A View from a Hill

It was a great experience and a pleasure to curate this year’s Linear Obsessional compilation, A View From a Hill.

This the intro to the accompanying “Descriptive Catalogue”:

When Richard Sanderson put out a call for volunteers to compile this year’s Linear Obsessional compilation I willingly put myself forward (after some reassurances that it wouldn’t be too much work, honest). I’d contributed to the previous year’s Utterances and really enjoyed it – not only was it great to work to a brief (two minutes exactly, must use the human voice), but hearing the results of the finished collection was ear-opening –to hear how artists had used the brief as a jumping off point to produce an astonishing variety of
work.

The theme for this year’s compilation was really the first thing that occurred to me – maybe the time of year puts me in mind of MR James – the title comes from one of his ghost stories, or maybe because when I volunteered, I’d just spent a day in Hebden Bridge, nestling amongst the Pennines. Anyway, the theme seemed to suggest two things close to my heart – landscape / countryside; and eeriness. I’m very pleased with the results and I hope you are too. Some artists have concentrated on the Jamesian aspects of the title, recorded or interpreted landscapes of importance to them, or combined both. I’ve loved hearing results from artists living down the road to me (almost literally in some cases) to ones from the other side of the world (Australia, Asia and the United States to name a few).

My own submission was a reading of one the amazing Molly Bloom‘s short ghost stories over a suitably spooky soundscape.

ATTN Magazine reviews unweather

I’ve had another lovely review of unweather in ATTN Magazine, who organised the Brink compilation I was part of last year. Thank you!

To me, unweather sounds like one of these meditative meanderings through personal history. I twist unforgettable highs and lows into idle memory debris. Chronology folds in on itself, with the vivid experiences of last week seeping into the hazes of childhood. Tidal waves of shoegaze guitar drain to leave the hum and drip of degraded tapes, while field recordings from across the UK (Isle Of Mull, London, Hebden Bridge) become backdrops to flickers of melody or acoustic drones, which hang in the foreground like an inner calm or ripe, burdening upset.

six

My new EP, six is now available on Bandcamp. It’s made entirely with noises I made with my guitar, most of which have been heavily processed in Ableton.

six, by smallhaus

unweather cassettes now available on Bandcamp

A limited (20 copies!) edition run of unweather cassettes are now available to buy on Bandcamp at the bargain price of £4 each + postage.

The cassettes are transparent blue, with a sticker featuring the unweather artwork. The inlay features full album details.

Side a: unweather part one (20:33)
Side b: unweather part two  (21:32)

unweather cassettes

unweather

My new album, unweather, is now available on Bandcamp.

unweather is the result of over a year’s experimentation with different approaches to making sound and music. It features processed and manipulated field recordings made in a number of locations, from London to Hebden Bridge, to the Isle of Mull, along with extracts from tape loops, guitar and other electronic instrumentation. Granular synthesis is used to create lo-fi drones, textures and atmospheres. Sounds are cut up and used to synthesise new sounds, sitting alongside recordings from the natural world.

unweather is loosely about storms, personal, political and literal.

part one [20:33]: stormfront / in stillness / coastal / tidal / extinction

part two [21:32]: wrecked / backwash / mud-slaked / decayed / depth