Electric guitarist also interested in synthesis and electronic music.
I am an improvising musician active on the London scene. I play electric guitar and effects. I am interested in a number of issues arising from this, including the nature of improvisation and why people improvise.
At a certain level, these are aesthetic (and so perhaps unfashionable) questions – but also social and political ones: what is happening when people improvise together?
In this regard, I have been influenced by the writings of Eddie Prévost, whose weekly workshop has been a life-changing experience for me. Beyond this, I am interested in the proposition that free improvisation makes music differ from itself and that, in this, it makes us (player and listener) also differ from ourselves. I currently tend to theorise these issues in terms of immanence and ecology (Haraway, Deleuze, Bateson, Hui, Oliveros, Lewis).
I am also interested in electronic music generally: what is the difference between electronic and non-electronic music (if, by the latter, we understand some physical material vibrating due to an immediate human action, in the frequency range of human hearing)? What is the ongoing relationship between music and technology? At what point does electronic music become cybernetic (and/or artificially intelligent)? Obviously, these are very open-ended questions!
I am also in the process of setting a recording label, dx/dy recordings. There will be two releases at a time, both of improvised music, but with one of the pair having more of an electronic focus. Hopefully, there will be ten releases in total over the next 2-3 years. The first two, coming soon, are ‘Secant|Tangent’ (Sue Lynch, NO Moore, Crystabel Riley) and ‘The birds of four mirrors’ (Antonio Acunzo, Tony Hardie-Bick, Tom Mills, NO Moore).
Can be heard on:
Moore, Prévost, Edwards: ‘Darkened’, yet shone (Matchless)
London Experimental Ensemble: ‘Treatise’, ‘Child Ballads’, ‘Orbit’ (Split Rock)
Brice, Hardie-Bick, Moore, Pettersen, Prévost, Solberg: ‘Plumes of ash in moonlight’ (Split Rock)
Nathan Moore ‘Why record improvised music?’ in ‘Law and the Senses: Sound’, University of Westminster Press, forthcoming.
Cover credits: Stewart Morgan