have pieces on another 10 CDs (Elektramusic; Taukey; ICMA, among others).
I am regularly invited to talk about electronic music, and have given lectures and presentations at many world-leading universities and conservatoires, including Harvard University, The University of Oxford, New England Conservatory, Swedish Royal College of Music, Conservatorium van Amsterdam, The Sydney Conservatorium. As with my numerous journal articles and book chapters, my talks address compositional methods and aesthetic preoccupations, analytical approaches to electronic music, the nature of performance interpretation and authenticity, the nature of digitised music, and reflections on the many philosophical dilemmas that electronic music seems to produce.
In 2016, I co-founded the British ElectroAcoustic Network (BEAN), alongside James Andean, with the intention of representing British electroacoustic music overseas. The network was subsequently affiliated with the International Confederation of Electroacoustic Music (CIME). I remain a director of the Composer’s Desktop Project (CDP), and was Editor-in-Chief of the International Journal of Arts, Humanities and Social Sciences between 2015 and 2018.
I am currently Programme Director (Head of Department) for Sound and Music, London College of Communication, University of the Arts.