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This is a recording of a piece /system thing I've been working on recently (I performed it at City a few months back, but didn't get a recording).

It's not usually this stuttery, but the patch was beset by some weird CPU hogging gremlin, and having to make the best out of such contingent factors appeals to my sense of what's right and proper.

It's for music box, plastic tube and radio, along with software that continually chews on its input and reconfigures itself as things go.

This performance, along with the recording of And There is Danger in the Air I just posted were part of Edinburgh University's Transformations series of concerts organised by Martin Parker, who very generously put loads of work into helping me make decent recordings (and video).

Another performance of this piece, although the underlying software has changed somewhat to be less, um, slabby and considerably more tolerant of the vagaries of new rooms and sound systems.

On this particular day, it seemed to want to pitch everything down in its search for equilibrium.

This performance, along with the recording of And Now For Some Music I just posted were part of Edinburgh University's Transformations series of concerts organised by Martin Parker, who very generously put loads of work into helping me make decent recordings (and video).

A new, albeit mini, acousmatic piece. It is deliberately economical in both gesture and source material - two things I've started to really value in my live playing, and that I always found hard to manage in the studio (wanting to use every idea).

The bulk of the material comes from a field recording of some budgies in a pet shop on Leith Walk, who turned out to be doing a pretty good high-speed impression of sea-gulls. The only other source is a circuit-tickled radio, that gives one, comparatively untreated, layer of birdsong an identity crisis.

An improvisation using some objects, mics, a couple of patches, and a couple of coils. I'd just attended a workshop with Keith Rowe a couple of days before, and a lot of his advice was in mind for this set (doesn't mean I managed to follow it though).

I was playing that night with the awesome Kresch, and we did a set together at the end of the night that lamentably failed to record (my bad). It was good though, really. The plan is definitely to do more of that.

Our first gig at Octopus Diamond in Edinburgh, which is a lovely place. My first live laptop crash with Sileni as well. See if you can spot it...

This recording is of a gig I did with the wonderful Laura Reid on cello, whilst I chewed up and spat out what she played. We hope to do much more of this.

A performance of my piece / system 'And There is Danger in the Air'. The idea is that all the interaction that controls signal processing happens acoustically, through a mic. As such, the shape of the piece is determined partly by the characteristics of the performance space and the spatial relationships between mic and speakers, and by me 'playing' the microphone with body, voice and whatever I have to hand.

I don't remember this performance being this loud, or shouting so much or so excitedly, but there you go.

A set from the Neverzone, at Henry's Cellar Bar, Edinburgh in February 2007, taken off the desk. It cuts in a couple of minutes late, but that's the way of things.