TalkEx 19

As a featured artist in ROAR's TalkEx 19 exhibition in May (read about the exhibition), I was invited to prepare a discussion on a topic of my choice, which I delivered this week.

Understanding that the audience may be comprised of mainly visual artists, many of whom might not know about might work, I wanted to give an insight into contemporary, experimental and avant-garde music. Instead of giving the usual discussion about my own work or how I approach materials or sound, I wrote a brief history of noise and sound in music from 1913, introducing a few of the key composers and musicians who influenced my reading, thinking and composition of music.

My intention was to show a sort of evolution within a particular sphere of music practice, somewhat elicited or influenced by/through technology and new listening practices. I created a very simple webpage to accompany the talk and presentation (which is mobile-friendly, simply containing links and does not feature any images or sounds), which you can visit, if you wish.

Many thanks to ROAR for encouraging me to give a presentation! I really enjoyed the writing experience as well as delivering the presentation, which also spurred some further thoughts about writing...

Interview in Chase magazine

Last month I was interviewed about my creative and teaching practice by marketing and communications assistant for ROAR, Amy Forde.

I've had the pleasure of being interviewed for various things in the past, but this was rather more personal than I've been used to and Amy had a very natural manner and way of asking questions that I found really got me talking. I think Amy is clearly very skilled as she was able to create a succinct and sensible article from my disorganised and (perhaps) frenetic ramblings!

Many thanks, Amy for approaching me about this and for writing so many wonderful words.

You can read a PDF of the article or visit the Chase magazine website (pages 36-37).

Great Places - A Documentary

In the summer of 2018 I was very busy working as an Artist in Residence under the Great Places Scheme, which focussed on an exploration of the history within a local area known as Milton, nestled between Barnsley and the Elsecar Heritage Centre.

As well as myself, a poet, a visual artist and a documentary film maker were also part of the creative team. The video above is the documentary which captured the excavation and includes several interviews with some of the professional archaeologists and team leaders involved in themassive well as an impromptu interview with me on-site!

You can read more about the excavation itself and my approach to the compositions in this blog post.

Wentworth and Elsecar Heritage Centre - The Great Places Scheme

I’ve been very busy with a commission for Barnsley council under the Great Places Scheme, focussed on an exploration of the history within a local area known as Milton, nestled between Barnsley and the Elsecar Heritage Centre.

I was approached in June through ROAR to compose a piece of music as my reaction to an archaeological dig. The aim of the lottery-funded excavation was to locate and unearth evidence of the long lost Milton Ironworks which belonged to the Wentworth estate. You can read more about the project on the Great Places website but the short of it was to involve local communities and artists in locating and excavating the long-lost Milton Ironworks.

From soundscape to vocal music

With the intention of composing a soundscape, I spent two days on site recording various sounds of digging, scraping, rasping, spading and talking using a combination of ambient and contact microphones. After recording, cataloging and enhancing/editing the sampled sounds I began my usual process of arranging my materials - I like to sit at the computer and play with sounds as a way of ‘getting to know them’: moving them around, making them louder or quieter and combining them in various ways. The audio piece, Stratum under Milton: II, came together relatively quickly, drawing influence for rhythm and structure from hip-hop and turntablism, mostly the likes of Coldcut.

During composition of Stratum under Milton: II, I noticed I was once again thinking about how the sounds were created by the hand tools used during the excavation - sonic remnants of the human activity of digging. This led me to think about and research into the workers of the original Ironworks, whose traces of working lives were being uncovered - I wanted to write a piece with this in felt as though our excavation was releasing whispers of the past trapped in the ground...

Local folk songs and tradition

Writing for four-part choir made a lot of sense once I discovered several local folk songs from the period. I borrowed five pitches each from two folk songs to create two distinct scales. I alternate between these to create movement and familiarity in Stratum under Milton: I. I explain this in a brief discussion of my approach to the compositions which I prepared for the exhibition at Elsecar Heritage Centre. I spent several months composing Stratum under Milton: I and the composition coincided with an artist's visit to Wentworth Woodhouse, which you can read more about in this blog post.

My initial intention for the project was to compose three movements: the first and second were completed to specification. However, the deadline for exhibition was moved forward by several months and I was unfortunately not left with enough time to complete the third movement, which would have brought vocal and recorded audio together: live singers with a recorded audio track in a live performance setting. I was quite excited by this idea and it still needs making but that'll be for another project.

Through composing for vocals using traditional notation, I rekindled my desire and joy of writing using five-line staff and I have just started sketching out some ideas for my next piece.

Apprentice and Questioner, 1863 in exhibition

Lots of fun at the third ROAR Gathering at The Factory this weekend!

I was delighted to exhibit two pieces: Questioner, 1863 and Apprentice. These pieces demonstrated my use of video in creating realtime scores for musical improvisation, as well as silent video art aimed at generating an imagined sonic experiences.

The large concrete space carried the flute sounds of Questioner, 1863, creating dream-like apparitions throughout The Factory, while the darkness of the projection room provided excellent contrast to the hands seen in Apprentice.

Collecting feedback through exhibition is essential and although there was some competition with the royal wedding, football cup finals and delightful weather, many artists were presenting work. Discussing exhibiting artists' sculptures and pieces of audiovisual installation with them inspired me to think about new ways of working for exhibition.


'Hung!' exhibition

Throughout April, ROAR are hosting their third iteration of the Hung exhibition, where artists are invited to create and contribute pieces by hanging their work in the provided spaces around the gallery.

I saw this as a perfect chance to come up with a piece for the gallery which hosts my teaching studio as I had not yet composed anything specifically for them! I wanted to provoke the viewer into considering what a musical notation actually is, or what it could be. I created a score which provides the performer with some rather tricky decisions. Some musicians would consider this to not be a completed score, others would enjoy the freedom the score provides.

The score provides some indication of pitch, rhythm and dynamic but meter, bar line clef and instrument(s) are absent. As the score is somewhat indeterminate I have no idea what sound it would produce if played.

I have composed several indeterminate pieces in my short years as a composer, but I have not done so for some time and really enjoyed working on this short notation.

I have no idea how fast, slow or long the piece is (any time), exactly what instruments may be used, nor exactly what pitches would be revealed through performance (any place).

Any time, any place (2018) is available for download from my Compositions page.

I always welcome your input, so any questions or comments on this or anything else on the website can be addressed to

Previous compositions

I've added a Compositions section to the website!

A selection of pieces have been added along with sound and/or video files and performance notes.

Exhibition launch

The launch of my exhibition at Access Space in Sheffield was a success! Thank you to all who came down to see and discuss the work in person - I very much enjoyed the chance to get feedback and discuss various ideas with the group.

The two pieces from my MA portfolio, Syncretism and Apprentice, are still being exhibited at Access Space until the 15th June, 2017.

Please check out information about Access Space and the exhibition.

A new exhibition

I am pleased to announce the first exhibition of two pieces from my MA portfolio: Syncretism and Apprentice.

Access Space in Sheffield has agreed to show these two works along with a brief discussion from myself on the opening night. The event opens on July 1st at 5:30pm and will be shown for two weeks.

Further information about Access Space and the exhibition can be found here.


Many thanks must go out to the Fields Journal team at the University of Huddersfield! After a lot of hard work on both sides, James’s paper has been published!

I am keen for this work to reach as many people as possible. It, along with any of the other journal entries, can be downloaded for free from the University’s digital repository.

If you have any questions, comments, queries, or would like to know more about the work, please do get in touch via or

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