NEW EP: Forests (2019)

Forests EP - cover.png

I’ve released a new EP of March 2018 improvisations made with a synth, a few objects and a couple of cassettes spinning around in my old Tascam 424 Portastudio. In a lot of ways, these pieces kind of laid the compositional/conceptual groundwork for my artist residency (and the Compression album) later that year.

The EPs release is accompanied with this mysterious little video I made.

Oh, visit (not so) sunny Millicent.



Weekly Beats 2018: updates

I’m still there! 25 weeks on I’m approaching the halfway point!

Since I’m not going to post every new track on here, if you’re keen to check out what I’ve been working on (the rule of a new theme each four weeks is still the format) follow the link below.



WeeklyBeats 2018: updates


When I haven’t been writing epic blog posts about albums that I like, I’ve been continuing with WeeklyBeats 2018. I’m closing in on my previous best effort: 21 weeks in 2014. I recall that year’s activities as a fairly erratic series of compositions (especially toward the end of my tenure) since it became increasingly difficult to maintain focus, inspiration and motivation. Comparatively, I feel like I’m coasting through 2018; largely due to the reason that from the outset, I committed to a general theme or process for each month. This has kept my approach and working methods consistent over a given month, and as a result I feel like I’ve been producing some great work, which could lead to new exciting projects in the near future.

This month I’ve been making alternate soundtracks for the limited series of Twin Peaks. I personally loved the Twin Peaks series from 2017. I recently picked up the blu-ray and I’ve been super compressing the experience of 18 episodes into 3 days of delirium. I’m a huge David Lynch fan and I rate it up there with his very best work – i.e. Inland Empire and Blue Velvet.

Summaries and links for the pieces can be found below. There’s one more to come next week.

#1: Music for The Conveniece Store

Since I’m focusing on a particular theme/object/process for each month, my plan had been to record fencewires with a pair of contact mics and manipulate the recordings. So today I was down at my mum’s property in Yankalilla recording a fence wire, which was in very close proximity to an electric fence wire . As I expected, both piezos picked up the periodic electric impulse of the wire, but also picked up beautiful random, scratchy transients. Along with this, you can occasionally hear the wind blow over the wire and the odd pings.

I got home and started pitching down a couple of copies of the recording to create some (dis)harmonies. It sounded pretty creepy and weird and my thoughts drifted back to several scenes in Twin Peaks S03.

So I’ve taken it upon myself to present alternate soundtracks for four scenes/locations featured in the latest series.

#1: Here’s a jaunty little thing for that creepy AF Convenience Store (aka The Dutchman’s/where Phillip Jeffries lives).


#2: Music for viewing a glass box

“Thanks, Tracey.”

The second instalment of alternate Twin Peaks soundtracks for the 2017 series. The primary source for the composition is a rusty fence being activated by branches and leaves swaying in the wind. The Microkorg also makes an appearance along with a bit of post-production.

The context: viewing a glass box, somewhere in New York and something terrible is going to happen.


#3: Music for White Lodge transit

“You are far away.”

The third instalment of alternate Twin Peaks soundtracks for the 2017 series. A bit more of a mixture of sources this week – a fenceline at Carrickalinga Beach, a forest in Second Valley and a snippet of dialog from an interview with a certain infamous composer.

The context: Past the Jackrabbit, pockets full of dirt, wisps of smoke, peals of thunder and a golden pool. Then the sky tears open and you’re sucked into a vortex.


Weekly Beats 2018: February (first half)

Guitar is the flavour of choice this month for my Weekly Beats submissions. Check out the first half of the month via the links below:

2-1 “Mouth Canyon Blues”

So, something completely different for this month. I thought it would be a good idea to focus primarily on guitar work for the next four weeks. 

This one’s an impulsive attempt to amalgamate the guitar styles of Jim O’Rourke, William Tyler and Ry Cooder into a hyper compressed two minutes of imagined road movie soundtracking. Technically speaking, it’s pretty much a basic guitar fingerpicking pattern which evolves to a point where several kitchen sinks begin attaching themselves to it through the miracle of endless multi tracking.

Here’s a list of the instruments used:

– Degrucy 6-string acoustic. Tuned to CGDGBE [capo’d at IV with the E-string ‘un-capoed’ – a neat trick I’ve used for a while] (main fingerpicking pattern and counterpoints) 
– Tama 6-string acoustic. Tuned to C# G# C# F A# C# (slide guitar) 
– Fender Telecaster (electric guitar parts) 
– Fender Precision Bass 
– Kick drum sample 
– Shaker 
– Hohner glockenspiel 
– Microkorg systhesiser 
– Korg monotribe

2-2 “The Colouring of Memory”

I’ve been reading way too much Geoff Dyer and John Berger lately. This one’s a sort of Eno/Cluster-esque reverie to feelings of homesickness, estrangement and a confused state of mind.

– an iphone field recording made in a Brisbane airport bar 
– field recording of vehicle turntable on Goolwa barrage. 
– chord progression on electric guitar (looped via EHX Memory Man) 
  — Fender Telecaster run through EHX Pog 2, vintage Ibanez phaser and EHX holy grail reverb. 
– electric guitar slide (left and right) 
  — same as above. 
– Synth pads played on Microkorg. 
– Percussion 
– Additional glitchy treatments in Ableton Live using Soundhack VST modules.


FLEURIEU: Nodes/Old Waters

Another new realease. “Nodes/Old Waters” is a meeting of sorts – a studio improvised amalgam of live instruments, Fleurieu field recordings and samples from old red_robin tracks. Listen/purchase below.

FLEURIEU - artwork.png

red_robin redux


An abundance of posts today!

Many years ago, when it came to writing and performing electronic music I used to call myself red_robin.

For a while I’d been keen to make the early red_robin albums and eps available – TiefurtStaub and Oslo. Previously, I’d had a conflicting relationship with these releases since in many respects they scream, overproductivity vs actual quality. These three releases were produced within the space of a year. Whilst there’s definitely merit and a surfeit of ideas going on, my approach to editing releases hadn’t yet been refined.

On a couple of occasions these releases had been unceremoniously removed from the web, and at worst – deleted from my computer altogether. In order to find any trace of Oslo locally I had to exhume my 2007 MacBook and scour iTunes for a copy. Miraculously, it was still there and hadn’t been sent to the trash many years ago!

On the downside, only mp3s of these releases remain so therefore they can’t go onto Bandcamp and instead have found a home over at Soundcloud. For free! I had pretty shabby standards when it came to preserving my own music in the past, and more often than not the original lossless copies were deleted. I don’t know exactly why; I can only presume I was being stupid and flippant about it.

But anyway – the albums:

Tiefurt (2008)

The only proper album of the bunch and upon reflection it should have probably been contained to probably 7-8 tracks. It’s a travelogue of sorts since the bulk of the material was composed and recorded in Germany during the latter half of 2008 – specifically around Weimar where I was undertaking a mentorship with Robin Minard at the time. Some additional work was done back in Australia. The material is fairly heavy on lo-fi approaches, blended with Plogue Bidule and Max-based processes.

Staub (2009)

This EP has a considerably more loose and improvised feel to Tiefurt. If my memory serves, I think I recorded the entire set in one day using a combination of electric guitar, turntable, Roland synth and Soundhack plugins. Very lo-fi, but a nice spatial and minimal quality to these pieces.

Oslo (2009)

I hadn’t listened to this in many years and I was pleasantly suprised by what I heard. I’d completely forgotten that recordings of my teapot work, Infuser had been employed as segues for a selection of grungy, dark drone textures and a couple of pieces which seem to have been heavily influenced by Rolf Julius. A strange work, this one.