Guitars / synths / dreamscapes

Q: What do you bring to a song?

A: I make sure every musical part I add is there for a reason and I study the lyrics, ensuring whatever I add compliments the entirety of the song. I don't overplay, I bring exactly what energy, mood and feel is needed.

Q: What's your typical work process?

A: I try to be as instinctual as possible. Often I'll use a first take idea I like and develop it further. I'll work on something until I think it's perfect. Once I think I've nailed something good I'll work on different themes and variations.

Q: Tell us about your studio setup.

A: I have a home studio. I have several Supro guitars and a Gretsch Duo Jet, Supro and Blackstar amps as well as an assortment of guitar pedals I've collected over the years. My OB6 synth is an absolute peach and I have a vintage Juno 60 which sounds amazing. I also have a Korg MS20, and OP1 and a ROLI keyboard.

Q: What other musicians or music production professionals inspire you?

A: I love Björk and Fever Ray for their fearlessness, and am inspired by film soundtrack composers like Vangelis, Hildur Guðnadóttir, Clint Mansell, Trent Reznor and Johan Johannsson.

Q: What do you like most about your job?

A: I love collaboration more than anything. There's always something to learn from connecting with creative people.

Q: What advice do you have for a customer looking to hire a provider like you?

A: Don't be afraid to say when something isn't right, I'm happy to work on something until it's perfect.

Q: Can you share one music production tip?

A: Record everything and record it well. It's usually the 'mucking about' first takes that have the best ideas.

Q: What's your strongest skill?

A: I have a very good ear for melody and arrangement and write catchy hooks.

Q: Describe the most common type of work you do for your clients.

A: Recording rhythm guitars, writing and playing solos and creating atmospheric textures. As a synth player I create cinematic soundscapes and ambient noises, as well as massive sounding basses and beats.

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: This year my score to a film called 'Imogen' was released. It's a beautiful, moving documentary that was very challenging to compose music for, but I'm so proud of the end result. I had to find the right balance between layers of high pitched, screaming synths, growling guitars and gentle, reflective cello and piano.

Q: What are you working on at the moment?

A: I am currently making music library albums and working on my next solo record.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: My Gretsch guitar, vintage Boss Chorus pedal, OB6 synth, Strymon Timeline pedal and, of course, a tuner pedal...

Q: What was your career path? How long have you been doing this?

A: I've been touring, recording and working as a session player for 20 years. I joined the band Ash in 1997 when I was 18 and since parting ways with them in 2006 I've released four solo records. I've spent the last 15 years as a touring session guitarist for many artists including Bryan Ferry, Birdy, Bat For Lashes and KT Tunstall and most recently played on Imelda May and Natalie Imbruglia's records, due for release in 2021. I am also a composer, having most recently written the score for the film 'Imogen' which was released in 2020, and provided guitars for next year's Hollywood film, Gunpowder Milkshake.

Q: How would you describe your style?

A: I was a touring rock guitarist for many years so I'm very comfortable playing rock/power-pop/alternative indie. I'm also drawn to the darker side of soundtrack music and love to turn my guitar into a synth, layering up cinematic drones and soundscapes.

Q: Which artist would you like to work with and why?

A: I would love to work with Björk. She is fearless in her experimental production and collaborates with incredibly interesting artists, for example Arca. I love the way she uses electronics yet still makes them sound organic. No matter how programmed her music is it still has the human touch.

Q: What type of music do you usually work on?

A: The most recent film score I worked on required high energy, distorted, high octane rhythm and lead guitars. My studio session work is mostly for mainstream pop music, writing hooky riffs and solos. For my own music I love to put my guitars and synths through my pedalboard, making drones and textured layers.