Sound Prints - Phase music, Phm 11 - my 90th album. Three, ‘old timer,’ Side of an LP’ length ‘Art Objects.’

Exploring further a notion from the previous Album, [the] ‘Rothko Triptych’ - namely that of a visual surface imagined as music - of a Marc Rothko visual Surface. Pulling back I ‘see’ again a ‘Surface’ - but I’m not imagining a sound from a surface - I’m giving you a surface ‘of sound.’ Let the static nature of the sound ‘be’ the ‘Surface’ - of lines or a bold block of patternation - an ‘Art object.’ Not infact the Art Object singular - but a Print from it. I have the musical Object Original on my studio Desk - you have a set of prints from that. There are alot of notions in these sentences and they're working Hard - so let me unpack them a bit.

As an Visual Artist for 22 years, I was specifically a Geometric Print maker - an OP Artist. OP Art being the branch of Geometric Art that dealt particularly with unpacking optical effects - as optical illusions caused in the mind - it is the brain that ‘sees’ not the eye. I made bespoke editions of sometimes just one print piece. I struggled with the notion of Edition and Originality - the bespoke 'Art Object' - and the potentiality of print multiples, hence Edition, and limitation to one - as to say - the uniqueness Pencil or oil. In Art we speak of the object. There is in Art something tangible that is the 'Object' as a point of fact. With music it is so very different. It is not the notation of a written page, though it is precisely not that, It is not the movement of the musicians hands, or the movement of the air around you, though it is precisely these, nor is it the boxed media you treasure, and I depend on. All of these become your perception by course. The work of Art is the work of Art whether you're looking at it or not. Fine wine is so whether you're drinking it or not. Our recordings, though they seem so to us, do not actually contain the primary means to perception, only a means to the means of it, as is the score. So to the media. As with print, my former medium - we talk of the Art object as the Art Work - by which, with which we perceive. You can have a conceptual Art where there the concept functions as a mental object - is that not Exactly what I’m suggesting here ?

like a lot of my colleagues, I enjoyed patterns of repetition, captured to a fixed degree - say one Square meter , for example, but not endless repetition, The Art, is in the judgement of proportion. You can imagine this in a print or a Visual panel, where you can perceive the whole at once - in outline and then fill in the details. In music you are presented with a succession of details and build a perception of the whole. Nonetheless I thought I would attempt to make music that is like a print, perceivable at the outset - ish - but sustaining, with details to add to your 'Picture' of it as a whole, in the unfolding of time. Does it work, have I done it - I think I have - but you tell me.


An early reorganization of my music research interests had 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 realised by tape looping and timing. By Convention Phm.

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, Metal Percussion music, or MPm. The third of five is the Phase music, realised by tape looping and timing, Phm. The fourth, a genre of Electro Acoustic composition, Music for Strings, Electronics and Percussion, or MSEP. The last genre is Electronic music, Em, taking the longest processing detour from an original acoustic source.

Album numbers 76 to 95 form my fourth ‘Group’ - a 4th time division across my Genres, my Inner Blue Group. This builds on both the foundational 'Blue Cherry Group' [where I had introduced my 5 areas of research interest] and the big 'New Horizon Group' - [where I explored to see where these five genres were leading me]. There then seemed to be a ‘band of gold’ across my discography. My Golden Band Group That mark a particularly successful time for me. The albums that follow that, 76 to the end, are a ‘Blue Horizon’ - after the phrase’ blue sky research’ - the ‘Blue Horizon Group.’ For convenience, I divided this Huge area into the Inner and the Outer Blue Groups. So the Fourth Group is the Inner Blue Horizon - or Inner Blue Group.

There are four Phm albums in the Inner Blue Group - Phm 8 - 11.

[] Album Phm 8 is Deep Pink and it most certainly is - the Pinkest of albums in a blue cover.

[] Album Phm 9 is Beriom 1 - 3, for 6 trombones, a Bonecircle. The first three pieces, of 12, in the Beriom Series - an homage to Berio.

[] Album Phm 10, a double album, is Beriom 4 - 7 - for 4 and 5 flutes, in two sets of two - the next four pieces of the Beriom series.

[] Album Phm 11 Sound Prints - are three static lines in contemplation of a printed surface.


Inner Blue Group - Phm []

DCM 076 - Em 29 - Auda
DCM 077 - MSEP 19 - Assign 1 - 4

[] DCM 078 -Phm 8 - Deep Pink []

DCM 079 - Em 30 - Haus music
DCM 080 - Em 31 - Magic lily music
DCM 081 - MPm 10 - 1st and 2nd Da Su for Mp

[] DCM 082 -Phm 9 - Beriom 1 - 3 (6 Tromb.) []

DCM 083 - MSEP 20 - War Skies Over London

[] DCM 084 -Phm 10 - Beriom 4 - 7 (4 & 5 Fl) []

DCM 085 - Em 32 - Beriom 8
DCM 086 - Em 33 - Beriom 9
DCM 087 - Em 34 - Beriom 10
DCM 088 - Em 35 - Untitled
DCM 089 - Em 36 - Rothko Triptych

[] DCM 090 -Phm 11- Sound Prints []

DCM 091 - MPm 11 - Kontact Dance
DCM 092 - Dm 13 - 2nd & 3rd Inv for Dj
DCM 093 - Em 37 - Ober
DCM 094 - Dm 14 - 4th Inv Dj - Dm Sn no. 8
DCM 095 - MSEP 21 - Bela Whispers


The DCM album numbers list volumes in a [for the most part]
chronological edition - the ‘DCM Broadhurst Edition’ - Prepared for the British Library in 2020. The volumes or albums themselves were actually released as and when it was possible. The Edition though, was planned from the start to stand on the 'foundation Stone' of the Blue Cherry group.

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