An extract from a work in progress, Durham.

This looks back on songs for solo voice and piano I wrote when I was a teenager. Anaphora and epistrophe refers to the beginnings and endings of the phrases that drive this short melody.

"The Brighton Railway Murder" is an electronic Victorian murder ballad, based on public domain spoken-word audio sampled from Libravox.

Selections from Three Hymns (2014), also composed from samples of sung and spoken word: "And can it be that I should gain"

"Arise my soul"

Selections from Blake Pieces (2014).

The opening piece "the dark Net" is based on two samples (orchestral Beethoven, and dogs), and a lot of processing.

All the sounds in "the seventh day" are sampled from a recording of clay pots being hit with various things.

The last two movements are "they left the pendulous earth" and "the salt Ocean rolled englob'd": a very slow piece followed by an even slower one.

"La grande sonnerie" is a virtual piano piece from Music for Michael Skrtic (2013). It starts inside a clock, and ends up by a sunlit pond. All of the voices move at their own (sometimes accelerating and decelerating) tempos.

Another virtual piano piece, "Lord of Stones" (2011). This is a Youtube video of the piano roll.

The title track of my first album, Corridor (2010).

I've been making music with my friend, the composer Tim Risher, since the 80s. These are collaborations from various Paragaté albums.

From Pattern of Light (2013): "Deco"

"But for living there is scarcely any time at all" - please use headphones, so that we can scratch your brain.

From Spaceflight Pharmacology (2012): "Transparent Day"

From The World Above Us (2012), "Cork on the Waves": this is a remake of a piece Tim and I first recorded around 1990. The spoken-word sample is Thomas Edison's grandson, talking about his grandfather's metaphysical ideas.

From Stillness in the Mirror (2011), "Still Morning"