Songs, soundtracks, and electronic music shaped by story, movement, and the places they’re made.
I make music for things that move — people, stories, landscapes. Some of it is written for theatre: songs that carry narrative and emotion, like There Is a River (The Lock Keeper’s Memories) and Where These Flags Fly (The Children of Wolves).
Some of it is made on the road, built on synths in unfamiliar places and later gathered into The Postcards Project — fragments of journeys, half-remembered rooms, passing weather.
And some of it lives closer to pop: melody, pulse, and collaboration, including a synth-pop duo with Henry Chevaux.
Across all of it, the instinct is the same — music as atmosphere, as companion, as a way of holding time while something happens.
There is a River (2024)
Where These Flags Fly (2025)
The Dockers and Demons Trilogy
(with Donal Scullion)
Episode 1:The White Demon ( 2017 )
Episode 2: The Banshee Dance ( 2018 )
Episode 3: The Terrible Revenge of Ma Bloomer ( 2019 )
The Postcards Project
Whilst touring with shows like Shh, We have a Plan in places such as China and the United States, I travel with a small synth/studio set up ( OP-1, Volca’s, Microgranny and Logic ) and try to capture samples and sounds of the people and places we meet along the way. Along with my photographs these are then turned into audiovisual postcards.
The Music of Hugh W. Brown and Henri Chevaux
“Hugh W. Brown and his occasional partner in crime, the elusive Henry Horse, present frantic electro pop with a depth of musical heritage. The 80’s, 90’s and 00’s are all referenced here, travelling from the pop simplicity of The Lotus Eaters, through to the luxurious emotional beats of Jon Hopkins. There are a few Magnetic Fields type handbrake turns in the song construction, and at times a little unnecessary noodle. Vocalist and lyricist Hugh Brown is clearly in love. Rather than merely wearing his heart on his sleeve, he has opted instead to open his ribcage and present his heart on a spike. And the accomplished musicians who make up the rest of the band support the whole construction with aplomb.”
Gerald McWilliams