a lovely old about me from a lovely old site...


larynx ::/ear ::/time ::/self ::/space ::/
field recordings and music, songs, images, dances, poems with sound, voice-studying, performing.
london, uk.

singing in childhood, on car journeys with my mum.
making songs with friends, laughing a lot in the small children's choir in the village where we lived...
singing songs was first, followed years later by a chance discovery of free improvisation.
discovering free improvisation = beginning a conscious exploration of a metaphysics of interaction.  
[becoming aware, at precisely the same time,
of quantum physical world-views,
and the ancient wisdoms of universal interconnectedness]

in improvisation the intricacies of sonic exchange and expression  stepped sideways from, and outside of, language and harmonic form,  uncovering a world where i could try to connect the activity of the  voice with
an extremely careful listening,
enough to try to trace the details of the thought // feeling trajectories of self // other.  
//   ''  //  ''  //  ''  //  ''  //  ''   //  ''  //  ''  //  ''  //  ''   //  ''  //  ''  //  ''  //  ''  //  ''  //  ''  //  ''  //  ''  //  ''   //  ''  //  ''  //  ''  //  ''  //
when  i came to london to seek out free improvisation i was first so afraid  to make a sound that i would overcome the anxiety by imagining an  intimate embrace of love with the other sounds.  
//  ''  //  ''  //   ''  //  ''  //  ''  //  ''  //  ''  //  ''  //  ''  //  ''  //  ''  //   ''  //  '' //  ''  //  ''  //  ''  //  ''  //  ''  //  ''  //  ''  //   ''  //  ''  //  ''  //  ''  //  ''  //  ''  //  ''  //
in  the past i have felt an urgent desire to make the voice sit not like a  voice... this is a somewhat impossible task, though sometimes worth  pursuing... to alter its human-narrative implications within the  ensemble.  
//  ''  //  ''  //  ''  //  ''  //  ''  //   ''  //  ''   //  ''  //  ''  //  ''  //  ''  //  ''  //  ''  //  ''  //   ''  //  ''   //  ''  //  '' //  ''  //  ''  //  ''   //  ''   //  ''   //  ''  //  '' //  ''  //  ''  //  ''  //  ''  //  ''  //  ''  //

(as a result of these alternatives of interpretation) the process is, in a sense, very different from the process of songs.

but also influential. this listening has entirely liberated the fashioning and singing of songs for me.
the weave becomes more continuously its own voice moment from moment.  

lyrics can come about through transitory reflections and remembrances,
and the fabric of the songs combine happy hours playing sculpting sounds
with happy hours of passing moments of improvisation into a microphone for vocal melody.
the dig for the material happens



           s   l   o   o   o   o   w   .   .   .

the feedback of our cells becomes a point of importance.

 working with film makers and dancers brings another kind of pleasure,   at once separate from pure singing and, at the same time, pulling on  the  experiences developed in the close listening of free improvisation,  and  using the same tools of voice, computer, and various additional sound  toys.

field recordings and 8channel work  
eye-opening  explorations... brought through resonance fm and goldsmiths EMS.

singing and studying and exploring songs and free improvisation, and the breath, + the body, with two of the world's greatest vocalists::
gatherings+performances  in london and wales with the extremely talented and inspiring friend  maggie nicols, the UK’s finest female improvising vocalist::
masterclasses in paris, 2013, with pioneer of extended vocal technique and interdisciplinary performance, meredith monk::

learning  about the physiology of the voice as well as the expressive primacy of  it, and teaching singing for adults and children // a music  degree in  performance from the beautiful and magical dartington college of arts in  south devon, and a music  masters degree in creative practice from  goldsmiths, in london // 

:: opening thoughts ::


To meet the voice exactly where it is each day, in each fierce and fleeting moment, is the endless journey. For me, as both practitioner and teacher, the practice begins with the instinctual nature of this primal instrument. Voices are resonance, expression, music, connection, story, reflection. Voices echo the experience of each moment. 

Joining instinct hand-in-hand is technical awareness and refinement, providing colourful, textural maps for detail and delight. Approaches for insight and execution. Tools to locate and experience familiar physical expressions of balance, flow, resonance and vitality so that we can continually return to and develop them.


My relationship to the voice take various approaches – song, improvisation, vocal score, minimalism, loop, solo performance, collaboration (with musicans, film makers, dancers, choreographers), extended vocal technique. 

It is also complimented by other types of sound-making in the form of electronic pedals, analogue synth, small wooden instruments, sonorous found objects, field recordings, pro tools editing and more...


A key current exploration for me is very much about strengthening the bridge between the voice and the body via new enquiries into yoga practice as a form of vocal enquiry.

My yoga practice has developed this year and begun to connect to both my vocal coaching and my own vocal practice, and it's becoming clearer and clearer that many of the answers we seek (to the voice and life) are hidden in the intertwined corners of the body. As the body resonates the complexity of vocal tone, so yoga clears pathways and offers amazing physical nuance for the vocal experience.