DCM 015 - Jove - Phase music, Phm 5 - my 15th album. An expansive performance based piece for Drum percussion.

Jove – Rh 145. A Phase montage for Drums and Drumming . A music for defined change, with the bell like intonation of large off struck Djembes. My first Phasing music for a notionally conventional set of instruments. Phase techniques are becoming identifiable as works akin to a more conventionall notion of music as opposed to experiments at the edge of my limit definition of music, as ‘Sound Considerable as Time and Process,’ - phase music comes of age. ‘The man on the ‘Karlhinz Omnibus’ would probably agree, that this was living, full coloured music. What you hear are the voices of performed instruments, recorded especially for it - and that is the first such piece of mine, and seminal, as the standard model, of so much that followed, in my Phm, in MSEP, in Em, with Tetlow & Broadhurst. and D’juil, et al.

Phase music, as I define it, Is one in which tapes or loops of tape, are offset against one another, at a given time interval, so that their complexes of content will ride apart from one another and ride back into sync, over a period given by the offset. They are said to 'Phase', rather, to go in and out of Phase. Over a short phase, the effect is predictable, over longer phases however, whist necessarily automatic, the result is, if the material is sufficiently complex, seemingly unpredictable. That is to say it can result in material, and musical effects, 'greater', literally, than the sum of its parts. One must choose one’s material carefully, and off set to phase with even more caution. The trick is to play back and re-cut the phase, as many times as is necessary, until the result interests the ear, then as music. In that sense, you can be said to have composed it - that is that you derive the result you want. Sometimes though, Nature surprises you - then I'd say I've been 'Given' it – as I often did in Art.


An early reorganization of my music research interest defined my music into dedicated sets of Albums. This way things of a kin got heard together - as one type of album or another - by Genre - or Tranche as I styled them. In this Case Phase music; Phm - music derived from Tape Loops and Phase timing – by convention - Phm.

Albums 11 to 15 are the first five Phm albums, placed in a block, one of 5 blocks, placed like books on a shelf. in an in an overarching 'Group' of my first 27albums. Five Blocks for the Five Tranches - as they were founded (more of less) - five sets of studies and pieces, as my Foundational Group 'Blue Cherry' [after a friend]. The foundation stone the rest of my music is built on - in four further Groups.

The Five Phm albums in the Blue Cherry Group are: three volumes of quite advanced studies – Phm 1 Mechanical Phase music; Phm 2 Elevation Phase ; and phm 3 Mechanical Clock music; with two large scale works – Phm 4 Click Track Toe and Phm 5 Jove.

Beginning as a percussionist my first 7 albums are for Drums of various kinds, Drum music or Dm, my first area of research interest or Tranche. I soon realised there was a second area of percussion, as a generality over a specialism - percussion on anything other than Drums, MPm. The third of of five was the Phase music, realised by tape looping and timing - by convention – Phm.

The DCM album numbers are volumes in a [for the most part] chronological edition.- The DCM Broadhurst Edition - Prepared for the British Library in 2018. The Volumes or Albums themselves were actually released as and when it was possible. The Edition though, was planed to stand on the 'foundation Stone' of the Blue Cherry group.

The Rh catalogue, numbers my works, in order of Completion.
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