I was wondering how much the environment in which you live & record has an impact on the music you make? It seems with some artists that you can hear the influence of their environment really clearly – In Chances of Light is a perfect example of this; I can’t imagine it sounding the same if it had been written and recorded in Fulham! I assume you have lived in London for most of your life, so do you think has had an impact on how you hear and respond to sound, and how you compose music?

Some composers can express directly about their personal experiences and surrounding environment while others express more from internalised emotions and imaginings whereby their surroundings are a passive element to their creativity in that respect. I’m of the latter type, I suppose. Although I wouldn’t think living in London affects how I respond to sound, I do think that the complex effects of human influence in an impenetrably dense society helps to propel the need to create an alternative world of escape through sound and composition. As such, it’s an influence of sorts. I’m very much a city person. I like the way in which a city ‘unfolds’ gradually and at the same time affords you anonymity and privacy. The thought of living in a small town where everyone knows everything about one other would be rather depressing to me and loses that sense of mystery and chance in everyday life.

Not sure if I’ve managed to answer your question here … 

You played drums on various people’s albums over the years, but two of them really stand out for me, Perry Blake’s STILL LIFE and I’ANSON; just to know you’re involved on an album or other project is enough to have me pay serious attention to it (buy it)….I’ve not heard many drummers sound like you and I’m curious who was an influence on your playing and/or more collaborations are on the horizon?

Thanks for your generous comments. Recording projects vary a great deal and it’s not always easy to stay faithful to your own ideals when contributing to other artist’s work. Both Perry (Blake) and Hugh (Carswell) were very generous in allowing me to indulge in my own way without laying down any rules, which is always a nice way to work.

As regards influences, bit of a mixed bag really. But I didn’t listen out for particular drummers, I listened to tracks, it didn’t matter to me who the drummer was or what else he might have done. For example, when a track like Marquee Moon came along it was as though something switched on in my brain saying: ‘there’s an infinite number of possibilities, don’t just settle for the easiest way’, and that track, along with others, became a sort of beacon in my formative years, even though the drummer (who totally deserves my gratitude … Billy Fricca) wasn’t in my list of favourite drummers simply because … I didn’t have a list. So perhaps the reason I don’t sound like any one player is because I wasn’t selective about any one particular drummer, instead I would be influenced by the magic found in a particular recording, and that was ultimately more about teamwork.