Miss Julie was the second Hedgepig Theatre production I was invited to participate in, and it was an equally edifying experience. Working with many of the same people as Playhouse Creatures, I was tasked with creating a dark 1920s theme for August Strindberg’s gender-war drama. 

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Playhouse Creatures was my first time working with York-based theatre company Hedgepig Theatre. The play, written by April de Angelis, is the story of Nell Gwynne and a small group of the very first female actors allowed on stage. It portrays the ascendence of Nell and the various fates of the other established actors and included a huge fire, swordfighting, Shakespeare and an on-stage abortion!

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Berlin Black are a glam/goth/rock outfit, created by Chris Tuke (ex Screaming Banshee Aircrew) and consisting of Thomas MacLean (drums), Jo Violet (bass), Chris (vocals/keyboards) and myself (guitar). So far we’ve released 3 EPs (The Only Ones, Burn It Down and It’s Only Natural) and a full-length album.

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After AKP came to a natural end, I wanted to start another band that was as different as possible. GLASS was much darker, slower and more sparse, but I couldn’t get away from writing pop songs in essence.

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Long term compadre Andy Curry was forming a band to play his excellent solo material and asked me to join. Although I’ve played in various bands over the years playing bass and guitar, the Andy Curry Band has been the only opportunity I’ve had so far to play drums in a live setting.

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Fnord was an acoustic duo I formed with long-term cohort Andy Curry. With two acoustic guitars, two voices and a MicroKorg synthesizer we played a set consisting of each other’s songs and gigged sporadically.

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AKP were a high-energy pop-rock band I formed in 1999 as a simple power trio alongside another band I was playing lead guitar for at the time. The other band ended up disbanding, and I carried on for 10 years, with a variety of excellent musicians by my side.

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Seppuku was an attempt to produce the most abrasive, unpleasant noise music I could muster. Inspired by early Industrial acts like SPK and Throbbing Gristle, I tried to throw away everything I knew about melody, structure, rhythm and counterpoint and chuck everything through a lot of distortion.

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Throughout my musical “career” I’ve written and played solo acoustic songs live. The benefits of playing solo are many and obvious – less gear to lug around, less people to organise and rehearsals are a breeze to get together. The limitations of the single instrument plus voice also force you to be more creative.

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