This is something of a bio to try and pull everything together.
I have made music since I was 4. I started with the violin and when we moved to Oxford joined New College Choir. As choristers we sang five services a week, and I think if you start making music that young and that often it probably never leaves you. That’s where Palestrina and Bach and Howells and Poulenc and Handel and the rest got under my skin and stayed there. My teenage years introduced me to Shostakovich and when you’re an angsty teenager, Shostakovich is pretty much all you need. I thought I would become a violinist. By my late teens, however, I no longer wanted music as a career. I went to university and studied English Literature, which I loved, and then moved to Berlin, which is where I started making music again. I played with projects including Casper, Dear Reader, Drangsal, Faber, Get Well Soon, Mighty Oaks, Stella Sommer, and Wallis Bird and learnt new ways of making music. This is also where my disparate fields of interest combined for the first time, and I made my first record, “Homotopia,” a snapshot of gay/queer life as I saw it lived around me. With the help of many wonderful musicians the record was made and the record did well. And then the pandemic came and upended everything. I started my second record, “Goodbye,” but to make ends meet started working as a copy editor on the side. And I got lucky again. The work I was doing concerned the governance of emerging technologies, and I discovered in it more systemic approaches to systemic problems, a perfect complement to the more personal work I was doing in music. I released my second record and simultaneously became a researcher and writer, co-authoring and publishing papers. And that brings us to now. To see the work in both fields, you can navigate to “Music” and “Research” at the top of this page. For the complete records, “Homotopia,” “Goodbye,” and the cover EP “NDW,” you can go to the “Home” page and you will find them there.